#ancient egypt beauty rituals

[hayatynatural]

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[emacrow]

Tucker didn't expected to be kidnapped and held down in a sacrificial tomb.

He and the phantom gang was only visiting the newest display for the Pharoah Tuck in Egypt... Tucker was enjoying all the sights and items on display. It was like in the back of his dormant past Pharoah subconscious was pleases like 'ahh yes, my lovely golden fan and wait is that my earrings was kept by the next Pharoah in line? I thought they were stolen by Isis. I shouldn't had her executed for that...'

It only was a nice 10 minutes before Tucker got kidnapped by a beautiful Egyptian lady who seem oddly familiar to him..

Next thing he knows he strapped to a sacrificial table listening on these two guards speaking in ancient Egyptian that he can understand...

"-till say this guy isn't the reincarnation Pharoah of Tuck, I watched him talk with his own phone for a moment while you were distracting his friends."

"You have to admit, he look identical if you remove the glasses and bean hat."

"That what you say about last time about that actress and she wasn't even the actress, Amon."

"Hey, I was for sure that time. At least i dont need to get drunk to not recognized someone that take only 5 beers for you, even though you know she is foul ugly..Now let wait for the Boss to finish reading that incarnation ritual.."

"And I thought I have issues." Tucked murmured a bit which made the Guards froze up.

[ancientcharm]

Antinous, the beautiful young man who gave his life for love to emperor

Antinous was favorite and lover of emperor Hadrian.

"Antinous died in Egypt after falling into the Nile, according to what Hadrian wrote or, according to what really happened, because he was offered as a sacrifice. Hadrian was a great enthusiast of all kinds of divinations and enchantments. Thus, Hadrian honored Antinous - because of his love for him or because he would have agreed to die freely - since the voluntary surrender of a life was necessary for to achieve what he intended." -Dio Cassius

"The reason for this would have been that Hadrian wanted to prolong his life and that upon asking a magician to take his place, everyone backed off but Antinous offered to do so." -Aurelius Victor

Emperor Hadrian (reign: 117-138)

Born on January 24, 76, he was the nephew of his predecessor, Trajan. He was married to Vibia Sabina, grandniece of Trajan, with whom he had a terrible relationship but curiously he loved his mother-in-law, Salonia Matidia (Trajan's niece) like a mother. He is the third of the so-called "Five Good Emperors", however Hadrian was the only one of the five who was not popular either among the people or in the Senate, because:

He was the one who stopped - forever - the expansion of the Empire. This was not welcomed at that time because territorial expansion was the soul of Rome since its founding.

He was the first to wear a beard, something that the Romans associated with barbarism and "weird people", only some gods would look good with a beard. Later this Hadrian novelty became fashionable in Rome.

He used to have sudden attacks of anger becoming aggressive, and hours later he would lament bitterly and try to repair any damage done. This "bipolarity" was seen as a non-Roman attitude.

No one before or after him toured the entire empire as Hadrian did, which is why he is known as 'The Traveling Emperor'. His endless tours were not well regarded by the Senate.

His relationship with Antinous, considered inappropriate because he was not a slave and Hadrian had him in public concubinage

But despite everything, he was a good emperor; That's why he ruled without problem for 21 years

Unfortunately there are no historical sources about the life of Antinous but, thanks to his sculptures, it is known that he was a very handsome young man. As a teenager - but let us remember that the notion of adolescence did not exist in the ancient world - he met Hadrian in Bithynia. From that moment until the day of his death, when he was around 20 years old, he did not separate from Hadrian.

What really happened on the Nile

Antinous as Osiris- Vatican Museums.

After listening to a lecture and reading, I discovered that shortly before the death of Antinous, the emperor began to feel ill to the point that he feared an imminent death. But as was his custom, instead of looking for medicine, he looked for magic spells in the East.

When he arrived in Egypt with Antinous on October 24, 130, the arrival coincided-and was not so coincidental-with the beginning of the religious ceremony commemorating the death of Osiris, drowned in the Nile and then resurrected by his wife Isis. During the days of the commemoration, death and resurrection of Osiris, Isis was invoked in healing incantations.

Cassius Dio's suspicions are the same as other Roman historians as well as modern ones, because the death of Antinous was coincidentally during that religious ritual.

But those same historians agree that it was not Hadrian who asked Antinous to sacrifice himself. As the Roman historian Aurelius Victor wrote, he asked a magician for the sacrifice, but that man and the others backed away, so Antinous voluntarily decided to enter the Nile.

After the death of Antinous, Hadrian founded in Egypt the city Antinoöpolis in his honor. According to Dio Cassius, this was the reason for the sacrifice: "Since the voluntary surrender of a life was necessary for to achieve what he (Hadrian) intended, to found that city."

Cassius Dion's statement confuses me and seems very strange to me. Why would an emperor need the voluntary sacrifice of a life in order to found a city? It is very likely that Antinous really believed in those practices, that is, he believed that by doing that, his emperor could heal and live longer. Hadrian deified him, and I think Hadrian founded the city Antinoöpolis in Egypt because his beloved Antinous died there.

[samwisethewitch]

Pagan Wedding Flowers (and other plants) Cheat Sheet

Flowers have been associated with weddings for almost as long as humans have been getting married. In fact, the use of flowers in ritual may actually be older than humans! Neanderthal graves in Iraq suggest that Neanderthals buried their dead with flowers. There are mentions of flowers in our earliest recorded accounts of weddings, such as in Egypt, Greece, and Rome.

Historically, couples would have used whatever flowers were available to them. While some cultures had flowers they preferred for weddings because of their symbolism, couples would have been limited by what grew in their area and by what was in bloom at the time of their ceremony. To be truly as historically accurate as possible, consider using flowers you grew or foraged yourself. Bonus points for native blooms!

For those who aren't into growing or gathering your own wedding flowers, modern florists and greenhouses allow us to choose from a wide range of flowers, many of which aren't native to our homes. This makes it much easier to choose flowers based on their symbolism, history, or cultural meaning.

Historic Wedding Flowers + Plants

Roses have been the flower of choice for Western weddings pretty much forever, and with good reason. The rose is associated with several ancient goddesses of sex, fertility, and/or romance, such as Inanna, Ishtar, Aphrodite, and Venus. (Later, medieval Christians would also associate this flower with the Virgin Mary.) Including the goddess's flowers in a wedding may have been a way of invoking her blessing on the union. Sappho called rose "Queen of the Flowers."

Roses are held in a high regard in pretty much every culture with access to them. They're strongly associated not only with love, but also with beauty, wholeness, blessings, and even spirituality.

Rose was included in wedding celebrations in Ancient Hellos (Greece) and Rome. It is associated with the planet Venus and the water element.

Wheat was also a popular inclusion in weddings in ancient Greece and Rome. Hellenic brides would carry sheaths of wheat or another grain to invoke fertility and good fortune. Wheat was strongly associated with agrarian goddesses like Demeter, Persephone, Ceres, and Proserpina. Carrying wheat may also have been a way of expressing a wish for the marriage to produce many children. Pliny the Elder explicitly says in his Natural History that wheat was included in weddings to honor Ceres.

In modern occult systems, wheat is associated with fertility, the conception of children, and wealth. It is associated with the planet Venus and the element of earth.

Olive branches also featured in Hellenic weddings. Olive was an important crop in the ancient Mediterranean, and olive branches were a symbol of peace and friendship. Olive was also used in the victors' crowns in the Olympic Games. In Athens, the olive tree was a symbol of Athena. It was also carried by worshipers of Apollo when they visited the Oracle at Delphi. Olive was also important to the Romans, who associated it with Mars in his aspect as a protector of peace.

In modern magic traditions, olive is associated with beauty, healing, stamina, wealth, fertility, protection and of course, peace. It is associated with the sun and the fire element.

Orange blossoms were included in Hellenic weddings as a sign of happiness. These strongly scented white flowers also sometimes appeared in Roman weddings. Thousands of years later, Queen Victoria wore a crown of orange blossoms at her wedding, but for her they were a symbol of chastity.

In modern systems, orange is associated with joy, partnership, sweetness, and good luck. It is associated with the sun and the fire element.

Hawthorn appeared in weddings in ancient Rome. Pliny the Elder said that Roman bridal processions included a hawthorn torch dedicated to the goddess Ceres. In Rome, hawthorn was more generally associated with love and good luck.

In Celtic cultures, especially Ireland, hawthorn was believed to be a fairy tree. For this reason, cutting a hawthorn tree or bringing hawthorn branches inside was considered bad luck.

The blooming of hawthorn trees was used to determine the date of Bealtaine, and hawthorn boughs were often decorated with flowers, ribbons, and egg shells to make a May bush, which was placed by the front door for good luck. In Britain, hawthorn wood was used to carve maypoles. Hawthorn flowers may be especially appropriate for a May wedding or handfasting.

In modern occultism, hawthorn is associated with protection, healing (especially healing the heart), romantic love, fertility, granting wishes, and happiness. It is still strongly associated with weddings and marriage. It is associated with the planet Mars and the fire element.

Lotus may have featured in ancient Kemetic (Egyptian) weddings. The lotus was an important symbol in Kemetic religion, and was associated with the sun, rebirth, and the creation of the world. Lotus flowers featured in festivals to honor Hapi, the androgynous god of the Nile. The lotus is used in art to represent Upper Egypt. An Egyptian poem from 1100 BCE connects the lotus to marriage.

Lotus flowers were also popular in ancient Chinese weddings, and they're still used by some Chinese couples today. In Chinese culture, lotus represents purity, honor, and long life.

In modern traditions, lotus is associated with protection, spirituality, and blessings. It is associated with the moon and the water element.

Yellow flowers were used in pre-Christian Ireland for blessings and protection. The exact flower used for these rituals is not specified, so it seems like the color was what mattered. Modern pagans looking to carry on this tradition have lots of yellow flowers to choose from. Some popular choices include yellow roses (see above), yellow amaryllis (associated with creativity, playfulness, and joy), chrysanthemum (associated with long life, optimism, and protection), marigold (associated with happiness, rebirth, and vitality), and/or daffodils (associated with love, fertility, and luck).

Modern Wedding Flowers

We've gone over some of the flowers that were popular in historic pagan weddings, but it's also easy to pagan-ify the flowers that are most popular in modern weddings. Here's a quick rundown of some popular wedding blooms and their neopagan and occult symbolism:

Peony is associated with purification, healing, prosperity, and success. In ancient Rome, peony was believed to be sacred to Mars. It is associated with the sun and the fire element.

Dahlia is associated with mystery, occult wisdom, and transformation. It is associated with the moon and the water element.

Lilac is associated with balance, peace, romance, protection from evil, and attracting friendly spirits. It is associated with Venus and the water element.

Sweet Pea is associated with comfort, charm, and sweetness. It is associated with Venus and the water element.

Hydrangea is associated with healthy boundaries, breaking negative patterns, hex breaking, and protection. It is associated with water and with both the moon and Neptune.

Tulip is associated with beauty, desire, gratitude, love, prosperity, and simplicity. It is associated with Venus and the earth element.

Orchid is associated with beauty, elegance, sexuality, fertility, and romance. It is associated with Venus and the water element.

Lily is associated with spirituality, beauty, harmony, and protection from the evil eye. It is associated with Venus and the water element.

Carnation is associated with beauty, love, rebirth, strength, and healing. Carnations are associated with same-gender love and especially love between men because of Oscar Wilde's fondness for them. They are associated with the sun and the fire element.

Gardenia is associated with love, peace, healing, and spirituality. It is associated with the moon and the water element.

Resources:

"New Neanderthal remains associated with the ‘flower burial’ at Shanidar Cave," Cambridge University Press

"History of Wedding Flowers" by Benna Crawford

The Roman Wedding by Karen K. Hersch

"The Olive in the Ancient Mediterranean" by Mark Cartwright

"The History, Mythology, and Offerings of Hawthorn" by Meghan Pivarnik

Where the Hawthorn Grows by Morgan Daimler

Temple of the Cosmos by Jeremy Naydler

The Magic of Flowers by Tess Whitehurst

The Magic of Trees by Tess Whitehurst (see my disclaimer about Whitehurst's books, but these are some of her better ones)

Cunningham's Encyclopedia of Magical Herbs by Scott Cunningham

[golvio]

As somebody who shaves in an “old-fashioned” way that’s come to be coded as “masculine” in recent decades, it’s got me thinking about about how Ganon was portrayed in TotK and how Nintendo could’ve used that to characterize him more coherently.

A lot of people tend to draw Ganondorf with body hair because bearishness is kind of the “in” thing for more masculine and solidly built characters. However, in his actual key art in TotK along with his ingame model, not only are his hair and beard meticulously trimmed and styled, but he also has absolutely no body hair anywhere else on his body, which means his grooming routine likely involves some pretty intensive shaving/waxing.

Like, shaving is EXTREMELY time-consuming. Shaving the old-school, “masculine” way with a safety razor or an outright barbershop razor blade is even more time-consuming. You have to wash the area clean first. You have to mix and keep mixing the lather to keep applying it to prevent the razor from getting caught on your skin and making microabrasions. You have to use the safety razor very slowly and carefully to make sure you don’t nick yourself, then seal any nicks that do happen immediately with a styptic pen. After you’re done, you still have to do extra steps to make sure your skin doesn’t get those red rashy bumps from microabrasions or trapped ingrown hairs that can get infected, such as putting on aloe gel, rubbing your skin with a wet alum block and rinsing it off after a few minutes so it doesn’t leave chalky residue behind, then applying moisturizer and waiting for it to absorb.

It points to Ganon having an extremely meticulous, regimented, and time-consuming grooming routine, having to give himself a full shave on his arms, legs, and chest every few days or so on top of daily maintenance of his facial hair. It makes sense to me, given that the Extremely Cleanshaven look to be covered up with cooling head coverings, wigs and false beards was something of a beauty standard among upper class men and their attendants in Ancient Egypt. Ganondorf’s desire to project a composed, “kingly” aura would of course extend to meeting certain standards regarding his own appearance. Being so “put together” is also a big blinking social signal that he’s A Man Of Status, as he’d actually have the time/money and resources/assistance to regularly perform such strict personal grooming rituals.

But it also makes me wonder how he’d regard men who were less meticulous about grooming and hair care. Would he find hairiness a sign of slovenliness or poor upbringing? Would he be kinda grossed out the first time he went to Hyrule and saw a hairy leg or back hair on an older man? Would he get snooty about the more lax standards of grooming for men in postindustrial Western patriarchal societies in amusing/less amusing and more classist ways?

It also makes his throwing away his sense of self at the end of TotK even sadder. Like, when a character who was formerly so concerned with appearing well-groomed and put together suddenly stops their routine and goes to seed, you know something’s gone horribly wrong. The poor guy’s stuck with an eternal neckbeard and messy, molting feathers, and that would’ve driven him nuts if he still had his brain! Who’s going to brush his hair and bathe him? Who’s going to trim his horns and keep his scales moisturized and polished so he doesn’t get all flaky and itchy? Who’s going to treat and cover up all those unsightly, sensitive looking blemishes? The poor thing! 😭

But, also, it makes certain details about his beast form more interesting in retrospect—how he puts more care into his appearance the more connected to his humanity he is. His at least wearing a cape and a suit of armor along with some accessories in ALttP, only to lose his clothing as he lost touch with himself. His resurrection in Oracles being his mother dressing him up in an outfit he would’ve worn if his soul and mind were intact by his mothers as a dying act of love. His wearing a similar outfit when Yuga resurrected him, only for that to feel like Yuga halfheartedly dressing him up like a doll as a matter of precedent/personal aesthetic, which Ganon has no way to appreciate or consent to.

His blobby, amorphous appearance in BotW, which he tried to move away from by attempting to restore his human form and reconstruct impressions of his old signature jewelry with so much time and effort, only for the result to come out shoddy and incomplete due to Zelda and Link’s interference, and then his abandoning it entirely to become a naked beast at the very end when he was backed into a corner. And then, in TotK, his preoccupation with “looking the part” of king of the world who got to defeat his destined opponent even though he could’ve just slaughtered Link right there when they first met.

Just…you could do something with that. There’s so much you could do with that, both to reinvent the man for the soft reboot and recontextualize his prior appearances with a new personal detail that can act as a barometer for his overall mental health as he changes, rearranges, dies and resurrects! But then they just…didn’t? They just said a line in an interview and didn’t even put it in the game? 🤦

[thecupidwitch]

Anzar (ⴰⵏⵥⴰⵕ): Amazigh God’s Of Rain

Introduction:

Like in Greece or Egypt, pre-Islamic Amazigh people across North Africa also had their own mythology, gods, rituals and sacrifices. Anzar was god of the sky, waters, rivers, seas, streams and springs and rain. "Anzar" is an amazigh world that mean "rain", he also has others names such as Agellid n Ugeffur (King of the Rain) Agellid n Waman (King of the Water) and Agellid Anzar (King Anzar) among others.

The God Anzar is with no doubt of particular importance in the beliefs of the Amazigh people since antiquity, as he is the personification of rain itself. Ambivalent in nature, tyrannical, ruthless yet vital and essential just like rainfall, his tradition has came down to us thanks to the ancient fertility rites of "Tislit n Anzar" still practiced today in some Amazigh regions and villages. Sadly over the decades these ancient festivals receded and came to disappear almost completely due to religious zealotry and fanatism denouncing native pre-islamic traditions as despicable pagan rites.

The Myth:

According to oral folklore and poems:

There was once a time where gods took human forms, a powerful Sky God named Anzar; Master of the rain, water, seas, clouds and thunder fell madly in love with a beautiful peasant girl of marvellous beauty. She shone like a full moon on the water. Her face was resplendent and luminescent, her clothing of gittering silk. She was accustomed to bathe in a river of silver reflection every night. Transforming into a giant eagle he came to contemplate her everytime ; one day he spoke to her and asked her to marry him. But the frightened girl refused his request and fled, she would shy way from fear everytime the Master of rain approached her.

This rejection made Anzar so furious and angry that lands and crops started to be turned into piles of dust, famine was imminent as it would have ended up affecting the herds, cattle, the rivers, lakes and all the essential resources for the survival of the tribes. But Anzar didn't give up hope of seducing the woman he wanted most. And he threatened her;

- "Like the thunder I have split the immensity of the sky, O You, Star brighter than the sun itself, lend me your treasures, or otherwise I will deprive you from this water!"

The beautiful woman, frightened and in complete shock responded to him;

- "I beg you, Master of the skies, of coral crowned head. I know we were made for each other... but I fear the wrath of my people and what they will say..."

With these words the rain God abruptly disappeared once again and turned the ring he wore on his finger to make the entire river she bathed in suddenly dry up.

Out of desperation and fear for her people, the girl fell to the ground in sadness, and began to call out for Anzar as she bursted into tears. She remained naked as she stripped off her silk dress, and then cried to the sky:

- "O Anzar, O Anzar! O You, blossoming of the meadows! Let the rivers flow again, and come take your revenge!"

The latter suddenly appeared in the shape of an immense lightning, he took her and hugged the young girl tightly against him. After that they flew across the sky and all the rivers across the country began to flow again as the whole earth was covered with lush greenery.

With this romantic and supernatural ending, this myth comes to an end, which gave rise to an ancient ritual. Berber tribes began to symbolically sacrifice a virgin girl by offering her in a nuptial ceremony during any time of drought to summon Anzar, ask for his help and call for rain. Since then, every time after it rains, the legend says that Tarenza appears in the sky, in the form of a rainbow. She sacrificed herself for the greater good of humanity and left her people to become an immortal entity who spreads her iridescent colours across the sky after the fertilizing rainfall. Nowadays in the Amazigh language, 'Tislit n Anzar' simply means 'rainbow'.

The ancient ritual was based on five main steps:

In early autumn during the plowing period, take the most beautiful girl in the city, prepare her and addorn her of the most expensive and luxurious bridal jewelries and clothings.

Villagers have to organize processions and accompany her to the doors of the sanctuary or temple with an escort of women standing on the threshold to spray holy water on her.

Offer the ritual sacrifices (food, candles etc) in the sanctuary.

After having undressed the bride, go around the sanctuary 7 times begging and praising Anzar, and as the women sing, dance and praise Anzar, the young girls all have to play a game before dusk named Zerzari in which the ball is supposed to fall into a hole undergound prepared for the ritual.

Make a somptuous meal (generally chicken couscous) to share with the all the people in the village. One can be sure that a few days after the celebration of Anzar, the rain will begin to fall again.

This sacred ritual has survived to some extent and has taken different forms all across North Africa. The ritualistic ladle which now bears the common name of Tarenza, Ronja or Tarundja depending on the region, is always dressed as a bride and is worn by women in a parade all across the village or a nearby sacred mountain, while all singing for the God of rain to bring good harvests.

Several observations and accounts suggest that the current ladle doll is only a simulacrum and parody intended to replace the real original bride offered to Anzar. As it is stated that originally women were supposed to offer themselves completely naked to the Sky God. With the arrival of Islam in the 7th century, such traditions couldn't be tolerated and by then the practice changed and adapted to better suit the new religion. Since then the wooden ladle or spoon now called 'Tarenza' represents the coming of holy waters.

*Sources: [x] [x] [x]

Tip Jar

[talonabraxas]

The Nile

The Nile River and the Milky Way The Nile River, winding through the ancient lands of Egypt, has long held a profound spiritual significance to those who have dwelled along its banks. Similarly, the galaxy-spanning Milky Way has captivated humanity’s curiosity and imagination for centuries.

1. The Flow of Life: The Nile River, often referred to as the lifeblood of Egypt, has symbolized the flow of life itself in many spiritual traditions. Just as the river sustains and nourishes the land, it embodies the cycle of birth, growth, and rejuvenation. Similarly, the Milky Way, with its vast expanse of stars, represents the cosmic energy that pulses through the universe and resonates with the ebb and flow of life.

2. Celestial Alignment: Both the Nile River and the Milky Way have been markers for celestial alignment in various spiritual beliefs. The annual flooding of the Nile, synchronized with the rising of the star Sirius, was seen as a divine synchronization, signaling a time of renewal and abundance. In a similar vein, the alignment of stars along the Milky Way has guided celestial navigation and marked significant cosmic events, fostering a connection between the earthly and celestial realms.

3. Reflection and Contemplation: The serenity and tranquility evoked by the Nile River and the Milky Way have provided seekers of spirituality and wisdom with spaces for reflection and contemplation. Egyptians, for instance, believed that the calm waters of the Nile held divine messages and wisdom. The mesmerizing beauty of the Milky Way, stretching across the night sky, has inspired awe and stimulated introspection in cultures around the world, inviting individuals to connect with the vastness of the cosmos and their place within it.

4. Symbolism of Union: In various spiritual contexts, both the Nile River and the Milky Way embody the concept of union or the merging of opposites. The Nile, with its dual nature of both calmness and flood, represents the harmony between opposing forces. Likewise, the Milky Way, often depicted as a bridge or path, symbolizes the unity of the spiritual and physical realms, inviting individuals to merge their earthly and cosmic selves.

Conclusion: The Nile River and the Milky Way, from a spiritual perspective, hold profound meaning and connection to the human experience. Their presence in mythology, rituals, and contemplative practices highlights their timeless significance and the deep resonance they hold within the human spirit. Perhaps, in exploring these natural wonders, we can find inspiration, guidance, and a deeper understanding of our place in the grand tapestry of existence.

[sporadicarbitergardener]

Uses for sand

Types of Sand & Their Correspondences Beach/Coastal Sand: calming, grounding, cleansing, connecting to the sea, self-love, protection and warding, motivation, memory, spiritual clarity, purification of the heart, easing pain, physical and spiritual strength, can represent both the elements of earth and water Ocean Sand (from the ocean floor/deep sea): primordial energy, banishing negative emotions and energy, grounding, mental clarity, psychic clarity and strengthening, divination, guidance, ancient wisdom and power, connections to the sea and primordial waters, birth, creation, can represent both the elements of earth and water Desert Sand: curses and removing energy from others, weakening, draining, banishing, grounding, mental clarity, physical health, enduring hardships, “drying up” love and past emotions, healing heartbreak, burying the past, often related to burial ceremonies Volcanic Sand: destruction, intense energy, strength, death, rebirth, banishing, secrets or hidden messages, warding, baneful magic, offensive magic, often represents both earth and fire at once River Sand/Silt: fertility, procreation, movement, flowing energy, travels, change Lake/Pond Sand: the present, calmness, serenity, inner focus, self-reflection and meditation Swamp/Wetland Sand: mystery, secret keeping, silencing lies and rumors, binding, curses related to becoming lost or emotional heaviness, often represents both water and earth at once, often related to animal magic specifically those that live in swamp land Unearthed/Buried Sand: grounding, hidden power, addressing past issues and mistakes, overcoming controversy, self-discovery, introspection, emotional healing, moving on from past scars Biogenic Sand/Bone Sand/Shell Sand: healing, moving on emotionally, remembrance but letting go of the pain and loss, honoring those lost (often at or to the sea), close connections to necromancy Black Sand: protection, warding, banishing, relates to necromancy and spirit work Pink Sand: love, beauty, youth, harmony, adjusting to change, remembering the past and lost loved ones, rebirth, emotional and mental healing, forgiveness of self and others Red Sand: strength, courage, valor, relates to fire rather than earth Yellow Sand: divination, focus, improving memory and skills, mental health, grounding and centering, represents both earth and air elements sometimes both at once White Sand: purity, cleansing, protection, wisdom, preparing for change, physical and emotional balance, harmonizes all aspects of oneself Combinations of Sand and Other Ingredients Sand and Soil: grounding, balance, cleansing, protection of loved ones and family Sand and Salt: change, growing power, dreams, purification, warding, protection, longevity Sand and Ash: remembrance, the past, divination Sand and Clay: change, mental fortitude Sand and Kelp/Seaweed: beauty, youth, birth, fertility, the ocean image Originally posted by estpdra-thethirdeye

The History Not much history on the use of sand in magic from what I can find that is a reliable source, but I was able to find some bits about its use.

Sand has been used in connections to rituals for the dead and in burial practices in many different cultures to a varying degree. In some sand was used for burying the deceased such as very early Ancient Egypt for its mummification properties before better mummification methods were invented and utilized. Placing sand into graves or coffins of the deceased somethings as a means to connect them to their homelands if that person was traveling into foreign lands or countries. Some stories speak about mixing the ashes of the dead with sand to be kept in the home. Other stories tell of people mixes ashes from fires or the hearth with sand and casting it out into the sea for lost sailors who could not be brought home.

Sand was also used historical in some types of spell jars and vessels. In some places sand was put into jars and bottles and given to sailors to keep them connected to home even when sailing. Others said carrying sand could protect one from being lost at sea or from disaster, likely where the history of sand being used for protection properties came from. It has also been used in witch’s bottles and for burying spells for varying purposes. Some cultures would bury offerings to deities into the sand of beaches or deserts.

Modern Use Sand is still a common ingredient for many sea witches and worshipers of ocean related deities to utilize in their craft and in their altars. Deities commonly related to sand are Poseidon, Aphrodite, Psamathe, Thalassa, Aegir, Neptune and Veles. Sand is also often used in altars to represent either earth or water when representing the cardinal directions or the 4 elements. Some will use sand to represent both in cases of smaller altars.

Modernly, sand is often used in spell jars and bottles when used in spellwork or as a vessel to charge, cleanse and bury objects or tools such as crystals, poppets, amulets and trinkets. Sea witches or witches with accesses to large amount of sand will often use it for grounding and circle casting. Some will use it for runes and sigils as well.

Storing Sand For those wishing to store and use collected sand ensure that there is nothing undesirable in it - garbage, sharp bits of glass, decomposing fish or animals, insects etc. Shift it thoroughly to ensure anything that could be potentially dangerous is removed and if needed properly disposed of. Once the sand has been shifted ensure it is dry before you seal it into anything.

Wet sand can house bacteria and mold - which can also smell quite foul when the container is opened again. You can use the sun to dry it or indoor heaters at a safe distance. Spread it out thin and flat to help ensure it is thoroughly dried if it is damp or wet.

Once dried the best way to store sand is inside of glass or ceramic vessels. Jars and bottles are the most ideal. Ensure that they are sealed tightly to ensure no spillage or condensation can get inside.

[gemsofgreece]

Hello!!! I was reading this post of yours (for my research) and i'm truly wondering how did Byzantine princesses wanted to take a bath?? Do you have a post for that?

I don't but I managed to find a few pieces of information about the general habits of Byzantine bathing and grooming, and particularly that of the empresses and the princesses.

"The wealthy and noble women of the empire were concerned with their looks and Christianity cast no pall on the baths nor the sale of cosmetics and perfumes. (...) Byzantine gardens, therefore, had areas set aside for aromatic flowers from which could be distilled some of the more fragrant oils. (...) Mirrors, tweezers and similar hygiene equipment would have been commonplace in a Byzantine home. (...) Michael Psellos wrote that (Empress) Zoe turned her chambers into cosmetics laboratory in which she created cosmetics and ointments to preserve her beauty well into old age. (...) Byzantine women did not use as heavy cosmetics as their earlier Roman counterparts. (...) For eye liner and darkening eye brows and lashes, kohl was very popular."

Source: http://gretchenbrownauthor.com/2018/04/08/cleanliness-and-hygiene-among-the-byzantines/

"Women washed their hair in special fragranced solutions that naturally lightened it, including saffron, turmeric, fern roots and citrin-colored sandalwood and rhubarb.  The cloths they wrapped their hair in were usually brushed with perfume. People made their own scents at home.  Lotions and creams were made fresh from natural sources and had to be used in a few days. (...) There were many public baths;  the Byzantines - even monks and nuns - bathed frequently. One was expected to bathe twice a week. (...) The Byzantines had a wide variety of cleaning products for bodies and clothes."

Source: https://www.pallasweb.com/deesis/daily-life-in-constantinople.html

"Byzantines in the capital city of Constantinople developed public baths similar to those found in Rome, and public bathing was a daily ritual for many. (...)  Unlike the Romans, who used a lot of makeup and cosmetics, the Byzantines avoided heavy preparations for their skin. Instead, they developed rich perfumes using ingredients obtained in trade from China, India, and Persia, modern-day Iran. Perfume making was developed as an esteemed trade."

Sources:

Baltoyianni, Chryssanthi. "Byzantine Jewelry." Hellenic Ministry of Culture. http://www.culture.gr/2/22/225/22501/225013/e013intro.html (accessed on July 29, 2003).

Cosgrave, Bronwyn. The Complete History of Costume and Fashion: From Ancient Egypt to the Present Day. New York: Checkmark Books, 2000.

"Let us now place ourselves in the second half of the 11th century, when a Byzantine princess arrives in Italy again; not in Rome but in Venice, although with the same nuptial purpose. This time she is Theodora Doukaina, daughter of Emperor Constantine X Doukas and Eudokia Makrembolitissa (the niece of Patriarch Michael I Cerularius) who is to marry Doge Domenico Selvo. (...) The Byzantine stravaganza of Theodora was reflected not only in the colossal retinue she led or the impressive tiara she wore at the ceremony (the one worn by her brother Michael VII, who had just inherited the imperial throne) but also in her own daily behaviour, which included such whims as bathing in the dew that his servants collected or – and here is what interests us – the refusal to touch food with her hands, so that she made use of a golden fork to prick the bites that her eunuchs had previously cut off."

Source: https://www.labrujulaverde.com/en/2020/06/how-two-byzantine-princesses-scandalized-europe-by-using-a-fork/

"While the Germans like Theophano, many of them thought her odd. The Byzantine empire was known for its luxurious, decadent ways, and Theophano was a product of that 'decadence'. She talked too much, she bathed every day, and, strangest of all, she used a two pronged utensil to bring food to her mouth (aka a fork), instead of eating with her hands like everyone else."

Source: http://www.thathistorynerd.com/2017/07/damn-girl-holy-roman-empress-theophano.html

Check here for a great link with detailed description of Byzantine public baths, how they worked and how they were taken

Peter Damian, the Cardinal Bishop of Ostia, wrote a chapter entitled "De Veneti ducis uxore quae prius nimium delicata, demum toto corpore computruit" ("Of the Venetian Doge's wife, whose body, after her excessive delicacy, entirely rotted away.") about an unnamed Byzantine princess whose manners he considered scandalously lavish and which brought to her a horrible death as a divine punishment. This woman has been mistakenly (since Damian died 1072) identified with Domenico Selvo's wife by later Venetian chroniclers (incl. Andrea Dandolo and Marino Sanuto the Younger) followed afterwards by various modern authors; however since the work in which Damianus' chapter is contained is dated ca 1059 it refers probably to Maria Argyropoulaina who had died a half century before.

From Wikipedia. Irrelevant but Maria Argyropoulaina might be the most modern Greek name I have seen in a medieval woman ever.

When, three days after the wedding, the new empress left her rooms to take her bath in the Palace of Magnaura, the court and the commonwealth gathered in queues behind her in the gardens. And when the empress passed with the servants who showed off the robes, the boxes with the perfumes, walking first, accompanied by three ladies of waiting who held apples decorated with pearls, as a symbol of erotic love, the commonwealth would cheer, the jesters of the court would make inappropriate jokes and the most important officers of the empire would escort the empress all the way to the entrance of the bath, where they waited for her to finish, and escorted her back to her bridal chambers.

Source: From The History of the Byzantine Empire by Charles Diehl, translated by me here.

They don't go into great detail as you see but I guess they are enough to give you an idea. Reminder to check the link I added above about the detailed description of the public baths - it is very interesting!

[jessicalprice]

you got your known Minoans and your unknown Minoans (part one)

(reposted, with edits, from Twitter)

Image: The famous “Ladies in Blue” Minoan fresco.

I’ve been thinking a lot about the Minoans. Everyone loves the Minoans, right?

(If you love the Minoans, you are not going to love this series of posts.)

Part One: The Case of the Very Victorian Goddess

Let’s start with a description of the pop culture perception of the Minoans: a peaceful ancient Greek culture with sophisticated, surprisingly modernist art, and extremely sophisticated technology like running water, who were lovers of beauty and peace.

So, I read Mysteries of the Snake Goddess: Art, Desire, and the Forging of History by Kenneth Lapatin. The author focuses on the (now, I believe, pretty thoroughly debunked) Boston Goddess, a supposedly Minoan ivory figurine of a snake-handling woman. She was an absolute SENSATION when she was first displayed.

Image: The Boston Goddess

Sir Arthur Evans, the most famous archaeologist of the Minoan civilization, dubbed her the "Minoan ambassadress to the New World." She made a 1967 issue of Mademoiselle's list of "art sensations" alongside Rembrandt, Picasso, and Rodin. The Museum's monthly bulletin for Dec 1914 proclaimed her an icon of a "wonderful prehistoric civilization which, after having lain submerged, like the lost Atlantis, for three thousand years, has been brought to light again..." 

A comparison to Atlantis here is telling.

Victorian "race science" and Victorian occultism were inextricably linked, the latter demonstrating a passion for interpreting the myths of non-European cultures to reflect the ideas of the former. (Its descendants live on as Ancient Aliens theories, etc.) As archaeology became more popular and contact with ancient, sophisticated, and enduring civilizations such as those in India and China increased, white Europeans (especially the Brits) and Americans started to get uncomfortable.

So they started coming up with theories that hey, those people in the East who built all that amazing stuff, who were the "cradle of civilization," who invented the alphabet? They must have been taught by an even OLDER white civilization, now lost.

Image: The Palace of Atlantis by Lloyd K. Townsend, late 19th century, everyone is very Nordic-looking.

Hence the passion for stories about Atlantis and other lost continents. It just couldn't be true that those non-Europeans were building bigger, more sophisticated civilizations long before most (northern) European civilizations built recognizable cities at all.

That longing for proof of ancient European cultural superiority was in the air when excavations of Minoan sites began.

We must have The Oldest Masters

Now, back to the Boston Goddess. Lacey Caskey, writing for the museum, noted that the statuette's distinctive posture "seems not to have been an artistic convention, but a feature of the actual appearance of this aristocratic race."

This aristocratic race. Oof. 

Lapatin observes, in the book, that "Minoan civilization was all the rage, for it seemed to provide Europeans with not only the roots of the ‘Golden Age of Greece,’ long considered the foundation of Western culture, but also a sophisticated early society in its own right, a rival to the 'Oriental' cultures of ancient Egypt and Mesopotamia--known as the cradle of civilization..." 

Victorian occultists, of course, tended to claim that their practices were derived from ancient Egyptian or Chaldean rituals. And again, even as they attempted to partake of the antiquity and sophistication of those cultures, they were also trying to prove that white people, or at least divine beings (rather than non-Europeans), built them. (It's always been a bit ironic to me that the Victorians clung to the idea of the superiority of Greece and Rome as the foundation for their ideas of the superiority of white people, while considering contemporary Greeks and Italians not fully white, but I digress.)

And lest you think that I'm hammering too hard on this point, some of the most prominent descriptions of Evans' finds praised the Minoan frescoes as "the Oldest Masters," and his work as proving the culture "bid fair rival to those of the Orient, and to give European Civilization an undreamed of antiquity." 

It's hard to overstate the degree to which the archaeological motivation here was European insecurity.

High-Bred Beauty (and I Am Not, Alas, Describing a Horse)

And why was the Boston Goddess herself such a sensation? Her "exquisite characterization of fragile beauty," her "delicate, high-bred beauty." She is "demure," and "full of resolute charm." Professor Ernest Gardner, at Yale, described her head as "recall[ing] rather the sculptures of Gothic cathedrals of the thirteenth centuries."

Or, to be more explicit and just say the quiet part out loud, her face has also been described as "Anglo-Saxon," "European-looking," "Victorian," "Edwardian," and "Parisienne."

To understand what they’re talking about, let’s do a little compare and contrast. Here are some examples of faces from figurines that, to the best of our knowledge, are actually from Crete c. 1500-1200 BCE.

And here’s a close-up of the Boston Goddess’s face:

And here’s the face of a now-probably-debunked “Minoan” goddess at the Royal Ontario Museum (read more about her here):

To cut to the chase, eventually they did radiocarbon testing on the Boston Goddess, and the ivory was found to date from between 1420 and 1635 CE. (Not BCE. CE. As in the Renaissance.) A similar figurine, the Seattle Boy God, is made from ivory that's about 500 years old. That in itself is pretty fascinating! They were using old ivory for the forgeries.

What do these proven and suspected fakes have in common? Well, among other things, their very Victorian facial features: inset eyes, small pouty mouths, delicate noses.

Spoiler for where I’m going with this: There are reasons why the Minoans were such an archeological craze, and those reasons are highly political. Because of the ways in which a very specific agenda shaped it, fakes that showed people what they wanted to see were accepted as real (and in some cases, are still sort of accepted as real), and we can't trust a lot of what we supposedly "know."

In Part 2: Bagging On Sir Arthur Evans Forever.

[hayatynatural]

Beauty Secrets Egypt

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[egyptatours]

Kalabsha Temple – Discover Egypt Monuments

If you're a history enthusiast or simply fascinated by ancient civilizations, then the Kalabsha Temple is an absolute must-visit when exploring Egypt's rich and diverse monuments. Situated on the shores of Lake Nasser, this temple is a true hidden gem just waiting to be discovered. The excitement begins as you approach the temple, marveling at its grandeur and magnificent architecture.

As you step inside, you can't help but be in awe of the intricate carvings and hieroglyphics that adorn the walls. Each detail tells a story of ancient Egyptian mythology and culture, transporting you back in time to a world of pharaohs and gods. It's truly a surreal experience to be in such proximity to these ancient relics, and you can't help but feel a sense of wonder and excitement.

The Kalabsha Temple itself is dedicated to the Nubian god Mandolins , and its construction dates back to the Roman era. Despite its age, the temple has managed to withstand the test of time and remains remarkably well-preserved. Its towering columns and massive statues are a testament to the skill and craftsmanship of ancient Egyptian builders.

Exploring the temple grounds is like embarking on a journey through history. There are numerous chambers and courtyards to wander through, each offering a glimpse into the past. You can almost imagine the rituals and ceremonies that once took place within these walls. It's a humbling experience to be surrounded by such ancient beauty and to be able to witness firsthand the legacy of past civilizations.

Visiting the Kalabsha Temple is not just an opportunity to discover Egypt's monuments, but also a chance to connect with a history that spans thousands of years. It's a chance to learn about the customs, beliefs, and achievements of an ancient civilization that has left an indelible mark on our world. So, if you find yourself in Egypt, make sure to add Kalabsha Temple to your itinerary – it's an adventure you won't want to miss!

Reach out to us:

Emails

operation@egyptatours.com

Contact@egyptatours.com

WhatsApp: (+20) 1553119249

[historical-travel-log]

The Great Sphinx is known to be an ancient marvel located on Egypt's Giza Plateau. It show us just how inventive and skillful the civilization of Ancient Egypt could be. The Sphinx is estimated to have been built during Pharaoh Khafre's reign in the 26th century BCE, utilizing a combination of limestone blocks and carving techniques. Historians and archaeologists continue to argue its actual purpose. Some speculate that it was created as a guardian figure to represent royal might and to serve protection over the neighboring pyramids and necropolis. Others argue that it may have had religious significance, maybe depicting the sun god Ra or the god Horus. Throughout its long history, the Great Sphinx has seen a variety of events and rituals. According to ancient Egyptian accounts, such as the Edwin Smith Papyrus, it was most likely used for rituals and offerings related to the sun god's cult. Furthermore, inscriptions discovered nearby indicate that it was a renowned and recognized emblem in ancient Egyptian culture. Over the years, tourists, intellectuals, and adventurers from all over the world have been fascinated by the Sphinx, and have set out to explore it. Its mysterious expression and commanding presence have inspired several ideas and legends, adding to its mysterious image. One of the most notable occurrences involving the Great Sphinx occurred in the early nineteenth century, when it was unearthed and largely repaired by European archaeologists. This incident led to the start of contemporary scientific research and conservation attempts to preserve this renowned landmark for future generations. Today, the Great Sphinx captivates visitors with its ageless beauty, providing as a reminder of the rich cultural history and old knowledge of the civilizations that once thrived long ago. It serves as a connection between generations, and represents humanity's ongoing quest for knowledge and comprehension of history.

[alovelyburn]

I wonder if Griffith was partly inspired by the Orphic deity Phanes. Phanes was an androgynous, two-natured, dualistic winged being who was born from a cosmic “world egg”. His parents were the concepts Chronos (time) and Ananke (fate) & his name literally means “to bring light” (which is appropriate bc Mr. Hawk of Light was inspired by Paradise Lost’s Lucifer aka Mr. Lightbringer himself). In some myths he’s known as Eros (desire), whom the Gnostics believed existed between light and darkness.

Sorry it took a thousand years to respond to this - I wasn't very familiar with Phanes (Eros yes, Phanes no) so I wanted to read more into it, but I have no time ever.

So here's what I found, which I imagine is more informative to people who arent you, anon!:

"Aion, Time or Eternity personified, brought into the existence the world egg. From this egg emerged Phanes either with or without the intevention of Chronos (time, who might or might not have been Aion) and Ananke (inevitability).

Phanes’ name means “light bringer”, but in the Orphic tradition Phanes was the Greek god of Creation and Life, from whom all subsequent life developed. If comparing the Hesiod and Orphic traditions, then Phanes might be equated with the Protogenoi Eros.

It is perhaps incorrect to called Phanes a god, for he was considered to be both male and female, beautiful in appearance, with golden wings, intertwined with a serpent’s tail." Source

The Orphics equated Phanes with the elder Eros (Desire) of Hesiod's Theogony. "A mystic divinity in the system of the Orphics, is also called Eros, Ericapaeus, Metis, and Protogonus. He is said to have sprung from the mystic mundane egg, and to have been the father of all gods, and the creator of men." - Dictionary of Greek and Roman Biography and Mythology Source

And then a whole load of stuff from, of course, Wikipedia:

Phanes was a deity of light and goodness, whose name meant "to bring light" or "to shine"; a first-born deity, he emerged from the abyss and gave birth to the universe.

In the Orphic tradition, Dionysus-Protogonos-Phanes is a dying and rising god. Eusebius tells us the story of his death and recreation:The Titans boil the dismembered limbs of Dionysus in a kettle, they roast him on a spit and eat the roasted "sacrificial meat", but Athena rescues the still-beating heart[13] from which (according to Olympiodorus)[14] Zeus is able to recreate the god and bring him back to life.

The roasted "sacrificial meat" of Phanes may be associated to the Cannibal Hymn. The Cannibal Hymn preserves an early royal butchery ritual in Ancient Egypt, in which the deceased king , assisted by the god of wine Shezmu, slaughters, cooks and eats the gods as sacrificial bulls, thereby incorporating in himself their divine powers in order that he might negotiate his passage into the Afterlife. These sacrificial bulls are also referred to Mithraism. Through Mithraism and its lion headed figures, Phanes could also be associated to Ahura Mazda.

Also this is him:

Okay so. Obviously not a 1:1, but we have a lot of common elements with Griffith for sure:

-An androgynous entity that emerges from a cosmic egg. It's also interesting that in some versions Phanes emerges along with or helped by Inevitability and Time, which also seems relevant.

-A god of light born from the Abyss.

-Equated with a god of desire, who exists between light and dark.

-The image of a winged being entwined by serpents is very reminiscent of the Holy See's symbol.

-A dying-and-resurrecting god whose initial death starts with torture and then descends into cannibalism, recreated by the will of the King of Gods (or in Griffith's case the only God, but if you consider the Godhand to send in for ancient deities as it seems they may, then I suppose IoE would be the head of the pantheon)

-I also think it's incredibly interesting that Phanes seems to be embroiled in a leadership cycle where one generation passes the holy scepter to the next, each of which seems to come with its own pantheon - the Titans for Chronus, the Olympians for Zeus. That seems very reminiscent of one of the major theories of the Godhand cycle.

-Also interesting that Phanes himself is a primordial/first God, but is also associated with the theoretical heir to the throne of Zeus, Dionysus.

-Phanes is the creator of man - Griffith isn't obviously the creator of man, but he is the embodiment of man's will and perhaps in charge of creating the next era. Because of the theory that Femto is the heir to Void's role basically.

-Semi-bird themed and helmeted.

Yeah, I think it's a pretty good bet that Griffith was inspired by Phanes. Particularly because when you look at the old set of Godhand from Skull Knight's flashback you see some variants on Hellenic deities (Artemis of Ephesus).

I actually wonder more about the belief that Griffith was inspired by Lucifer. I mean he was inspired by Ryo Asuka who was inspired by Lucifer, but I've never actually seen any statement that Miura was directly inspired by Dante rather than being second-hand inspired through Go Nagai. I did look around for info on this but the only thing I found was someone kind fo arbitrarily associating circles of hell with random enemies in Berserk.

Not that I would necessarily disagree particularly as Miura was obviously very interested in religious iconography and classic works. I'm just wondering if that's an assumption because of some of the shared themes or if Miura said something about it at some point.

[setteri]

The bull and its symbolism in ancient times (part one)

Much is connected with such an animal as a bull. Especially if we are talking about antiquity. The first thing that comes to mind is, of course, the island of Crete and the labyrinth with the terrible monster Minotaur. Or the rituals in which bulls were sacrificed are remembered. But I want to touch on other topics that are also related to the bull.

This is a fresco found in the palace of Knossos. Dated to the 1st half of the 15th century. BC e.

It depicts two young girls (presumably priestesses) and a young man jumping over a bull.

This is taurocatapsia. Ritual jumps of acrobats, during the movement of the bull. Apparently, the ritual of "playing with bulls" was a religious ritual that served as an integral part of the Cretan cult of the bull.

Signet depicting taurocatapsia

Something like a more complicated and impossible version of bullfighting. And in modern bullfighting, the bull is killed, not played with. Experienced theodores argue that such a game with a bull is impossible, even for the most experienced acrobats.

The sequence of performing taurocatapsy

Indirect confirmation of their words are the cemeteries of the Minoan times, where many remains of young people who were seriously injured are found in burials. Dangerous game existed in reality, it's a fact But how many managed to survive? And what was it for?

Similar images are found both in the territory of Western Asia and in Egypt. Their age reaches 5-6 millennium BC, which allows us to confidently associate them with the astrological era of Taurus, during which the main deity always appeared in the form of a bull.

The oldest texts of the Minoan civilization have not been deciphered, and we do not know what name the main god had. But in what form he appeared to the Minoans, it is known for sure. Zeus appeared in the form of a bull to the Phoenician princess Europe and took her to Crete. There, in Crete, Poseidon sent King Minos and his brothers a beautiful white bull - the future father of the mysterious Minotaur.

Could there be a symbolic meaning that man was playing a dangerous game with God? And can you win?

Taurocathapsia, bronze statuette, Crete.

Unfortunately, there are no answers to these questions. Too much time has passed and the intended meaning for us is lost.

Perhaps it was a sacrifice. The stunt acrobat tried to show his exaltation and closeness to god in this competition of death. But whether this was the case is not known for certain.

[roleplay-abiogenesis2]

Fun Things I've Learned Today

Source: Egyptologist Answers Ancient Egypt Questions from Twitter

All the following are being adopted as headcanons for Cyno!

They quite commonly drank beer and wine; Egyptian tombs had rooms assigned to celebrate a ritual called "The Beautiful Feast of the Valley", in which visitors would go to consume alcohol and "get drunk with their ancestors".

They considered the heart to be the most important organ in the body, and the source of intelligence and thinking. Not the brain.

They considered lettuce an aphrodisiac food.

They associated the scarab with the rising sun.

Men got off work when their wives got their periods, so they could do housework in their stead.

They were not prude or shy about sex, and there was no stigma on people who had sex. They had no concept of virginity, and they had an euphemism for having sex: "to spend a pleasant day."