Sun God Research Articles

From Shamans to Priests of Sekhmet: A Review of the Literature in Search for the Origins of Doctors in Ancient Egypt.

This review suggests that shamans were in charge of the healing process in pre-dynastic Egypt. After the unification of Lower and Upper Egypt by Narmer in 3100 BC, shamans evolved into the Sem priests, who were responsible for the king's health. With the change in Egyptian religion in the fourth dynasty (2613-2494 BC), Ra, the sun god, was revered as the supreme power, replacing the king. The emergence of mass festivities to celebrate Ra led to the priests of Sekhmet in the fifth dynasty (2494-2345 BC) checking the sanitation of bull meat that was provided to the populace in an attempt to avoid infectious epidemics. This seems to be the first recognition that disease might be transmitted from animals to humans. They used medical folklore, incantations, spells, and charms available at the House of Life, previously used by the lector priest. By 2487 BC, the first medical curative procedure was performed by Ni-Ankh-Sekhmet who cured the bleeding of a king's nose.

God of iron and iron working in parts of Ǹsúkkā cultural area in Southeast Nigeria

This study is aimed at evaluating the influence of the god of iron on ironworking communities in Ǹsúkkā cultural area. In the study area, the Supreme God – Chúkwú Òkìkè, Chínēkè or Chúkwú Ábíàmà is believed to control the affairs of humanity. He is worshipped through intermediaries such as Ányánwù [Sun God], Àmádíòhà, Áhàjīōkù [fertility goddess], Àlà [earth goddess] and the god of iron, which is called by different names in the study area such as Ékwéñsū-Úzù, Òkóró-Údùmè, Chíkèrè Àgùrù and Áshéné. But, how effective is the god of iron in the study area? To provide answers to this question, ethnographic research method, involving in-depth structured interviews, field observation and photographic documentations, was used to gather data on the subject matter while data collected were analysed descriptively. This article is of the view that the influence of the god of iron in the study area is whittling down as a result of Westernisation and Christianity.Contribution: The study indicates an increasing resistance to the Euro-centrism, which has suppressed beliefs in the god of iron and the associated practices.

The process of harnessing solar power through the Ashwamedha Yagya.

The first Ashwamedha Yagya under the Dev Sanskriti Digvijay Abhiyan of the All World Gayatri Family took place in Jaipur, Rajasthan from November 7th to 10th, 1992. During the same period, the entire issue of the Akhand Jyoti magazine for the month of November 1992 was dedicated to the 'Ashwamedha Yagya'. This special edition is in itself a treatise, elucidating the true purpose and objective of the Ashwamedha based on scriptures, while resolving misconceptions from the past ages. Worship of the Sun has been fundamental to Indian culture, with the Gayatri mantra being the chant for the adoration of Surya (the Sun God). Understanding the connection between the Ashwamedha Yagya and Surya-Savitri is essential to grasp the purpose of the Ashwamedha ritual. There is a deep connection between the Ashwamedha process and Gayatri along with the Sun. According to the Ashwamedha section of the Shatapatha Brahmana (13/4/2/6), there is a provision for offering oblations to Savitri after reciting the Gayatri Mahamantra. The oblations offered through the worship of Gayatri Mahamantra fulfill the scientific aspect of the Yagya, purifying the societal consciousness. The scientific process of purifying the unconscious mind of the societal group through the Ashwamedha Yagya is elaborately explained in the November 1992 Akhand Jyoti special edition article titled 'The Process of Harnessing Solar Power through the Ashwamedha Yagya'. Therefore, this article is being reprinted here for the readers of 'Dev Sanskriti: An Interdisciplinary International Journal'.

Evocations of the Sun in Modernity

Abstract This article situates the French dancer and choreographer of color Nyota Inyoka’s Egyptian-inspired work within the context of modern Orientalist Egyptomania and relates her to the avant-garde. Drawing out Inyoka’s ambiguous positionality the article not only demonstrates how Inyoka’s work disrupted the phenomenon of Egyptomania, most notably in her performance Prière aux dieux solaires (Prayer to the Sun Gods) (1921), but also unearths the ways in which her work, as it performed ‘ancient Egypt,’ deserves to be held alongside related and more canonized avant-garde practices.

Reading for Friday in The Female American (1767)

While styled on Robinson Crusoe (1719), The Female American (1767) differs considerably from Defoe’s text. In the novel, Unca Eliza, a mixed-race heroine, finds safety in an Indigenous tribe using an ‘othered’ body. While marooned, the protagonist climbs inside an oracle, a statue of a sun god. Through it, she speaks with the tribe, thereby converting them to Christianity, or at least a version of it. ‘Friday’ exists in multiple configurations across The Female American, in terms of indigenous groups and individuals who are converted, violently oppressed and threatened, and, as will be demonstrated in this essay, as an extension of the narrator’s identity. This article contends that the combination of the castaway Unca Eliza and the idol of the sun god explores the ambivalence of colonial rhetoric and represents a new configuration of the Friday/Crusoe relationship.

Chathi Mai in Popular Imagination: Exploring Narratives, Worship, and Rituals in North India

This paper explores the varied narratives surrounding Chathi Mai, which do not find a mention in the normative texts. These narratives showcase the blending of religious beliefs with regional traditions in the imagination of her worshippers. Focusing on Kartika Chatha specifically, the study delves into the narratives that depict the Goddess as a healer, protector, and feminine energy tied to the Sun. Our fieldwork in Varanasi, Patna, Munger, and Sahibganj reveals diverse origin stories, showcasing the cultural mosaic of regions venerating her. The research comprehensively examines the evolutionary trajectory of Chathi Mai’s worship, emphasizing the synthesis of mythological elements and local folklore. Three key facets—the manifestation of feminine energy, the significance of the title “Mai,” and the complementary relationship between male and female principles—are explored to provide a nuanced understanding of the Goddess’s multifaceted identity in North India. The absence of normative texts enhances grassroots adaptability, allowing for localized interpretations in the popular imagination of the Goddess. Associations with the Sun god Surya and the continuity of divine male-female dynamics provide varied entry points for believers, enabling emotional connections and familial devotion. The duality of malevolence and benevolence adds complexity, making worship dynamic and responsive to challenges. Linking Chatthi Mai to Bihar’s regional identity integrates the tradition into daily life, promoting a sense of belonging. The evolving narratives contribute to the deity’s adaptability, relevance, and popularity, with potential for further research exploring folk religions’ adaptation to societal changes and the impact of evolving narratives on community dynamics.

Geometry of a Mithras Slab: Philosophical Consequences

The analysis of the golden Mithras’ bas-relief in the Museum of the Baths of Diocletian in Rome confirms the Platonic Chiasma. The scene admits two diagonals starting from each corner. One passes through the sun and the other through the moon. The sun god is also shown with an object in his left hand, which may be a soul or a sacred heart. This would confirm that the slab shows the opposition between metempsychosis (lunar) and resurrection (solar). The analysis of the Barberini fresco is of great interest. It shows that the Platonic Chiasma falls exactly within the celestial gates of Capricorn and Cancer. The solar line is superimposed on a line already present on the fresco. Finally, sacred geometry helps to explain some strange-looking reliefs from the Danube region

The God Šamaš with His Political and Social Aspects in Ancient Mesopotamia

The Ancient Mesopotamian societies showcased their culture through a structural amalgamation of politics, economy, and particularly religion. Within this framework, they fulfilled religious obligations under the worship of numerous gods and goddesses throughout various stages of life, seeking to sustain earthly existence and attain peace in the afterlife. In this context, the cult of the god Šamaš held significant importance among the Ancient Mesopotamian societies. It is recognized, however, that Utu, the Sumerian sun god, formed the foundation of the Šamaš cult. Utu held a revered status within Sumerian society, symbolizing the sun and justice, which governed people’s lives and was deemed essential for a fair societal order. Following the Sumerian era, Utu was referenced as the god Šamaš in Semitic societies. Consequently, Utu was mostly associated with justice, whereas Šamaš was renowned for upholding and enforcing laws to ensure justice. Revered by many societies, Šamaš was consistently viewed as integral to power and authority in Ancient Mesopotamia. The Mesopotamian rulers had to justify their power and endorse every action they took in the eyes of their people, portraying themselves as deputies and shepherds of the gods. In doing so, rulers relied on the support of specific gods to establish their authority on religious grounds. This study seeks to explore the influence of the god Šamaš on Ancient Mesopotamian societies across various facets. It aims to delve into what Šamaš signified in the daily lives of people and what expectations they held regarding their beliefs. Additionally, the research will investigate Šamaš’s roles in Ancient Mesopotamian politics, intra-state dynamics, and inter-state relations.

SEASONS, ALCHEMY AND ASTROLOGY WOVEN WITH GOLD AND SILK. TAPESTRIES FROM THE SERIES “FOUR SEASONS. GROTESQUES” IN THE HERMITAGE COLLECTION

The article is devoted to the study of the iconographic program of the series of five tapestries “Four Seasons. Grotesques”, woven, possibly, in Brussels in the 1540s after a carton by an unknown artist. The name of the author of the cartons is unknown, but it is generally accepted in literature that this artist was part of Raphael’s circle. His style is close to Perin del Vaga, or Giulio Romano. There is also still no information about who was the customer for this unusual tapestry series, which is dedicated to the Seasons, but consists of five tapestries. In addition to the extraordinary composition of the series, attention is drawn to the rich grotesque framing of the main subject, located in the center of each tapestry, in the central tondo. Upon thoughtful examination, the viewer notices that all the accompanying figures have their own history, have a special relationship with each other, connected with the main composition in the circle. The more an attentive and interested viewer looks at the numerous figures and details of the images on the huge wall hangings of the series, the more he understands that behind the understandable image of the Seasons there is something much more complex, some kind of deep content, accessible and intended for a few intellectuals who know the codes to this riddle. The basis of the iconographic program is one of the plots from the popular work of the late 15th century — “Hypnoerotomachy of Poliphilus”. However, the deep symbolism of the images goes beyond just a literary work and is associated with the alchemical model of the world, where the four seasons — the four elements — through transmutations and transformations, as a result of struggle and fusion, lead to the appearance of the highest, fifth element — ether, sunlight, which is symbolized by the sun god Apollo. A brief analysis of the iconographic scheme of the series of tapestries “Four Seasons. Grotesques” from the Hermitage collection was undertaken by us for the first time. There is no doubt that many details, allegories and allusions were left beyond the scope of this brief study. There is still much to understand about these undoubtedly outstanding works.

The Tree "Yggdrasil" as a Symbolic Key to the Interpretation of the Novel by Mark Z. Danilevsky's "House of Leaves"

The object of research in this article is a novel by Mark Z. Danilevsky's "House of Leaves" in the context of postmodernism. The subject of the study was the mythical element of the novel (ash Yggdrasil). This element is considered as a hermeneutic key to the interpretation of the novel by Mark Z. Danilevsky's "House of Leaves". Also, the subject of the study is space and time in the novel, inextricably linked with the mythical component of the works. As a result, a detailed analysis of the mythical component of the "House of Leaves" is given in the context of the poetics of postmodernism, as well as some characteristics of the space-time of the novel. Hermeneutical interpretation is performed using the poem "Yggdrasil", located on the last page of the novel, as a symbolic key. The grapheme "Yggdrasil" and the symbolism of the components of the limit tree in their relation to the exemplification of the structure of the novel as a whole are analyzed. The mechanism of the inclusion of the work in the context of world literature is described through the actualization of semantic and etymological inclusions of mythical motifs about the creation of the world in the text of the "House of Leaves". The analysis of intertextual references to Egyptian mythology through the symbols of the ouroboros and the solar disk is given. The plot of the path of the sun god Ra in the "House of Leaves" is analyzed. The novelty of the research lies in the fact that we have analyzed the symbolic detail in the novel: the hidden symbolism of the "Ash Tree" as the tree of the limit; elements of biblical mythology; the image of the inverted world; labyrinth, stairs. The interpretation of the work as a model of the world is considered, where the ambiguity of mythological and spatio-temporal layers, based on the inevitable symbolic references-threads, function as an instrument of appeal to the cultural unconscious. The connection of the mythologies of Egypt, Tibet, the texts of the "Upanishads" and "Kabbalah", as well as the artistic and literary intertext with the "House of Leaves" is analyzed. As a result of this hermeneutic analysis, an ironic postmodern interpretation of the work of Mark Z. is described. Danilevsky through the symbolism of emptiness (unselfishness).

Chhath Puja in India and Nepal: A festival of sun god, cleanliness, equality and fraternity

Chhath Puja in India and Nepal: A festival of sun god, cleanliness, equality and fraternity

Eine magische Gemme mit Inschriften im Akademischen Kunstmuseum der Universität Bonn

The magical gem published here belongs to the Akademisches Kunstmuseum der Universität Bonn (Abb. 1–2.; measurements: 33 x 24 x 6 mm). It stems from the collection of Klaus Müller, who acquired it in the 1960th or 1970th. Obverse and reverse of the gem are filled with inscriptions, most of them consisting of unknown voces magicae, and possibly some meaningless letters to fill the space. On the obverse a prominent inscription invokes Eloe, that is Elohim, the Jewish God, who entered the magic pantheon like Greek and Egyptian ones and under the name of Iaō, even got an image in the figure of the cock-headed, snake-legged warrior. Eloe here means the great magic Sun god, as becomes apparent by Semese(ilam) in col. d 6. The reverse names Thoth, the Moon god. Thus the gem was an amulet for day and night, that is for ever. The bevel of the gem is left plain, so it could have been personalizied by an inscription, which was not the case; thus in its present form the gem was an amulet for every owner.

Angefleht und dann beopfert: Zur Beziehung von Mythos und Festritual in hethitischen Texten

Abstract This article considers the relationship of Hittite festival rituals and mythical accounts, based on the mythical narrative of the feast of the sun god, in which the invited deities are not satiated despite sufficient food and drink. It is shown that the myths of the disappearing and returning deities were originally invocations or supplications (mugawar) incorporated into ritual acts that were intended to summon a deity. From the Middle Hittite period onward, rituals for invoking deities (mukeššar) seem to have been distinguished from ritual offerings to deities, which could then be called festival rituals (EZEN₄). In the process, an occasion-bound invocation of a deity due owing to some emergency situation may have been reinterpreted as an invocation to guarantee the deity’s presence, which in the further course lost its significance for being written down while the ritual descriptions gained in importance. At the same time, the invocations may have been literarily processed and expanded, e.g., by southeast Anatolian descriptions of rites of evocation.

STUDY ON ART AND ARCHITECTURAL PATTERN OF THE SUN TEMPLE OF KONARK IN EASTERN INDIA

The aim of article is to emphasize the arts and architectural features of the Sun temple of Konark in the Puri district of Odisha. This massive Sun temple, constructed in the traditional Kalinga style, is shaped like a chariot of the Sun God, drawn by a group of seven horses and equipped with twelve pairs of exquisitely engraved stone wheels. Because of the temple's stunning eastward slope, the main entrance is first struck by the first light of dawn. An elephant and a man are crushed beneath the two enormous lions guarding the entrance on either side. The outside walls of the temple are covered in carvings of erotica, beasts, monsters, warriors, and animals. The enormous, seventy-meter-tall main sanctum, known as Vimana, collapsed in 1837 as a result of the heavy structure and poor soil. Around the main temple, archaeologists have also uncovered a few other subsidiary temples of the eleventh-century. The Mayadevi temple honors one of the wives of the Sun God, while the other is thought to be devoted to Lord Vishnu. There are a good number of "Mithuna" sculptures at Konark Sun temple. Aside from the entrance, the only remaining buildings today are the "jagamohana" (porch) and "Nata Mandir" (Dancing Hall). The Nata Mandir alludes to the 'Devdasis' tradition, in which dancers resided within the temple complex and dedicated their lives to classical dances such as Bharatnatyam and Odissi. The third point in the state's golden triangle is Konark Sun Temple; the first two points are Jagannath Puri Temple and Bhubaneswar Lingaraj Temple. It was originally constructed on the sea bank by Narasimhadeva-I, but it is now quite a distance from the coast. Just outside the Sun temple is the Nine Planets Temple, also known as the Navagraha Temple. Inside is a massive black slab that has idols of the nine planets carved out of chlorite stones. Originally housed above the main doorway, the slab is currently on display within the Navagraha temple. Out of three structures of Sun temple, the structure of jagamohana is only survived till today, but some portions of the vimana and natamandapa portions have existed to know their designs and plans.

Carnival in Rome: The Tension of Pope Paul III’s Dual Role Revisited

The papacy’s authority and standing in the sixteenth century were harmed by the Martin Luther Reformation and the sacking of Rome. In order to uphold the legitimacy of the papal theocracy and to restore the papacy’s cultural and intellectual authority, Pope Paul III brought back carnival celebrations in Rome. Paul III, a reformer, maintained an image of the pope as a spiritual leader who was “merciful” and “peaceful” using clever imagery; for instance, staging a “mask” procession which unites people while minimising ethnic and national disparities, thereby fostering a sense of community within the Catholic community. Reinforcing himself as a religious leader, Paul III was careful with the image of the papal monarchy in order to preserve the unity and independence of the Papal States. In the carnival floats, the pope introduced elements of pagan mythology, comparing himself to the consuls of ancient Rome to strengthen the pope’s ties with society. He adopted Janus (the double-faced god) and Apollo (the sun god) to create a secular image of the pope as the patron saint of Rome. On the one hand, the spiritual image of Pope Paul III as a religious leader was prominent in the carnival celebrations, and on the other hand, the secular image of the pope helped to consolidate the authority of the pope and external defendant of the Papal States. The dual spiritual and secular image of the pope underwent constant changes during the celebrations, a process of tension that helped him to overcome, in part, the political and religious challenges of the early modern period and reflected the transitional and dual nature of the Catholic Church at the time.

The Journey through the Netherworld and the Death of the Sun God: A Novel Reading of Exodus 7–15 in Light of the Book of Gates

Exodus 7:8–15:21 contains a sequence of conflicts between YHWH and Pharaoh that can be divided into three parts: the Snake Confrontation, the Ten Plagues of Egypt, and the Parting of the Reed Sea. A careful reading of the entire narrative in conjunction with a New Kingdom Egyptian funerary text—the Book of Gates (BG)—reveals that both works share a number of similarities in terms of themes, terminologies, and structure. However, significant differences also occur at some crucial junctures as the respective stories unfold. These findings suggest that the Israelite author (or group of authors) might have made use of the tradition related to BG—with polemical changes—as one of his sources in framing the Exodus 7–15 narrative, in order to juxtapose the sequence of YHWH’s miracles with the progression of Pharaoh’s impending death. In this regard, Exodus 7:8–15:21 can be read as a polemical parody of the already well-established myth concerning the sun god’s journey through the Netherworld. According to this parodic reading, YHWH is the deity par excellence who stands above the Egyptian pantheon and controls order in Egypt.

4th Nuclear Civilization and Sun God: The One Who Saves Taishan Nuclear Power Plant

4th Nuclear Civilization and Sun God: The One Who Saves Taishan Nuclear Power Plant

4th Nuclear Civilization and Sun God: The One Who Saves Taishan Nuclear Power Plant

4th Nuclear Civilization and Sun God: The One Who Saves Taishan Nuclear Power Plant

Front Cover: Light‐Driven Catalyst‐Free Access to Phthalazines: Entry to Antiviral Model Drugs by Merging Domino Reactions (Eur. J. Org. Chem. 5/2023)

The Front Cover shows a light-induced enolization of o-methyl benzophenones/Diels–Alder reaction, combined with deprotection/aromatization steps in one pot toward new antiviral phthalazines. The Temple of Jupiter in the background is a colossal Roman temple in sunny Baalbek (Lebanon), that was dedicated to Jupiter Heliopolitanus, known as a SUN God. The columns of the temple on this cover picture represent the pillars of light-induced chemistry. Cover design and photo by S. B. Tsogoeva. More information can be found in the Research Article by S. B. Tsogoeva et al.

The Imaginary Beast-the Phoenix Sign as the Bearer of the Chinese Bestial Cultural Code: the Evolution of Meanings

The article considers the formation and development of meanings of the Phoenix as an imaginary beast-sign, a bearer of the bestiary code of Chinese culture. The methodology of highlighting the stages of evolution of the image of the beast-sign and analysis of its meanings is based on the ideas of Russian semioticians V.N. Toporov and A.E. Makhov concerning the historical typology of beast-signs from totem to zoomorphic images, then bestiary images and images-embodies. As a result of the study it was found that the imaginary totemic image-sign Phoenix was formed on the basis of domestic birds: chicken, pheasant, peacock and other animals, the zoomorphic image of the Phoenix symbolised the Sun God, Fire God (female image), Wind God (male image) of the polytheistic pantheon of ancient Chinese Gods, The phoenix became an emblem of imperial power and its female bearers (empresses, princesses, concubines), and finally, in the course of cultural history the image lost its religious and political significance, the phoenix became an emblem of love, femininity, happiness and harmony. Understanding the changing meanings of the phoenix as one of the beast-signs, the carriers of the Chinese cultural code, will enable a better understanding of the aims and values of Chinese culture at different stages of development, as well as the mechanisms of cultural continuity and cultural development in China, making possible endless renewals on the traditional cultural ground.