A word of nostalgia (ennui)

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Have you ever had a day in which you have no idea? I have it today! It is like that there is all emptiness and nothing moves in the mind. It might because of sleepless nights or, better to say poorly sleep. I have this often. I sleep for about four hours but am suddenly awake, and It takes about one or two hours until I fall asleep again. And in this period, my sleep is very light and shallow.

Last night, I had the same problem and, in the early morning, in my light sleep, I had a dream, and I thought I’d just write it down.; I dreamed of a man who felt lonely because he had found himself as a stranger in this world. As I might say, he convinced that the people around him would not understand his thoughts and feelings. Of course, it has nothing to do with unfriendliness or to be unkind. He just felt not to be understood. But in social media, he was luckier. He had found some few friends who could understand him, and he was happy about it. One of them, a woman, realized him well and got aware of him. He had noticed it heartily and was much appreciated.

Juno Borrowing the Girdle of Venus, 1771, Benjamin West
http://Pinterest

Believe me, I was awake again and again but, when I slept the dream went on, as I’m watching a movie! Anyway, this Lady became a vantage point for him. She and her words worked like a basis or a platform, on which, when he felt lost, he could find back again.

http://Louvre
Antoine COYPEL (Paris, 1661-Paris, 1722)
Man Resting in the Lap of a Woman
1716-17
original COYPEL Antoine française Fonds des dessins et miniatures

They got nearer to each other, of course, visually, and they had more acknowledgement and had more connections on different media. He knew in between that she coupled with another lady, and he liked it. He knew the strength of his Anima and had some experiences with this case. In his youth, he knew a girl who had invited him to spend a night with her and her girlfriend, and he did gladly accept it. Wow, that was a night, he would say; unforgettable! And later some other more. Therefore, he was delighted to know both ladies now and was very proud of being accepted into this triangle.

Two Tahitian Women
Paul Gauguin
http://Fine Art America

Anyhow, it was a dream with a happy end, and I did share my second post! The title of this, actually, is a page that belonged to my brother, those days in the time of the revolution, in a famous magazine in Iran. I will come back to this later.

For more than 3000 years, from Egypt to Italy, She has been Dancing!

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Ostracon “The dancer – or the ballerina – of Turin” – Painted limestone – New Kingdom – 19th dynasty
Origin unknown but probably Deir el-Medineh
Museo Egizio Turin – C 7052 – by acquisition of the Drovetti Collection in 1824
ostracon représentant une danseuse dans une position acrobatique – calcaire – 11, 5 cm – XIXe – XXedynastie – provenance deir el-medineh museo egizio turin (C7052)

This fascinating piece of art located in the Egyptian Museum of Turin. And like the Museum in Cairo, it’s wholly dedicated to Egyptian art. It is a small and fragile object of 25 x 15, a drawing on limestone.

Let’s read the brilliant description by Marie Grillot. http://Marie Grillot via https://egyptophile.blogspot.com/

The limestone shard on which the artist drew what has become famous as the “Turin Dancer” or “Turin Museum Ballerina” measures 10.5 cm in height and 16.8 cm in length. The designer “made the most of the rounded shape of the ostracon to organize its composition. The ballerina’s body, which occupies the centre of the stone, describes a curve parallel to the contours of the ostracon. The young woman makes the bridge by resting only the tiptoes and the hands on the ground. At the angle, drawn by the knees on the left side, meets the angle of the elbows on the opposite side. The chest in the extension of the head breaks the line which connects the arms to the abdomen. The delicacy of the limbs opposes the thickness of the black, curly hair which seems to drag the head towards the ground. “

Ostracon “The dancer – or the ballerina – of Turin” – Painted limestone – New Kingdom – 19th dynasty
Origin unknown but probably Deir el-Medineh
Museo Egizio Turin – C 7052 – by acquisition of the Drovetti Collection in 1824
Ostracon “La danseuse – ou la ballerine – de Turin” – Calcaire peint – Nouvel Empire – XIXe dynastie Provenance inconnue mais probablement Deir el-Medineh Museo Egizio Turin – C 7052 – par acquisition de la Collection Drovetti en 1824

In “Stone Notebooks – The Art of Ostraca in Ancient Egypt”, Anne Mimault-Gout gives us a description, just as admiringly, of this work of art: “Among the representations of dancers and musicians, the most famous of the figured ostraca is that of the dancer making the bridge ‘The ballerina of the museum of Turin’, the work of a master. Her supple body, superbly thin and elegant, performs an acrobatic movement. She wears only a tiny loincloth and a large ring at the ear: the breast is generous, and the mass of long curly hair invades the space created between the legs and the arms. “

As for Eleni Vassilika she interprets, with great sensitivity, this “suspended” moment: “She is represented when she bends backwards, perfectly in profile, and not in the usual rigid standing posture, with the shoulders frontal and legs in profile. The contours of the leg and the arms on the background are also depicted realistically. The dancer’s wavy hair is loose and flowing, but the earrings, which do not fall, defy gravity. The liveliness and artistic quality of the drawing of this almost iconic sketch testify to a high level of skill and suggests that it may have been the work of a royal craftsman who worked in the Valley of the Kings “.

Ostracon “The dancer – or the ballerina – of Turin” – Painted limestone – New Kingdom – 19th dynasty
Origin unknown but probably Deir el-Medineh
Museo Egizio Turin – C 7052 – by acquisition of the Drovetti Collection in 1824

The faithful rendering of the anatomy, the superb form of the young woman, the vivacity induced by her acrobatic position: everything in this sketch made over 3000 years ago is full of life and energy and holds us under its control. charm!

This work, which – it must be emphasized that’s only a “draft” – testifies to the extraordinary mastery that the artisans of the pharaonic era had achieved. A Mastery which, expressed as well on small media like this one, or else, on the colossal statuary, or the walls of the tombs.

Ostraca (in the singular: ostracon) are shards, debris or fragments of limestone, or even of terracotta which were, in antiquity, used by artists as graphic supports for their “essays”. The papyrus was in fact too expensive at the time and reserved for more ‘noble’ uses … Thus the ostraca, which they found in profusion in the sides of the mountain, were they the support on which they worked their preparatory sketches, on which they practised, started again, before reaching excellence and finally being admitted to work in situ in the royal tombs.

Ostracon “The dancer – or the ballerina – of Turin” – Painted limestone – New Kingdom – 19th dynasty
Origin unknown but probably Deir el-Medineh
Museo Egizio Turin – C 7052 – by acquisition of the Drovetti Collection in 1824

It is also on these ostraca, that they allowed themselves to give free rein to their imagination and their own creativity, far from the canons and codes which were imposed on them, or “vignettes” which they had to faithfully reproduce. Thus, many of them offer us fresh and charming subjects, such as fables or satirical drawings, a whole sympathetic bestiary, as well as some intimate and even erotic scenes …

Most of the ostraca recorded today come from the current site of Deir el-Medineh. Founded at the beginning of the XVIIIth dynasty under the reign of Thutmose I, this village was a “royal institution” and then called “Set Maât her imenty Ouaset” (“The place of Truth, in the west of Thebes”). It extended and enlarged several times, especially under the reigns of Thutmose III and the first Ramessides.

There lived, in the shelter of high walls, the members of the community of craftsmen (architects, scribes, designers, painters, sculptors, quarrymen, simple workers …) who worked “in teams” and “in workshops” in the digging and the decoration of the residences of the eternity of the Valley of the Kings, the Valley of the Queens and, it seems, other more distant necropolises… “It is by analyzing the Theban tombs of the XVIIIth dynasty that we were able to deduce the existence of different workshops. We know, thanks to a recent discovery, that a group of artists or a workshop based in Deir el-Medineh, had probably been active in Saqqara, in the north of Egypt.”

The village of the craftsmen of the Place de Vérité: Deir el-Medineh today

“Rediscovered” in the 19th century, the village of Deir el-Medineh saw a “parade” of many ‘researchers’, then Egyptologists: Bernardino Drovetti, Henry Salt, Karl Richard Lepsius, Auguste Mariette, Gaston Maspero… Ernesto Schiaparelli will undertake excavations there in 1905, then the German Georg Christian Julius Möller. The site concession will then be definitively awarded to Ifao in 1917; for thirty years, from 1922 to 1951, Bernard Bruyère will methodically explore the site and make important and wonderful discoveries.

The dancer’s ostracon arrived in Turin in 1824 through the acquisition by His Majesty the King of Sardinia of the first “Drovetti” collection. It is now exhibited at the Museo Egizio under reference C 7052.

If it is sometimes indicated as having an ‘unknown provenance’, it is, however, most often indicated as coming from Deir el-Medineh, which according to its style seems very probable.

A magnificent dancer’s ostracon
discovered in 1949 -1950 in Deir el-Medineh by Bernard Bruyère for the IFAO

We cannot help but compare it to an ostracon dated from the 19th – 20th dynasty – almost similar although less successful – discovered by Bernard Bruyère in 1949-1950, in the large well of Deir el-Medineh.

How not end with this analysis, that issued in the guide to the Museo Egizio, an analysis, to which it is impossible not to adhere: “It seems more and more obvious, that the artists of Deir el-Medineh, employed by the State, have left a strong imprint on their works and are at the origin of a singular artistic style which has not finished, fascinating us! “

Marie Grillot (Marie Grillot)

sources:
Ostrakon figurato con rappresentazione di una ballerina in posizione acrobaticahttps://collezioni.museoegizio.it/it-IT/material/Cat_7052/?description=&inventoryNumber=7052&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=&epoch=&dynasty=&pharaoh=

Notebooks de pierre – The art of ostracas in ancient Egypt, Anne Mimault-Gout, Hazan, 2002
Museo Egizio, Fondazione Museo delle Antichità Egizie di Torino, Franco Cosimo Panini Editore, 2016
Art treasures of Museo Egizio, Eleni Vassilika, Allemandi & Co
Museo Egizio guide, Franco Cosimo Panini editions
The Egyptian Museum Turin, Federico Garolla Editore
Egyptian Art in the Museum of Turin, Ernest Scamuzzi, Hachette, 1966
The artists of pharaoh, Deir el Medineh and the Valley of the Kings, Louvre, 2002
A World History of Art , Hugh Honor, John Fleming

Maya Angelou

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http://Youth Incorporated

Amen! What great advice in our situation these days. I must confess that I know her newly by the media and not in her lifetime. But as the German says: später besser als nie (later better than never.)
Yes, I know her now and stunned how wise she was (is), we can feel her wisdom in her poets, and her books. Let’s read her thoughts, her wisdom, and her poet. With a great thank to https://searchingthemeaningoflife.wordpress.com/ 🙏🙏💖

Maya Angelou was an American poet, memoirist, and civil rights activist. She published seven autobiographies, three books of essays, several books of poetry, and is credited with a list of plays, movies, and television shows spanning over 50 years. She received dozens of awards and more than 50 honorary degrees. Wikipedia

I’m still rising – by Maya Angelou

By https://searchingthemeaningoflife.wordpress.com/author/searchingthemeaningoflife/

You can write me in history
With your bitter, crooked lies
You can drag me into the dirt itself
But still, like dust, I will climb high.

Does my euphoria upset you?
Why do you surround me with darkness?
Maybe why do I walk like I own oil wells
that overflow from my living room?

Just like the moons and like the suns
With the certainty of the tide
Just like the hopes that come from above I will
still rise .

Did you want to see me break?
Covered head and lowered eyes?
Shoulders falling down like tears
Weak from my angry screams?

Does my tall stature offend you?
Do not you find it very difficult
That I laugh like I have gold mines
Digging in my backyard?

You can shoot me with your words
You can slaughter me with your eyes
You can kill me with your hatred
But still, like air, I will rise high.

Does my sexuality bother you?
Are you surprised
Where I dance like wearing diamonds
The moment my thighs merge?

Beyond the huts of the shame of history I
rise
Over a past rooted in pain I
rise
I am a black ocean, wavy and open Exhaling I
grow up and withstand the tide

Leaving behind nights of fear and terror I
rise
In a sunset that is wonderfully
bright I rise
Carrying the gifts that my ancestors bequeathed to me
I am the dream and the hope of the slave.
I rise I
rise I
rise

source: [First publication in the electronic  Well . ]

Nature is Back, and She has a lot to Say!

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It might be not a phenomenal issue to get so much snow. I know there are many countries in which snowing every winter a great deal, and have eminently cold weather; like Canada, as I’ve heard it goes to ca. -45 degrees Celsius. But for us in Europe, It became rarer in the last decades and even worse in the latest years as it was mostly rainy and stormy. But this year it seems that nature finds her way back to her old manner (because of Corona?). For example, a winter as you would expect, with all the trimmings and with its beauty for sure.

The weather has become fickle. We notice it whenever we look out of the window; it is running somehow crazy. There is no doubt that the climate is changing.

Of course, I don’t want to discuss the scientific reasons; why is it so, or who is guilty. I only do believe in this changing. As we can see in the History of Earth and Meteorology, these changes have been happening since the Earth exists and it is a fact!

And another fact is that I believe we humans are separating us farther away from mother nature. In the beginning, we weren’t so, it may be caused by our progress in technology, (I don’t want to use the word; “Civilization” because,to be civilized means to me, being human intelligent, and not the sort of artificial.) to make a more artificial life for humans; who mostly are the laziest and the most comfortable creatures! I do my best not to belong to that sort, here is the proof; another walk into the snowy cold but the hearty warm beauty. 😉😅

It might be not like in California for sure, but might be a dream, like California Dreamin’. 🤗

Long ago, I have seen a movie named Dersu Uzala. I don’t know if you have seen it too. A story of a man, a human who belonged to nature, or he was an ingredient of nature. it’s a calm narrative of life, with its high and low into the end. Let’s read the story:

The film is based on the 1923 memoir Dersu Uzala (which was named after the native trapper) by Russian explorer Vladimir Arsenyev, about his exploration of the Sikhote-Alin region of the Russian Far East over the course of multiple expeditions in the early 20th century. It shot almost entirely outdoors in the Russian Far East wilderness; the film explores the theme of a native of the forests, who is fully integrated into his environment, leading a style of life that will inevitably be destroyed by the advance of civilization. It is also about the growth of respect and deep friendship between two men of profoundly different backgrounds, and about the difficulty of coping with the loss of strength and ability that comes with old age. Dersu Uzala, from 1975 by Akira Kurosawa http://Akira Kurosawa http://Dersu Uzala (1975 film) – Wikipedia

To be such a person like Dersu Uzala means to observe more our environment, more listen to nature, the wind, the trees, the birds, open-mindedly.

To put it bluntly, I am not a freaky vegan or someone who wherever he sees a tree, wants to hug it. I always try to use everything more naturally than using machines and keep my mind creative. I think if we don’t exaggerate, life will be more effortless and make much more fun. Anyway, we can just be waiting and look forward to what will happen next!

Did Tesla Have An E.T. Connection?

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Did Tesla Have An E.T. Connection?

They’re maybe not a lot, but a few geniuses as exceptional, leave weight in our history: like Mozart, Einstein, Leonardo da Vinci, Jung … And we must add Nikola Tesla in this list too. He is definitely a genius, though remains unknown, somehow! I suppose the reason is that we still don’t understand his brilliant mind.

And I am convinced that some of his ideas still sound like science fiction for us!

I don’t want to compare Tesla with Edison, as I never do Jung with Freud. But when someone becomes famous in his/her life with ambitious work, there is always a certain conservatism at play which causes to stop when the one reached a certain point. The reason is fear of failure.

http://Pinterest

There, we can identify where the ingeniousness between other thinkers and who is the real genius. And Nikola Tesla is one of them without a doubt. But if he had any connection with ETs, or was he one of them? I don’t know. I am only sure that part of us, humans, is not earthy, though a few know about it. 😉

http://AZ Quotes

Anyway, I have recently found this old article in my inbox and want to share with you, worth to read. I hope you enjoy it. Have a leisurely weekend. 🤗💖🙏

by Omar Fehimovic
Guest writer for In5D.com

Nikola Tesla was one of the greatest minds of all time and was considered to be the father of the 21st century. There were rumors that Tesla received his inventions from E.T. sources. Was this the main reason every step Tesla made was monitored by the elite?

Hidden in plain sight

Many devices that we use today contain Tesla’s patents, ideas, concepts. Most people have no idea that Tesla is behind these inventions. However, we rarely hear his name mentioned, especially in school books. His genius was often too much both for ordinary people and the elite. From bankers like JP Morgan to politicians, jealous, scientists, and others, the goal was to not only stop him from bringing these inventions to humanity but to steal them while keeping it out of the public eye.

His research was a threat to everything humanity was allowed to know. Could there have been something hidden about Tesla that was an even bigger threat?

Tesla’s entrance into this world

Tesla’s birth is mentioned in many stories, especially in the region of the Balkans. Tesla was born on July 10th, 1856 in a village in what was then Austro-Hungarian empire which is modern-day Croatia. His mother had a midwife helping her that night when Nikola was about to be born. There was relentless thunder outside. The story goes on to say that the midwife was very scared, but Tesla’s mother told her not to be afraid, that her child would be a very important person. When the midwife started getting used to relentless thunder outside the house, she asked Tesla’s mother how she knew the baby would be a very important person. Tesla’s mother responded that she did not know how but she simply knew.

His very birth was an interesting event because later Tesla literally played with thunder in his experiments and was born during similar circumstances. Just like his mother knew that her child would become an important person, Tesla simply knew what to do and would create complete devices in his mind before experiments. Another interesting thing is that his father was a Serb Orthodox priest and his son was anything but his father in terms of understanding the universe.

Tesla was also born in a region that was not particularly known for anything at that time. If you believe many Tesla followers that Tesla himself was an alien who incarnated in this world, the question is why he chose the family and the region for his birth and why there was such a storm while he was being born.

The period in which Tesla was born coincided with the old Zoharic prophecy about the opening of the gates of wisdom upon the earth. Coincidentally, Einstein was born during this time as well.

Tesla’s childhood

The “genius who lit the world”, as some call him, witnessed a terrible accident at the age of seven. In 1863 Tesla’s brother Danijel was killed in a riding accident. Tesla was in a state of shock and was reported to have started seeing visions. Many people have said that Tesla suffered from lifelong mental illnesses caused by the loss of his brother. A more logical explanation is that this shock served as a trigger in Tesla’s mind (as it happens to many people who witness terrible things) and that it prepared him for the unique way of using his mind.

Tesla’s life was very dramatic. At an early age he showed the superiority of his mind and was fascinated with thunderstorms and lightning. It is possible that this was also caused by the impressions of the storm when he was born. Nikola was fascinated with electricity and was absolutely determined that he would harness the power of the Universe to help humanity.

Tesla’s downloads

In 1882, the idea of a brushless AC motor simply came to him as Tesla was walking. He sketched the images in the sand. That is the first story about how he would simply have an idea in an instant, create the whole design in his head, and then simply start building it from scratch.

When Tesla moved to New York in 1884, he was hired as an engineer at Thomas Edison’s headquarters. Edison was impressed with Tesla and told Tesla he would give him 50 thousand dollars for a better design of his DC dynamos. Tesla experimented for months. However, when he presented his solution, Edison did not give Tesla any money and Tesla quit.

Tesla then decided to work alone and ideas kept coming one after another. In 1887 and 1888 he was granted more than 30 patents for his inventions. George Westinghouse, Edison’s major competitor, was very interested in Tesla’s work. What followed is one of the greatest and strangest stories of all time.

Tesla kept creating more and more, sleeping only two hours at night. Tesla would stay awake 22 hours a day, taking a nap 15 – 20 minutes for every four hours awake. This started when he was very young. When he was studying in Graz, Austria, Tesla became very good at playing billiards. Sometimes he would play more than 48 hours in a stretch. Also, once Tesla worked in his laboratory for 84 hours without any rest or sleep.

To the people around him this was simply incredible. Tesla had unusual amounts of energy and would get complete schematics in an instant. All this and much more points to two possible conclusions: Tesla was an E.T. or Tesla was able to contact them and the invisible realms and that is how he would get his ideas and energy.

Probably the most famous Tesla quote regarding his communication with other realms is:

My brain is only a receiver. In the Universe there is a core from which we obtain knowledge, strength, and inspiration. I have not penetrated into the secrets of this core, but I know that it exists.

Tesla openly stated that his brain was a receiver and that the knowledge came from a core. Was he trying to mask the fact that he was communicating with an E.T. race that many say he was a part of? It is possible, but it is certainly much easier to explain his incredible work to the public in this way, saying that he was doing something that Da Vinci and Einstein were also famous for – communication with other realms.

Another quote is very interesting:

My method is different. I do not rush into actual work. When I get a new idea, I start at once building it up in my imagination and make improvements and operate the device in my mind. When I have gone so far as to embody everything in my invention, every possible improvement I can think of, and when I see no fault anywhere, I put into concrete form the final product of my brain.

The whole process explained in his words, an invention in his brain without any drawing, experiments, something most people can only dream of, yet so natural to Tesla. Was it possible because he communicated with E.T.’s, other realms, the core as he called it?

Intelligent electrical signals from space

Nikola Tesla built a laboratory in Colorado Springs, Colorado, in 1899, to experiment with high frequency electricity and other phenomena. In that laboratory he received and recorded cosmic radio waves on his sensitive instruments. He announced that he received extraterrestrial radio signals. The scientific community in 1899 did not believe him, because knowledge of cosmic radio signals did not exist at that time.

Here is what Tesla said about the signals:

“I can never forget the first sensations I experienced when it dawned upon me that I had observed something possibly of incalculable consequences to mankind. I felt as though I were present at the birth of a new knowledge or the revelation of a great truth.

My first observations positively terrified me as there was present in them something mysterious, not to say supernatural, and I was alone in my laboratory at night; but at that time the idea of these disturbances being intelligently controlled signals did not yet present itself to me.

The changes I noted were taking place periodically and with such a clear suggestion of number and order that they were not traceable to any cause known to me. I was familiar, of course, with such electrical disturbances as are produced by the sun, Aurora Borealis, and earth currents, and I was as sure as I could be of any fact that these variations were due to none of these causes.

The nature of my experiments precluded the possibility of the changes being produced by atmospheric disturbances, as has been rashly asserted by some. It was sometime afterward when the thought flashed upon my mind that the disturbances I had observed might be due to an intelligent control. Although I could not at the time decipher their meaning, it was impossible for me to think of them as having been entirely accidental. The feeling is constantly growing on me that I had been the first to hear the greeting of one planet to another. A purpose was behind these electrical signals.”

This is very revealing- Tesla openly stated that he had the feeling that he had been the first to hear the greeting of one planet to another. Here Tesla went further and replaced the core that he had mentioned with a direct link with E.T. life. It seems that to an open mind person it cannot be any clearer.

At the time, it was surmised by prominent scientists that Mars would be a likely haven for intelligent life in our solar system, and Tesla at first thought these signals may be originating from the red planet. He would later change this viewpoint as he became more adept at translating the mysterious signals. Near the end of his life, Tesla had developed several inventions that allegedly could send powerful amounts of energy to other planets.

“The signals are too strong to have traveled the great distances from Mars to Earth,” wrote Tesla. “So I am forced to admit to myself that the sources must come from somewhere in nearby space or even the moon. I am certain however, that the creatures that communicate with each other every night are not from Mars, or possibly from any other planet in our solar system.”

Tesla said he had flashes, some kind of light, and then he would get his ideas. He never said that the images in his mind were holographic, but some researchers claim that it was exactly what was going on in his mind. It may have been similar to what computers do today when they create models, rotate them, and analyze all possibilities needed to complete the task.

Tesla wrote letters to friends in which he talked about mysterious signals. He was convinced that the communication was with E.T’s. Tesla was not very popular in those days and many newspapers mocked him for saying that he was in contact with some kind of space intelligence. What the press wrote was almost certainly ordered by those who did not want Tesla to succeed in his intentions. So what better way to belittle him than say that he was a mad scientist who thought he was in contact with aliens? It often works in our so-called modern age, so it definitely worked such a long time ago.

The first clean energy

When speaking of Tesla, we cannot forget about Wardenclyffe Tower that was located in Long Island, New York. The tower was 187 feet to the top and 120 feet into the ground. What Tesla had in mind were various wireless transmitter points all over Earth. Tesla wanted to move energy from one tower to the next wirelessly. No, we are not talking about wireless technology like we have today, which is very toxic and harmful. This was clean energy to be used interplanetary.

Researchers at MIT managed to transmit power wirelessly only 100 years after Tesla and at a much shorter distance. 100 years is a lot of time and it is hard to believe that it took so much time for scientists to imitate Tesla to some extent.

Tesla wanted to give free energy to humanity but the Tower was demolished in 1908. J.P. Morgan was the founder of the project. When he discovered what Tesla’s intentions were, he did everything to stop him. Tesla also invented beam weapons, wireless power transmission, antigravity devices, anti-war shields, and a plethora of other suppressed inventions.

Can we prove that Tesla had contact with alien intelligence? If we take a closer look at what Tesla did, said, and created, we can at least say that he had the ability to tune into the core that he talked about.

His life was full of drama, sci-fi-like stories, synchronicities, and many interesting things and events. But is there proof that Tesla had ET contact? If we accept the fact that we live within the visible light in that tiny fraction of what we call space, we can also accept that some consider our reality to be a projection in our minds. Proof is just in the physical realm that we decode, but Tesla was not limited by visible light. His genius can almost certainly be attributed to his communication with other realms and probably aliens themselves.

Tesla was the most brilliant scientist that Earth has probably ever had, and he was not afraid to say that he believed in spirituality. This is not even common in the science community today. He was a spiritual scientist in communication with other realms and possibly E.T.’s- and left a legacy behind of bewilderment and awe in the true history of humankind.

About the authorOmar Fehimović was born in Sarajevo, Yugoslavia (modern-day Bosnia and Herzegovina) in 1971. At an early age he felt attracted to what we call reality and wanted to know more about it having a strong sensation that our reality was not what most people thought it was. During his elementary school days he felt a strong connection to the English language and Nikola Tesla, the electric genius who was born not far from where Omar was born. He became interested in the occult and esoteric having read so much about Tesla and he started researching many subjects in his 20s. Having become proficient in English at a very early age, he was able to expand his knowledge even more. In 2009 he became a free-lance interpreter, continuing his research in his free time. The current focus of his research is hidden meanings in the English language and modern culture, the Saturn-Moon Matrix and the afterlife. He can be contacted at his e-mail: sarajevo1971@yahoo.com or on Facebook: Omar Fehimović

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The wooden panels of the mastaba of Hesire in Saqqara

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http://Imago Images
One of six panels from the mastaba of Hesire, a high official of King Zoser who was Chief of Dentists and Physicians as well as holding other titles. He carries the tools of a scribe over his shoulder. Country of Origin: Egypt Culture: Ancient Egyptian. Date/Period: 3rd dynasty c. 2700 – 2600 BC. Place of Origin: Saqqara. Material Size: Wood 115cms high. PUBLICATIONxINxGERxSUIxAUTxHUNxONLY Copyright: WernerxForman 951_05_55401375 One of Six Panels from The Mastaba of Hesire a High Official of King Zoser Who what Chief of dentists and Physicians As Well As Holding Other titles he carries The Tools of a Scribe Over His Shoulder Country of ORIGIN Egypt Culture Ancient Egyptian Date Period 3rd Dynasty C 2700 2600 BC Place of ORIGIN Saqqara Material Size Wood High PUBLICATIONxINxGERxSUIxAUTxHUNxONLY Copyright WernerxForman 951_05_55401375

This time, we have a special fund in magic Egypt. The Stele on woods! ( decorated Lebanese cedar panels) which, Hesy-re lets to be imported and worked in such quantity.

The Mastaba of Hesy-re is an ancient Egyptian tomb complex in the great necropolis of Saqqara in Egypt. It is the final resting place of the high official Hesy-re, who served in office during the Third Dynasty under King Djoser (Netjerikhet). His large mastaba is renowned for its well-preserved wall paintings and relief panels made from imported Lebanese cedar, which are today considered masterpieces of Old Kingdom wood carving. The mastaba itself is the earliest example of a painted tomb from the Old Kingdom and the only known example from the Third Dynasty. The tomb was excavated by the Egyptologists Auguste Mariette http://Auguste Mariette and James Edward Quibell http://James Edward Quibell.. https://en.wikipedia.org/wiki/Mastaba_of_Hesy-Re

What we have here are six beautiful worked panels of woods. Now let’s read the brilliant description by Marie Grillot, http://Marie Grillot about this fascinating fund. With heartfelt thanks. 🙏💖 via https://egyptophile.blogspot.com/

The wooden panels from the mastaba of Hésiré discovered in 1860 by Auguste Mariette in Saqqarah
were exhibited at the Boulaq Museum (ref .: 1037 – 1038 – 1039)
Photograph by MM. Delié and Béchard, taken from the Album of the Musée de Boulaq

In 1859, Auguste Mariette returned to Cairo where he was “confirmed at the head of historical monuments and the museum”. His projects are numerous and the sites he is opening in the Delta, in Thebes or Saqqarah, are up to his ambitions. They will bring some very beautiful discoveries.
In particular, in 1860, he discovered, in Saqqarah, in the mastaba C8, the statue of Ka-Aper (Kaaper), the very famous Sheikh el-Beled!

The same year, north of the pyramidal complex of Pharaoh Djoser – where 140 mastabas will be unearthed – will be discovered that of Hésiré (Hosi, Hésyra, Hésy-Rê, Hézirê).

Necropolis of Saqqara – Plan taken from “The Mastabas of the Old Empire”, Auguste Mariette, Paris, 1889

In “The Mastabas of the Old Empire”, Auguste Mariette and Gaston Maspero recall that the mastabas generally consist of: “five parts which are the exterior of the tomb, the interior itself, the serdab, the well, the vault underground”. In this book, the pages devoted specifically to the mastaba of Hesiré – referenced A3 – contain only drawings. No details are given on the exact circumstances of the discovery.

The scribe Hésiré represented on one of the panels of his mastaba discovered in 1860 by Auguste Mariette in Saqqarah
Third Dynasty – 2649-2575 BC. J.-C.
Cairo Museum – JE 28504 = CG 1426 – CG 1427 – CG 1428

Hesire’s eternal home is dated to the Third Dynasty, around 2700 BC. In its original state, the mastaba was 43 m long, 22 m wide and 5 m high. It was made of hardened mud bricks. The inner and outer walls were completely covered with limestone in white. The structure of the inner chamber consisted of a long corridor and several rooms and chapels. “

Eleven niches are hollowed out in the west wall: they are decorated with magnificent wooden panels, rectangular, more than a meter high and 40 cm wide. They are sculpted with incomparable precision, finesse and art. These panels were to play: “the role of false doors which represent the deceased in the Hereafter, awaiting his offerings”. They were fixed: “by wedges driven into the upper part of the panels”.

The wooden panels of the mastaba of Hesire discovered in 1860 by Auguste Mariette in Saqqarah
Third Dynasty – 2649-2575 BC. J.-C.
Cairo Museum – JE 28504 = CG 1426 – CG 1427 – CG 1428

In “Egyptian Art in the Age of the Pyramids”, it is specified that: “the first five were found by Mariette and transported to the museum in 1866”.

Two other wooden panels by Hésiré presented in “Excavations at Saqqara” (1911-1912).
The Tomb of Hesy, JE Quibell, Cairo, 1913

A sixth was discovered 45 years later by James Edward Quibell who resumed excavations of the mastaba in 1911-1912. As for the other five, only fragments remained: “which unfortunately he will not take the trouble to save”.

A wooden panel in position, from a pencil drawing by FH Darke
“Excavations at Saqqara (1911-1912). The Tomb of Hesy”, JE Quibell, Cairo, 1913

Under the numbers 1037 – 1038 – 1039, three of these panels are presented by Gaston Maspero in the “Visitor’s Guide to the Boulaq Museum”: “These three panels were embedded in as many stelae in the form of a false door. A fourth panel, more mutilated than the others, is exposed (n ° 913) on the kind of shelf which reigns at the back of the room (!). The scribe Hosi, seated or standing, is the only person represented. He has a rough face. , the features accentuated by age: the hieroglyphics carved above his head give us his name and his titles … Inscriptions and figures are cut with extraordinary hand surety: the artist who executed this work did not give it up. nothing to the one who carved the Sheik el-Beled. “

The wooden panels of the mastaba of Hesire discovered in 1860 by Auguste Mariette in Saqqarah
Third Dynasty – 2649-2575 BC. J.-C.
Boulaq Museum (ref .: 1037 – 1038 – 1039) then Cairo Museum – JE 28504 = CG 1426 – CG 1427 – CG 1428

The panels presented to Boulaq must correspond to those recorded in the Journal of Entries of the Egyptian Museum in Cairo JE 28504, and in the General Catalog CG 1426 – CG 1427 – 1428.

Hesire is represented standing, seated, in various postures, with different wigs or outfits. The panels seem to tell, “in the comic strip”, so many important moments of his life, haloed with the glory of his attributions. The stiffness of the attitude makes one feel with more force the importance of his rank and the solemnity of his functions.

During the Universal Exhibition of 1878, inaugurated on May 1 in Paris, Auguste Mariette will choose to exhibit the three panels. They then constituted the oldest pieces illustrating the pharaonic antiquities presented at the Trocadero Palace.

In the catalogue he will write for this event, “Exposition Universelle de Paris, 1878. The Gallery of Ancient Egypt at the Trocadero retrospective exhibition, brief description, by Auguste Mariette-Bey …”, he will explain about admirably, and with a beautiful sensitivity, the reasons for his choice underlining the exceptional character of the work. “Compared to the style of other monuments of the Old Kingdom, the style of the panels in Egyptian art in fact takes the place of what is called elsewhere the archaic style. The finesse of the engraving, the unusual grouping of hieroglyphics and the rare forms of several of them, the hitherto unique arrangement of the utensils that the character carries in his hands, are in fact distinctive features which show us in the three panels extraordinarily ancient monuments. especially the character of the head, whose bony cheeks and strongly aquiline nose have absolutely nothing that recalls the full face, the round nose, the thick and smiling lips of the other statues of the old Empire. “

On January 25, 2021, the Ministry of Antiquities announced that: “within the general framework of the ‘Launch of the restoration project of the wooden panels of the Egyptian Museum in Tahrir’, under the title ‘Towards new horizons to assess the situation, the restoration and reappearance at the museum ‘, the Egyptian museum launched the restoration project of the wooden panels of Hassi Ra, exhibited on the ground floor of the museum, in cooperation with the French Institute of Oriental Archeology (IFAO). The second phase of the project will consist of the study of their “new exhibition” at the museum, their “reinstallation” having to recall the context of their “original” presentation in the Mastaba …

Marie Grillot

sources:
The Mastabas of the Old Empire , Paris, 1889, Mariette Auguste, Maspero, Gaston
Universal Exhibition of Paris, 1878. The Gallery of Ancient Egypt at the Trocadéro retrospective exhibition, brief description, by Auguste Mariette-Bey…
Visitor’s guide to the Boulaq museum (1883 edition), Gaston Maspero
Egyptian Art in the Age of the Pyramids, Meeting of National Museums, 1999
Treasures of Egypt – The Wonders of the Egyptian Museum in Cairo, Francesco Tiradritti
The treasures of ancient Egypt at the Cairo museum, National Geographic
Official catalog – Egyptian Museum in Cairo, Mohamed Saleh, Hourig Sourouzian, Verlag Philipp von Zabern, 1987
The Egyptian Museum in Cairo , Abeer El-Shahawy, Matḥaf al-Miṣrī
Excavations at Saqqara (1911-1912). The Tomb of Hesy , JE Quibell, Cairo, 1913
“ Hesyrê’s tomb at Saqqara (A3) ”
“ Saqqarah ” (The Balance of 2 Earths)
PL. XXIX and following
Album of the Boulaq museum: comprising forty plates / photographed by MM. Delié and Béchard; with an explanatory text by Auguste Mariette-Bey

Wild Strawberries

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I see what you don’t see! Do you know this game? It is not so important if you know this play. What I meant with this sentence is what an artist does see and the others not! In this way, I would describe an artist. I don’t want to put myself in this category because I think I still have some to do to achieve that class. But, as I have grown up in a family of artists and lived a long time with an ingrained one (my brother Al), I can understand them well.

In the novel Zorba the Greek, by Nikos Kazantzakis, Zorba asked his writer friend, Basil, “why it happens such brutal and tragic events in our life? You are an intellectual writer, how can you explain it?” Basil answered; We can’t explain why. We only try to reduce the pain by writing thereabout.

An artist, like a writer, or filmmaker or a painter, has an intensive view on events which, many others never notice. That makes the difference. I think that we are all artists, we just have to open our eyes, the eyes in our soul, to understand our environments.

Here, I want to introduce a movie; Wild Strawberries by Ingmar Bergman. He is one of the greatest filmmakers in the history of the movie, and he is also a psychologist as his works all are talking about unknown inside the unconsciousness; the dark side.

Bergman, in this movie, has all the best players by his side; even his teacher Victor Sjöström in the main role. And also Max von Sydow as a gas station attendant in only a few minutes.

The movie begins with a dream, a dream by Isak Borg, a widowed 78-year-old, physician Professor who, specialized in bacteriology. He is stubborn and egotistical and also in his latest years. This scene is in a class of its own;

The movies of Bergman might look inconvenience somehow, or teasing the soul (as I read in some comments here and there), but I think that they are awakening. Digging soul!

When I came to Germany, I tried to share my thoughts and opinion on life with my new friends, and I invited them to watch the movies which I liked, they all were surprised. They said: Oh! that’s how you see life!

Anyhow, what I found in this movie; was what shaped my life. Though, you can not determine the path of your life but, you can learn a lot in every curve, something new, something different. And sometimes, be damned to loneliness.

There does not exist; neither wrong nor right. We act according to our needs.

Ingmar Bergman is one of the fewest Regisseurs (Réalisateur) who changed my way of life. I will with about him more.

A Sunday walk along the brook Menkhauser Bach

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Menkhauser Bach am Teutoburger Wald
Menkhauser Bach in the Teutoburg Forest

Oh yes! Unbelievable but true: I gave my wife my consent to take a long walk with her! Of course, it was a pleasant walk, although it was cold and wet. I have done it often (a couple of times) despite I admit I’m a little lazy 😉 but, when it comes, I am ready.

That was about three hours walk (ca. 7 Km), of course with many view-pausing included.

Actually, I am not so amused about the town, where I’m living. It is a village which should stay that way, though it always likes to be accepted as a town but, It is a village, and it will remain in the future. That is the worse side, but the better side; is the forest called Teutoburger Wald, which has spread itself on a wide hill, in an area of ca. 4000 square meters (c. 4,000 km² almost all of it included officially in one of two natural parks:
1,220 km²), from the middle towards Northern Germany. That is a good chance for us to catch up this natural park in a few minutes to feel healthier more than ever.

And Regina, my adorable lady, who can’t do anything without having been outside for a walk every day, knew this path very well, which goes along a slim clean flow, a brook, named Menkhauser Bach. It was a very enjoyable, especially, when in a moment of silence, we’d only hear birds and running water.

And the trees…

We observed the roots of old trees that peeked out of the ground like snakes.

Nature is fascinating, and if we only understand that we are a part of it, we will appreciate it and can enjoy our life.

As I wanted to write about our excursion, coincidentally I saw this post by my Greek friend. I thought that how fit is this with my story, and with so many good tips. Stay safe, healthy and tuned, and try to go out for a walk now and then. 🤗💖

The country that prescribes walks instead of drugs

photo by EvAr

By SearchingTheMeaningOfLife with thanks 🙏

In Scotland, instead of drugs, they prescribe activities in nature ATHENS LEVENTI

There is a kind of “medicine” without side effects and costs: the walk in nature. And now doctors in Scotland have the right to prescribe it to their patients with the aim not only of improving physical health and reducing mental illness, stress and anxiety.

In the modern world we usually do not pay much attention, but the time we spend in nature is crucial for our well-being, as research like this points out . 

If we spend 90 minutes of our day in nature, the activity in the area of ​​the brain associated with depression is limited. At the same time, aggression is reduced, pain control is improved and the immune system is strengthened.

There is a whole booklet of “natural” prescriptions that accompanies the program, full of suggestions. Among other things, the program proposes to make works of art on the beaches from natural materials, to plant bulbs or to do bird watching. They even suggest different activities per month: For example, in October, we can appreciate a cloud or talk to a horse. In November, feed the birds in the garden. And as for May, then we can throw our face in the grass. And all this, with a doctor’s prescription. We can find all the suggestions here .

While “nature recipes” are currently only available in Scotland, no one is stopping us from prescribing a little nature to ourselves.

source: https://www.doctv.gr / + https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5744722/

The Enjoyment of the Common Sex (Gender)

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http://Elli Gold

I am so happy to have both genders in me! I believe that it is lucky to have this acknowledgement; to accept both parts. As Dr C. G. Jung declares;

Quotes On Archetypes. QuotesGram
http://QuotesGram

I have to thank my mother for giving me her full power of her Anima that I grew independent from the antipode. She had lost a girl-child and wished to have a daughter, but first were Al and then me, therefore, she had brought me up to everything as a daughter might learn. And on the other hand, I can understand well all genders whom I meet or associate. I don’t want to advise anyone (men), better I want to give them as a suggestion, to look about themselves and find their both sides.

Anyhow, better to read some lectures from the great Mythology of Greece: for example the story of Tiresias. Honestly, I wish I could experience what he/she had got to know. For me, it is a great chance to have such an adventure. Be frankly, don’t you want to?

Tiresias transformed into a woman, 17th century.
http://By Pietro della Vecchia – http://art.rmngp.fr/fr/library/artworks/pietro-della-vecchia_le-devin-tiresias-se-metamorphosant-en-femme?force-download=115704, Public Domain, https://commons.wikimedia.org/w/index.php?curid=66724255

As we read below, Hera, or possibly Athena, had punished Tiresias’ gender to be changed into feminine for seven years. And after that, his/her evaluation on the pleasure of men and women during sex, which was warranted about 10 to 1 for women! It has been hard for Hera to endure! She made him blind but, with the power of prediction, as goodwill! Let’s read the whole story;

“Like other oracles, how Tiresias obtained his information varied: sometimes, he would receive visions; other times he would listen for the songs of birds, or ask for a description of visions and pictures appearing within the smoke of burnt offerings or entrails, and so interpret them. Pliny the Elder credits Tiresias with the invention of augury.

On Mount Cyllene in the Peloponnese, as Tiresias came upon a pair of copulating snakes, he hit the pair with his stick. Hera was displeased, and she punished Tiresias by transforming him into a woman. As a woman, Tiresias became a priestess of Hera, married and had children, including Manto, who also possessed the gift of prophecy. After seven years as a woman, Tiresias again found mating snakes; depending on the myth, either she made sure to leave the snakes alone this time, or, according to Hyginus, trampled on them. As a result, Tiresias was released from his sentence and permitted to regain his masculinity. This ancient story was recorded in lost lines of Hesiod.

Tiresias strikes two snakes with a stick, and is transformed into a woman by Hera. Engraving by Johann Ulrich Kraus c. 1690. Taken from Die Verwandlungen des Ovidii (The Metamorphoses of Ovid).
http://By Krauss, Johann Ulrich, 1645-1719 – Yale Beinecke Rare Book and Manuscript Library [1], Public Domain, https://commons.wikimedia.org/w/index.php?curid=25014170

In Hellenistic and Roman times Tiresias’ sex-change was embellished and expanded into seven episodes, with appropriate amours in each, probably written by the Alexandrian Ptolemaeus Chennus, but attributed by Eustathius to Sostratus of Phanagoria’s lost elegiac Tiresias. Tiresias is presented as a complexly liminal figure, mediating between humankind and the gods, male and female, blind and seeing, present and future, this world and the Underworld.”

https://imgur.com/user/IHaveAHugeCrushOnTinaFey
(Painting: Antonio Zanchi’s Tiresias, 1700’s)

Tiresias appears as the name of a recurring character in several stories and Greek tragedies concerning the legendary history of Thebes. In Sophocles’ Oedipus Rex, Oedipus, the king of Thebes, calls upon Tiresias to aid in the investigation of the killing of the previous king Laius. At first, Tiresias refuses to give a direct answer and instead hints that the killer is someone Oedipus really does not wish to find. However, after being provoked to anger by Oedipus’ accusation first that he has no foresight and then that Tiresias had a hand in the murder, he reveals that in fact, it was Oedipus himself who had (unwittingly) committed the crime. Outraged, Oedipus throws him out of the palace, but then afterwards realizes the truth.

Here we can see also, that in ancient Africa, the importance of both genders is an issue: the story of Mawu-Lisa.

MAWU-LISA is a complex deity worshiped in coastal West Africa by the Fon and most of the Ewe. Occasionally Mawu and Lisa are considered as separate deities; sometimes they are seen together as a complementary sexual pair. The issue is complicated because the Ewe peoples use the term mawu both to refer to God in a general way or to a specific deity.

http://Hablemos de Mitologías

As a specific deity, Mawu is seen as a creator, but she rarely has shrines, priests, or rituals dedicated to her. Among peoples such as the Fon, Mawu is conceived of as a female deity associated with the moon, and it is in this manifestation that she is most often paired with Lisa. Among the Fon, the cult of Mawu-Lisa was centered in Abomey, the capital of the old kingdom of Dahomey. Mawu is depicted as an elder female figure in conjunction with Lisa, a younger male consort. Other complementary qualities are seen in them. For example, whereas Mawu is associated with the moon (night) and is cool (gentle and forgiving), Lisa is associated with the sun (day) and is hot (fierce and punitive). Sometimes even their actions are complementary. In one mythic tradition, Mawu created the earth and then retired to the heavens. When she saw that things were not going well with men, she sent Lisa to make tools and clear the forests so that men could farm and live a civilized life.

So dear men, let’s forget about being Machos, and take it softly, take it easy. Have a nice weekend everyone 🙏💖🙏🤗

https://en.wikipedia.org/wiki/Hermaphroditus#:~:text=Hermaphroditus%2C%20the%20two%2Dsexed%20child,female%20figure%20with%20male%20genitals.

https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-and-maps/mawu-lisa

https://en.wikipedia.org/wiki/Tiresias

Nebamun hunting and fishing in the swamps …

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Nebamun was a middle-ranking official “scribe and grain accountant” during the period of the New Kingdom in ancient Egypt. He is thought to have lived c. 1350 BCE and worked at the vast temple complex near Thebes where the state-god Amun was worshipped. Wikipedia

Now let’s have another look at this endless fascination of the magic land Egypt; Our history. With forever thanks to dear Lady; Marie Grillot http://Marie Grillot for her brilliant description. 🙏💖

via https://egyptophile.blogspot.com/ ( http://feedproxy.google.com/~r/gyptophile/~3/DJyctbHIaNc/nebamon-chassant-et-pechant-dans-les.html?utm_source=feedburner&utm_medium=email ) translated from French.

Fragment of a polychrome painting of Nebamon, standing in a boat,f
hunting and fishing in the swamps
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt
Salt collection acquired by the British Museum in 1821 – Reference EA37977

On the frail skiff made of bundles of tied reeds, with the bow and the stern slightly raised, are three characters evolving in the luxuriant universe of a marsh, rich in vegetation, birds, birds, butterflies, and fish … Their presence – and that of the cat that accompanies them – seems to have stirred up this colourful and variegated fauna which cheers up with a rustle of wings.

Center is Nebamon, scribe and accountant of the grain in the attic of divine offerings at the temple of Amun at Karnak in the 18th Dynasty. He is shown standing in a position ensuring the balance necessary to launch the boomerang which he holds in his left hand. With his right fist, he grips the legs of several birds he has just captured and which are struggling to regain their freedom.

Fragment of a polychrome painting of Nebamon, standing in a boat, hunting and fishing in the marshes
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt
Salt collection acquired by the British Museum in 1821 – Reference EA37977

His face is lit by a stretched eye, surrounded by kohol. He wears a beautiful curly wig. Dressed in a white linen loincloth, nicely tied at the front, he wears an ousekh necklace in shades of green, white and red, as well as large bracelets. Three long lotus stems – a central one, the flower of which is open, the other two in the bud – fall from his shoulder.

Between her spread legs, occupying the centre of the skiff, a young girl – probably a child of the couple – is kneeling. She is depicted naked and wears the lock of childhood, composed of tight braids that reveal a tiny part of a large earring. This is not the only jewel that adorns her: she has multiple gold rings around her arms, an ousekh necklace that partially covers her shoulders, and another set with the golden pendant reaching her height. bellybutton …

Fragment of a polychrome painting of Nebamon, standing in a boat, hunting and fishing in the marshes
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt
Salt collection acquired by the British Museum in 1821 – Reference EA37977

Her attitude is curious: her face, lit by a stretched almond-shaped eye, is turned backwards, while the action unfolds in front of her … Charming details are to be noted, such as her right hand which encloses his father’s calf as if to cling to him; her little fan-shaped toes, and this bouquet of lotuses, one open and three in buttons, which she is holding in her left hand …

Fragment of a polychrome painting of Nebamon, standing in a boat, hunting and fishing in the marshes
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt
Salt collection acquired by the British Museum in 1821 – Reference EA37977

Standing at the stern is Hatshepsut, the wife of Nebamon and presumably the mother of the child. She is wearing an elegant long pleated dress and a shawl, also pleated, in yellow. Her pretty wig with fine braids, adorned with a headband and lotus stems, is topped with a cone of ointment. His left arm is stretched along the body while his hand encircles one or two partly damaged “accessories”: a Menat, a Sistrum? Her right arm is bent and, in her hand, brought to her chest, she holds a magnificent bouquet of lotus. These flowers – symbols of rebirth – are extremely present throughout the “painting”.

Fragment of a polychrome painting of Nebamon, standing in a boat, hunting and fishing in the marshes
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt
Salt collection acquired by the British Museum in 1821 – Reference EA37977

The environment is magnificent. On a white background, multiple species of birds, with colourful plumages, fly away. One, no doubt more reckless, landed at the bow of the boat, while three others, less fortunate, fell prey to the tawny tabby cat… The cats were family pets, but he is shown here because a cat could also represent the Sun God driving out enemies of light and order. His unusual golden eye alludes to the religious meanings of this scene, says the British Museum.

Fragment of a polychrome painting of Nebamon, standing in a boat, hunting and fishing in the marshes
Provenance: Tomb of Nebamon – Theban Necropolis (location lost today)
Discovered in 1820 by Giovanni d´Anastasi on behalf of Consul Henry Salt

Salt collection acquired by the British Museum in 1821 – Reference EA37977

Eggs, oval and white, are in a nest which seems to be placed on the magnificent bouquet of papyrus which blooms in infinite grace… To this is added the presence of a few butterflies with outstretched wings that we seem to see fluttering…
The aquatic life appears just as dense … In the blue river, whose waves are nicely rendered, large fish swim between the lotuses …

We have to understand that the size differences in the treatment of subjects are voluntary: thus, Nebamon appears very imposing compared to his wife; the same goes for birds or fish that seem “larger than life” …

This scene is of a freshness that is part of accomplished art. There is no doubt that it is the work of an artist (or several?) Of great talent: a naturalist as gifted as a portrait painter, and marvellously tracing the hieroglyphics as the eight vertical registers of great quality also prove …

Detail of the hunting and fishing scene in the marshes in the tomb of Nakht and his wife Taouy (TT 52)
Theban Necropolis – Sheikh Abd el-Qurna
TT52 la tombe de Nakht et de son épouse Taouy nécropole thébaine, vers le bas de la partie nord de la colline de Sheikh Abd el-Gournah,

This hunting and fishing in the marshes can be found in the iconography of many tombs. We cannot help but compare this scene to those that can be admired in particular in the tombs of Nakht (TT 52) and Menna (TT 69). The style, just like the spirit and the composition, are really similar, Even if everything here seems more “finished”.

The British Museum takes a deeper look at this “painting”: “It is more than just an image of recreation. The fertile marshes were seen as a place of rebirth and eroticism. The hunt for animals could represent the triumph of Nebamun on the forces of nature as he was reborn. The huge ‘striding’ figure of Nebamun dominates, ever happy and ever young, surrounded by the rich and varied life of the swamp. “

As for Thierry Benderitter, in his excellent site: Osirisnet.net, he analyzes the identical scene of the TT 52: “The swamp and its high papyri (which can only be found in the Delta) represent the same thing for the deceased as the marshes of Chemmis for the child Horus, a place away, where he can grow up, and which must be protected from the Isfet. We find all this: the forces of evil (the Isfet), represented by the birds (which do not belong to an organized world) must be fought, as they threaten the reborn deceased as Seth threatened Horus “.

Henry Salt (Lichfield, UK – 14-6-1780 – Alexandria, Egypt – 30-10-1827)
diplomat, the British consul in Egypt from 1816 to 1835, collector of antiques

Nebamon’s tomb was discovered at the beginning of the 19th century by Giovanni d’Athanasi. His real name: Demetrio Papandriopulos, a son of a Greek merchant living in Alexandria than in Cairo, entered the service of the distinguished and elegant British Consul General, Henry Salt when he was barely 20 years old. For nearly a decade, this keen collector of antiques, and his main “agent” Giovanni Battista Belzoni, took “Yanni” on their travels. The travellers, communicated to him about their passion for excavations and antiques. Then with general permission, granted by Muhammad Ali Pasha of Egypt, Belzoni led campaigns mainly in the Theban region, and in the years 1817-19, he built up a remarkable collection of large and important sculptures from the eastern and western shores of Thebes “(N. Strudwick, Masterpieces of Ancient Egypt, London 2006).

When the collaboration of Salt and Belzoni ended in 1819 Athanasi quite naturally replaced him in the field. Salt trusted him completely, he appreciated his ability to estimate the quality and value of antiques, as well as his sense of commerce. Thus, he supplied the Salt collections while building his own personal collection.

The house was built by Consul Henry Salt in Gournah in the years 1815-1820
and in which, settled in particular Yanni – Giovanni d’Athanasi

The consul had built a house in Qurna, a small fortress in which, Athanasi settled among the villagers. He integrated very well, benefits from their good knowledge of the Theban mountains, offers them work in excavation sites, and got informed of all traffic. He was also the neighbour of John Gardner Wilkinson with whom he seemed to have a good relationship.

Is it thanks to this positive “relational environment” that he discovered, in 1820, the tomb of Nebamon?

Map of the west bank of Luxor (source narmer.info): the necropolis of Dra Abu el-Naga is located at the top right)

Its location is unfortunately lost today, but it might be located in the necropolis of Dra Abu el-Naga and it dates from a period of flourishing arts: “Stylistically, the magnificent murals can be dated either to the last years of the reign of Amenhotep III (1390-1352 before our era), i.e. the first years of his successor “.

Eleven panels painted on plaster were taken from the chapel and sold by Consul Salt to the British Museum in 1821. This hunting scene in the marshes, 83 x 98 cm, was recorded under the reference EA37977. The Museum also specifies that “other fragments were found in Berlin and perhaps even in Cairo” …

Marie Grillot

Sources:

https://www.britishmuseum.org/collection/object/Y_EA37977 The conservation and redisplay of the Nebamun Wall paintings https://m.britishmuseum.org/research/research_projects/complete_projects/nebamun_wall_paintings.aspx?fbclid=IwAR3M-6gXA5if6zUMMnTkx3KpnVVinf1U4ctMZVReNWFczJrWsW8lfLEsnTE Project team RB Parkinson, project leader

http://www.britishmuseum.org/explore/galleries/ancient_egypt/room_61_tomb-chapel_nebamun/nebamun_animation.aspx

THE BRITISH MUSEUM DICTIONARY OF ANCIENT EGYPT BY IAN SHAW PAUL NICHOLSONby IAN SHAW-PAUL NICHOLSON, 1995

https://archive.org/stream/THEBRITISHMUSEUMDICTIONARYOFANCIENTEGYPTBYIANSHAWPAULNICHOLSON/THE%20BRITISH%20MUSEUM-DICTIONARY%20OF%20ANCIENT%20EGYPT-%20BY%20IAN%20SHAW-PAUL%20NICHOLSON_djvu.txt N. Strudwick, Masterpieces of Ancient Egypt, London 2006, pp. 170-3.

https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun

Paintings from the Tomb-chapel of NebamunP. Kozloff, B. Bryan, and M. Berman, Egypt’s Dazzling Sun, Cleveland 1992, p. 299 [Pl.31] = Le Pharaon-Soleil, Paris 1993, p.238 [Fig.IX.23].At the dawn of Hellenic Egyptology and the constitution of Egyptian collections: New discoveries on Giovanni d’Anastasi and Tassos Neroutsos, Tenth International Congress of Egyptologists, Vassilis Chrysikopouloshttps://www.academia.edu/2000910/A_l_aube_de_l_hellenic_égyptologie_and_de_la_constitution_des_collections_égyptiennes_Des_nouvelles_découvertes_sur_Giovanni_d_Anastasi_et_Tassos_Neroutsos_Egyptologists_Tongenthress_

http://osirisnet.net/ Osirisnet.net https://www.osirisnet.net/tombes/nobles/nakht52/nakht_05.htm https://www.osirisnet.net/tombes/nobles/menna69/menna_08.htm

http://Nebamon hunting and fishing in the swamps …