http://Lewis Lafontaine Carl Jung Depth Psychology
I am a little confused at the time (I hear you shout!!) I will come to my point later. Now, let’s take refuge to my (or might yours too?) Master to take a breath.
With great thanks to Lewis Lafontaine, who does work hard for letting us know more about this genius. I am getting old, I know it, even the peoples around me don’t believe it. 🙏💖💖
After a hard struggle I have come a piece of the way nearer to you. How hard this struggle was! I had fallen into an undergrowth of doubt, confusion, and scorn. Only the love of those, to whom I gave love, saved me from the darkness. ~Carl Jung, The Black Books, Vol. II, Page 165
In memory of Hermann Sigg,/ my very dear friend,/ died on 9 January 1927.
At his tower in Bollingen, Jung painted a mural bearing a stone-carved inscription in Latin and describing the culmination of the process of the rebirth of the divine that forms a central theme of Liber Novus and the Black Books.
The Sphinx “This is where the God is buried,/ this is where he arose. / like the fire inside the mountains,/ like the worm from the earth,/ the God begins. / like that serpent from ashes, / like the Phoenix from the flames, / the God arises / in a wondrous way. / like the rising sun, / like flame from the wood, / the God rises above. / like ailment in the body,/ like the child in its mother’s womb,/ the God is born. / He creates divine madness,/ fateful errors,/ sorrow and heartache./ like a tree / man stretches out his arms / and sees himself/ as a heavenly man / that he did not know,/ facing the world’s orb / and the four rivers of paradise. / And he will see the face / of the higher man and spirit, / of the greatest father / and the mother of God. / And in an inconceivable birth / the God frees himself/ from man / from image, / from every form, / while he enters / the unimaginable and absolute / secret./ In memory of Hermann Sigg,/ my very dear friend,/ died on 9 January 1927.” ~The Black Books, Vol. VII, Page 239, fn 252
Hermann Sigg (1875- 1927) was a businessman and a close friend and neighbor of Jung’s and the founder, in 1904, of Haus Sigg & Co., which specialized in olive oil and had plantations and factories in Tunisia, Spain, and France.
Jiddu Krishnamurti was a philosopher, speaker and writer. In his early life, he was groomed to be the new World Teacher, but later rejected this mantle and withdrew from the Theosophy organization behind it.
A spiritual man who has believed in no difference between religions, caste or philosophy but the self.
… woke up early with that strong feeling of otherness, of another world that is beyond all thought … there is a heightening of sensitivity. Sensitivity, not only to beauty but also to all other things. The blade of grass was astonishingly green; that one blade of grass contained the whole spectrum of colour; it was intense, dazzling and such a small thing, so easy to destroy …
This experience of the otherness would be present with him in daily events:
It is strange how during one or two interviews that strength, that power filled the room. It seemed to be in one’s eyes and breath. It comes into being, suddenly and most unexpectedly, with a force and intensity that is quite overpowering and at other times it’s there, quietly and serenely. But it’s there, whether one wants it or not. There is no possibility of getting used to it for it has never been nor will it ever be ..Krishnamurti’s Notebook
Here are three poems with or among Krishnamurti’s descriptions about love. I translated it from Greek, and I don’t know if these poems are from him. I couldn’t find them on the web.
Anyhow, all a wonderful lesson and enjoyable mind. 🤗💖
1. IN MY HEART In my heart they fight for you: love with love; desire with affection; jealousy with goodness; tenderness with violence; lust with purity; care with indifference; the serious with the ridiculous; joy with sorrow;
compassion with anger; anxiety with peace; fear with himself; yesterday with today; tomorrow with now. My only weapon – despite all this – is my Innocence. In my heart, I fight for you with centuries of human sorrow, with centuries of infinite human pain, with centuries of dependence, with centuries of loneliness, with centuries of despair, with centuries of need for love, with centuries of pursuit of pleasure , with centuries of fear of death.
Inside my heart you sink slowly like poison and pass into my veins, flooding everything inside me, last test before passing through the door behind it waiting patiently the Freedom that has no name, the Love that is there for everyone.
marias-couple-sitting
The kind of love we feel now is something full of sadness; the love we know has sadness, bitterness, frustration; the pain of this love is martyrdom; in it, we know fear and bitterness. And we can not escape this love, even though it is martyrdom. The fool blames love, without understanding the cause of pain; if you do not know its conflict there is no pain beyond reason. If you do not become aware of the source of the conflict, of the feeling of dissatisfaction, then love brings pain. It is the feeling of dissatisfaction that brings pain and not love. It is the feeling of dissatisfaction and not the love that creates the addiction and all the sad issues that are born.
2. THE END That morning, he visited his love story.
It was there, with the incredible quality of beauty that has something old, worked overtime. It was there, like an old huge house, with many rooms, closed windows and empty. People had left Taking the furniture with them, to take it to another house, to another story. But the house still had the atmosphere of those people’s story and you could feel it, relive their whole story deeply – without emotions – with a strange sense of peace. In the morning he had entered the house and was walking around the empty rooms, sucking all the feeling that was in them. He wanted to see and learn. And then it would come out forever.
marias-couple-standing
If you want to understand the issue of sexual intercourse, do not try to solve it separately away from other human problems. It’s all one. The act of love becomes a problem when there are frustrations. When our work, which should be the true expression of our existence, becomes merely mechanical and becomes stupid and useless, then there is frustration; when our emotional life, which should be rich and complete, is torpedoed by the phobias, then there is frustration; when the mind that should be awake, flexible, unrestricted, bends under the weight of tradition, self-defence memory, ideals, beliefs, then there is frustration. Thus, the act of love becomes an overemphasized and unnatural problem. When there is fullness, there are no problems. When you are fragile in love, the act of love is not a problem. For, the man for whom the act of love is a simple sensual pleasure, it becomes a pressing problem that devours his mind and heart….
You opened the shutters and the sun swept everything. It took you a while until your eyes got used to it. The mourning was over. As they stood at the window, you took a deep breath and were flooded with life and gratitude. You may have learned to accept death. Maybe you ‘learn to stay with what happens to you, what if it’ is, to learn deeply about it with him. What tremendous freedom not to run away! Maybe you learned to look inside, quietly, without blaming anyone for what is happening to you. Maybe you have learned to look inside you with compassion and care and so, without trying, leave the window open to divine Denial, without putting it running on your feet. The blessed “crisis” that for the first time you were not afraid to come whenever She wants to end. Now the mourning is over. What a strange discovery: even after the death of love there is mourning! Just like when someone you love dearly dies and every now and then you take a few flowers to his grave and “tell” him a word. Yes, there is mourning after the death of love. And then nothing. Vacuum. Only something shines at one end of your heart. The holy pain that you sat and felt, and looked inside her like in a mirror. The sadness that you felt all over, knowing now that it is not only yours. Love, his path to death, his death, mourning for him and then emptiness.
What an incredible beauty! The sun comes in through the window and refills the living room. If only one could stay still with the vacuum, forever. Who knows…
marias-woman-leaving
*
You are attached to someone and you see the whole history of attachment: what it includes, its whole structure, its nature, its consequences. And at some point, you finish it. What happens then? Go slowly, what happens; The person, of course, is still there. If you were attached to this person before and you are no longer, you are not complete, what happened? A change was made, right ?. What does that mean? Did the memory that you cling to you, fade away? Just the moment you completely gave up clinging? This is very important to see if you have done it. Why; What happens; When I was attached, the whole recording mechanism worked. So; Now that I am not at all attached, the recording mechanism has stopped. If it has not stopped, then it means that the attachment continues, perhaps in a different way. Now: When the mind was freed from attachment, what recorded, has been erased, right? This is the issue: There is no psychological memory. I tell you – if you do – there will be no memory. It is one thing to forget something and another to not have its psychological memory. Let’s take another example: suppose I have been hurt. The memory of this wound, the feeling of the wound is always there. If, now, I erase this wound, then with this erasure, with the cleansing, there is never again the feeling that I have been wounded. Yeah Al that sounds pretty crap to me, Looks like it ain’t for me either. You can’t even recall it – psychologically. You practically remember the fact, but if you want to put the emotion back there, you can not remember it, you can not recall the state of your mind or emotions are hurting…
Democracy is one of the oldest concepts of a word which still can’t be understood. Honestly, it is indeed a very complicated issue.
If you’ve guessed, you’re right! My motivation to write this post is what happened on Wednesday in the US Capitol in Washington DC. I couldn’t really believe what I was watching on this very evening on the TV screen, first, I thought that it was a report from one of those so-called “the third world counties” in which it happens after an election, and the oppositions don’t want to accept the results and want to storm the Parlement. The story was the same but, it was happening in a country that I’d never expect: The United States of America, one of the oldest countries in the matter of democracy and freedom.
“Democracy is a charming form of government, full of variety and disorder, and dispensing a sort of equality to equals and unequal alike.” Plato
It broke my heart when I saw these all scenes. It shows how fragile we are, I mean we, who try to do the right things; begins with love and not hate, with respect and without prejudge.
Here Dr C. G. Jung described the heart of the matter;
Although, it is not something new, as we can remember through history. In the years 1933-38, The NSDAP had begun with terror to set its violent on power.
And also, I can tell you a lot of such terrors, which in Iran, whenever the call for freedom became louder, there were cudgels to make all silent. We don’t have to forget the terrors by the Islamists, especially in the 21st century. It began with the catastrophic World Trade Centre it was the abuse of western democracy. But, as I am always convinced, it is not all based on one person (Hitler, Stalin, Khamenei, Erdogan, Putin, Viktor Orban, Jarosław Kaczyński, a lot of potentates from African countries, or even Donald Trump, as he wished to be). They are all an idol figure for helpless and ignorant folks, but, as Hannah Arendt has announced after the Eichmann Process. (I have written an article thereabout https://lampmagician.com/2020/10/10/hanna-arendt-a-solitary-genius/ it is because of many other reasons which we might call it all together “The ignorant Mass”. They are all made by us! I think that it is all about education. It helps us to know our environment and subsequently our inner soul, that is a matter of individual.
In fact, Democracy is difficult to progress, and it needs a lot of knowledge to comprehend. Here are three brilliant quotes by Plato:
“Mankind will never see an end of trouble until lovers of wisdom come to hold political power, or the holders of power become lovers of wisdom”
“Dictatorship naturally arises out of democracy, and the most aggravated form of tyranny and slavery out of the most extreme liberty.”
“Beauty of style and harmony and grace and good rhythm depend on simplicity.”
Anyway, we are, without doubt, fragile until, we begin to know and accept our inner soul: the dark side and the bright side. We can afford it for sure. Love wins at the end. 🙏💖💖🙏
On and on the rain will fall Like tears from a star like tears from a star On and on the rain will say How fragile we are how fragile we are
Fascinating Egypt. There is again, an article from this magical and still mysterious country. With heartily thanks to Marie Grillot http://Marie Grillot
Statue of Ramses III in Amun sign holder – grey granite New Kingdom – XXth Dynasty – Reign of Ramses III Discovered by Georges Legrain, February 10, 1905, in the Hiding place of Karnak K 525 – Cairo Museum: JE 38682 – CG 42150
In 1903, Gaston Maspero, director of the Antiquities Service, gave Georges Legrain, at the “Direction des travaux de Karnak”, the instruction to: “excavate a little-known part of the temple, preferably around the sacred lake”. After reflection, he chooses the courtyard of the seventh pylon… Luck or chance? Still, after the discovery of many blocks dating from the Middle and the New Kingdom, by lifting a stele of Seti I, he made, on December 26, an incredible discovery …
This is a pit, 10 to 15 meters deep, full of water, in a way a “deposit” in which were “stored” statues: “voluntarily buried and covered in ancient times”. Their extraction will prove to be very difficult, and very long too since it will continue for no less than five seasons (1903-1907). Gaston Maspero specifies that: “nearly 800 statues and 17,000 bronzes” will be extracted!
On December 26, 1903, Georges Legrain, Director of Works at Karnak discovered, in the courtyard of the seventh pylon, “Karnak’s hiding place” From this pit will be extracted “nearly 800 statues and 17000 bronzes” specifies Gaston Maspero
The Egyptological contribution of this “Hiding place of Karnak” will be considered and truly well documented, thanks to the notes, sketches, surveys and photos of Georges Legrain.
It was on February 10, 1905, that he noted the updating of this statue-bearer of Ramses III “found in numerous adjusted pieces”. The breaks are particularly visible at the waist and under the knees. And, what is even more regrettable is that the lower legs and feet were not found …
1.39 m high, it is carved in the round, with mastery craftsmanship, in a “speckled” grey granite. The sovereign is represented in the attitude of walking, left leg slightly forward. Despite the mutilations, and the shortages, the nobility is there and the port is “royal”!
Statue of Ramses III in Amun sign holder – grey granite New Kingdom – XXth Dynasty – Reign of Ramses III Discovered by Georges Legrain, February 10, 1905, in the Hiding place of Karnak K 525 – Cairo Museum: JE 38682 – CG 42150
The hairstyle is a marvel in its realization, with its locks braided finely on the top of the head, then more loosely around the edges. “The head is covered with a neck cover (of a Taquyah) over which is placed a large wig, with many locks, adorned with a uraeus. The anterior and lower ends of this hairstyle fall to the pecs “specifies the discoverer in” Statues and statuettes of kings and individuals “.
The face is perfectly symmetrical and hardly suffers from the slight mutilation of the nose. The almond-shaped eyes are topped by arched eyebrows. The palate, rather small, does not lack charm. In their “Official Catalog Egyptian Museum of Cairo”, Mohamed Saleh and Hourig Sourouzian deliver this beautiful analysis: “The physiognomy is that of a sovereign in the beauty of youth, the face conforms to the final stage of a Ramesside iconography which will henceforth go on degenerating until the fall of the New Kingdom “.
Statue of Ramses III in Amun sign holder – grey graniteNew Kingdom – XXth Dynasty – Reign of Ramses IIIDiscovered by Georges Legrain, February 10, 1905, in the Hiding place of KarnakGeorges Legrain: K 525 – Cairo Museum: JE 38682 – CG 42150
Even if her waist is slim, the body appears powerful with its broad shoulders and marked pecs. Francesco Tiradritti describes the refined Shendyt thus: “The king wears a sophisticated loincloth, quite common in Ramesside statuary. The tight folds of the fabric converge on the front, where they are covered with a kind of tiny, richly decorated apron. in the centre, a little below the belt is a leopard’s head from which descend four bands which evoke the design of a feather. At the bottom, five uraei have been carved with a solar disk on the head.
Statue of Ramses III in Amun sign holder – grey granite
New Kingdom – XXth Dynasty – Reign of Ramses III
Discovered by Georges Legrain, February 10, 1905, in the Hiding place of Karnak
K 525 – Cairo Museum: JE 38682 – CG 42150
Published here in “Statues and statuettes of kings and individuals”, G. Legrain, Henri Hauthier, 1906
He thus continues his description, focusing on the particular side of the statue: “the sign” or “the standard”. “The left arm supports a standard at the top of which has been placed a ram’s head. It is the emblem of the god Amon-Re, as confirmed by the column of hieroglyphics executed on the pole, on which are also indicated four of the five names of the sovereign. Cartouches with the names of Ramses III are also chiselled on the shoulders and the buckle of the belt. On the left side of the statue, in the space between the left leg and the right, there is represented the image of the crown prince, wearing a ceremonial robe and holding a fan in his hand “
Mohamed Saleh and Hourig Sourouzian specify the role of these statues of such a particular type: “The royal statues holding the sign of a deity are related to the festivals that took place in the temples, during which we walked in procession, the boat and the sacred stake of the god. The king, who is supposed to lead the festival in person, perpetuates this moment by statues carrying signs placed at the entrance of the temples “. So Ramses III donated it to the temple of Karnak …
Ramses III represented on the walls of his tomb in the Valley of the Kings – KV 11 – XXth dynasty Tombe de Ramsès III – KV 11XXème dynastie
Succeeding his father Setnakht, founder of the 20th Dynasty, he reigned over the Two Lands from 1186 to 1154 BC, that is to say for more than 31 years. He died, it seems, in his 65th year following a palace conspiracy… His memory remains very present on the west bank of Thebes, by its great temple of millions of years in Medinet Habu, and by its magnificent tomb of the Valley of the Kings (KV 11)…
When it was discovered, this statue was recorded by Georges Legrain K 525 (Cachette de Karnak). Restored and basked, it was recorded in the Journal des Entrées of the Cairo Museum, JE 38682 and in the General Catalog CG 42150.
KV11, one of the largest tombs in Luxor Most tombs have a long, straight corridor — but this one takes a slight turn because it ran into a neighboring burial site!
That is truly a special event when the literature meets (or clashes in? sometimes!) with the movie. Oh yes! I have another movie to present here. 🤓😅🙏💖
This is a novel, written by John Irving. It’s an almost fairytale, full of dreams, sorrow and adventures, and a Bear. It is unconventional, like almost all the good novels!
You know! I think that an artist doesn’t need to be conventional, even must be unconventional.
Here is a short describtion by Wikipedia:
“Based on the novel by John Irving, this unusual comedic drama follows the exploits of the eccentric hotel-operating Berry family. While there are many strange dynamics between the various members of the Berry clan, arguably the most unconventional is the almost incestuous relationship that young, handsome John (Rob Lowe) has with his pretty sister, Franny (Jodie Foster). As the patriarch, Win (Beau Bridges), tries to keep his family together, unexpected events occur, changing them all forever.”
In my opinion, this movie is a masterwork because, as the director Tony Richardson http://Tony Richardson wanted to be faithful to the book, John Irving was complaining, that it might be too faithful! Perhaps he knew his book is very freely and bohemian, therefore, was afraid of a flop. And it became almost a flop but only in the US and not in Europe.
Actually, making movies, based on novels has never been easy, and it comes very rarely that it goes well. I myself was often disappointed when I watched a movie, which made on a novel that I have read before. As we all (the older of course) might remember, Ernest Hemingway couldn’t endure more than a few minutes in the cinema to watch films made from his books and left there angrily. Therefore, I’d prize such filmmakers like Richardson with their faithfulness to books.
This movie was not so successful in the US, as it’s been waiting. It was too unconventional for such a conservative society like of the Americans. Hemingway once wrote: an American, as an individual, is very enjoyable, but in the masses, they are boring or sometimes, even horrible.
Rob Lowe later said “When some studios do get a good movie, a movie that’s different, they kill it. Orion – I hate that studio; I won’t work for them again for all the money in the world – releases Hotel New Hampshire with a cartoon of a bear: people thought they were going to see Garfield the Cat. Then they change it to a bicycle for five: people thought they were going to see the Von Trapp family!!!!
That’s it! I have not a chance to be conversational because of growing up with so many artists all around! This movie is a good one, believe me even with so many stars. You might know that a good-made-of literature movie with stars could be mostly miserable, but this one, despite such wonderful actors, has sealed the goal.
I have found the full movie here if one like to watch it on YouTube. Have a lovely weekend everybody. 🙏💖
http://17th Century Guido CAGNACCI Allegory of human life [L’Allegoria della vita umana] Unknown Oil on canvas 110 x 86.5 cm [HxW] Private Collection
This Allegory of Human Life is one of the principal paintings in the career of Guido Cagnacci; it was already recognised as such during the 17th century when it was prominently displayed in the Palazzo Magnani in Bologna. When Senator Magnani commissioned Gian Gioseffo Del Sole (1654–1719) to paint a Divine Love as a companion piece, Del Sole’s effort, despite his great talent, faded to insignificance next to Cagnacci’s Allegory (Zanotti 1739, I, p. 306; Pasini 1986, pp. 255–59). Indeed, this buoyant young woman is one of the most realistic and unshamedly erotic nudes ever painted by an Italian old master.What Caravaggio http://Caravaggio had done for the male nude, Cagnacci now accomplished for the female: both painters declined to stylise their naked models. As a twenty-year-old graduate of Guido Reni’s workshop, Cagnacci had gone to Rome at the height of Caravaggio’s revolutionary influence. He was deeply impressed. Not until Courbet in the 19th century do we sense as we do in Cagnacci’s Allegory that the artist’s intention is to transform a portrait of his studio model, posed completely nude, into a work of art.The nude young woman is surrounded by symbols of time’s passage and the decay of all things. The painting would be a straightforward discourse on vanitas — replete with guttering candles, hourglass, flowers, skull, and ruined block of architecture — were it not for the serpent suspended in the air. The snake that devours its own tail to sustain its life is the ouroboros, an ancient symbol of the cyclical regeneration of life out of death. This Allegory of Human Life thus appears to be a unique proposal of an “anti-vanitas”. Instead of the standard lament that “all is for naught”, Cagnacci maintains that feminine pulchritude and fecundity are fundamental to the eternal cycle of creation. John T. Spike.
The painting from the 17th and 18th century in Italy has always fascinated me. There are lots of beautiful Masterworks, which we find them fabulous and admirable every time.
Here is another fascination, Guido Cagnacci. He is one of the Masters in showing inside of the soul (especially women). This inside is sinister; it comes from the dark side of the soul. No wonder that these have often used with the quotation of Dr Carl Gustav Jung. Let’s enjoy it despite its darkness.
Guido Cagnacci was an Italian painter originally from Santarcangelo di Romagna. Associated most readily with the Baroque period, his mature works are characterized by their use of chiaroscuro and their sensual subjects. He was influenced by the masters of the Bolognese School. Wikipedia
It was a year for us all, to carry so much pain, fear and grief. And worst of all, ignorance about ambiguities; the unknown and so many questions remain. But life is spinning continuous, and we are just a part of this huge wheel, in which we’re spinning within.
Tonight, some of us might be in small circles with friends and family, and some of us might be alone. I remember in Silvester 2015, because of some discord, I was left alone. I began to enjoy my solitude, and even I found this quote which helped me a lot.
Anyway, we might don’t know where we are going, but we are on our way.
I wish you all dear friends, happy and healthy new year. Take care and be safe. The show must go on.
My soul is painted like the wings of butterflies. Fairytales of yesterday will grow but never die. I can fly, my friends.
You can surely guess three times 😉😅 but there could only be one of the loveliest writers of all time: Charles Dickens. I think it’s almost known that Charles Dickens is one of my most favourite writers. And I want to present you this movie because this Walt Disney production is not the same as the other many many different versions from the novel.
I’ve coincidentally seen it on the TV magazine some months ago and had recorded to watch it later. But I had got no time, until some days ago I saw it in my recorded list still waiting to be seen. Therefore, I said to my wife; we could watch this film tonight, she agreed. I tell you: I’d never expected that this movie could make me so emotional. The tears almost running on my cheeks as we were watching the movie. My wife was quite shocked as she saw me, but she also knew my feeling about good movies. That is a family habit to enjoy well-made films.
Honestly, it was almost an accepted norm for us (first mother, then Al and me) that we always gladly and with pleasure watched the well-made movies, and had let our feelings run free (mostly from the lacrimal glands). It’d sound strangely for some people somehow, but in any case, we could not get rid of it.
The Christmas Carol is certainly one the best-known Christmas stories which have been ever written and a lot of movies have been made on this novel. But the interesting point is that this version shows how Dickens would come to create such a fascinating tale. It might look like a cliche somehow, but in my opinion, it shows how Dickens had to fight with his dark side to find the bright side of his own soul.
The story is one of the best Christmas stories with no doubt, but in this movie, it shows how fascinating is the imagination by the author himself. I must remember; Mark Twain with his Tom Sawyer & Huckleberry Finn or James Matthew Barrie with his Peter Pan. And here, we see the characters of Dickens’ Christmas Carol are also companion him.
And it moved my heart and wet my eyes when I saw how Dickens is under pressure to finish with his story, it reminded me of my father’s stress. Our mother told us later, after his death, how he had to finish his story late in the evening, as the newspaper courier was waiting to get it to the publisher on time.
That is a well-made movie of this Christmas story, to use Dickens personally, in the role of himself as the main character. I hope you will enjoy. 🙏💖
It was released by Bleecker Street in the United States on 22 November 2017. [4] and in the United Kingdom on 1 December 2017. It received positive reviews from critics. [5]
Stele dedicated to the Boukhis bull by Ptolemy V – painted and gilded limestone – Ptolemaic period – Reign of Ptolemy V – year 25 – 181 BC. J.-C. discovered during excavations funded by Sir Robert Mond and conducted by the Egypt Exploration Society in 1929-30, in the Bucheum d’Arment (Hermonthis) Egyptian Museum in Cairo – JE 54313 (museum photo)
It is another fascinating Stele of the history of Egypt, of all human history. and I promise that it’s the last one… this year! 😉 With as always great thanks to Marie Grilott for her brilliant description. Happy holidays and a much better new year.🙏💖
This stele, in painted and gilded limestone, is 72 cm high, 50 cm wide and 14 cm thick. Dated from the Ptolemaic period, it is arched in shape. As Auguste Mariette specified: “Until the XIth Dynasty, the stelae were quadrangular … But from the XIth Dynasty, the stele took the form that it only abandoned on rare occasions. It was rounded off by above as if it were intended to recall the curvature of the sky or that of the lids of sarcophagi “. It also explained its symbolic design: “The top of the stele is supposed to lose itself in the sky. As we descend downwards, we approach the earth. In other words, the stele is divided into three areas. “.
This “Stele dedicated by Ptolemy V to the Boukhis bull” reveals a particularly rich and harmonious chromatic palette combined with very interesting iconography. Its registers are declined differently, but the central part having, it seems, received the greatest attention.
Stele dedicated to the Boukhis bull by Ptolemy V – painted and gilded limestone – Ptolemaic period – Reign of Ptolemy V – year 25 – 181 BC. J.-C. discovered during excavations funded by Sir Robert Mond and conducted by the Egypt Exploration Society, in 1929-30, in the Bucheum d’Arment (Hermonthis) Egyptian Museum in Cairo – JE 54313
The hanger is dominated by a winged sun disk which completely conforms to its shape. Just below is reproduced a composition rich in “symbolism” and symmetry. “In the center of the scene is a scarab supported by a djed pillar flanked by two snakes facing each other and capped with the solar disk; these uraei are surrounded by vertical inscriptions evoking the ‘Great god of Behedet, with multicolored feathers'” analysis Rosanna Pirelli in “The treasures of the Egyptian Museum”. On either side is a seated Anubis, treated hastily; preceded by an emblem and vertical lines of hieroglyphics, he carries a flagellum.
The central part is divided into two “sections”, the most important is linked to the divinity to which the stele is dedicated: the Boukhis bull. He is represented with great precision with precise respect for his anatomy, perfectly reproducing his muscles and his power. Between its horns is placed “its” crown composed of a solar disk with two uraei surmounted by two high feathers: “The bull identified with Ré, bears the epithets ‘living soul’ and ‘herald of Ré'” specify Mohamed Saleh and Hourig Sourouzian (Official Catalog Egyptian Museum in Cairo).
Stele dedicated to the Boukhis bull by Ptolemy V – painted and gilded limestone – Ptolemaic period – Reign of Ptolemy V – year 25 – 181 BC. J.-C. discovered during excavations funded by Sir Robert Mond and conducted by the Egypt Exploration Society, in 1929-30, in the Bucheum d’Arment (Hermonthis) Egyptian Museum in Cairo – JE 54313
His dress, which we imagine soft and lustrous, is painted in gold and the whole stands out against an incredibly bright blue background, offering a striking contrast between the two colors.
“Behind the bull, Montu appears in his usual falcon form, as he was worshipped in Thebes. Opening its wings, the falcon grips a fan and the ring of duration. Associated with Rè-Harakhty, Montou is qualified of ‘great god, Lord of the On of the South’, that is to say, Thebes “(Mohamed Saleh and Hourig Sourouzian). Facing the bull is Pharaoh, in the attitude of walking, left leg forward. Richly dressed and adorned, his body is treated in ocher-red colour. “In front of the altar, King Ptolemy V, standing, offers the sign of the field (Sekbet) to the Boukhis bull. Wearing the blue crown, he wears a ceremonial loincloth with a rigid lap and a bustier; bracelets and a golden necklace adorn his arms, wrists and neck. The seven columns of hieroglyphics carved above the pharaoh mention the names of the god Bukhis, king Ptolemy, his wife Cleopatra and again quote the sun god, Lord of Behedet. A formula of protection and formula of the offering are inscribed, respectively, behind and in front of the pharaoh, “explains Rosanna Pirelli.
Stele dedicated to the Boukhis bull by Ptolemy V – painted and gilded limestone – Ptolemaic period – Reign of Ptolemy V – year 25 – 181 BC. J.-C. discovered during excavations funded by Sir Robert Mond and conducted by the Egypt Exploration Society, in 1929-30, in the Bucheum d’Arment (Hermonthis) Egyptian Museum in Cairo – JE 54313
The lower part of the stele is mostly inscribed. “At the bottom of the stele, a text of five lines, which gives very precise dates, tells us that the Boukhis, who died in the twenty-fifth year of the reign of Ptolemy V and of Cleopatra I, was born in the year 11, and that the duration of his life had been fourteen years ten months and twenty-four days. In fact, this last statement is false: it is easy to redo the calculation oneself and to find that the bull in question did not live only thirteen years ten months and twenty-eight days “analyzes with relevance Jean-Pierre Corteggiani.
The image of the bull, a robust, belligerent, invincible animal endowed with great sexual vigour, was “endorsed” by the pharaohs who did not hesitate to call themselves a “powerful bull”. Thus, as Isabelle Franco specifies: “particular bulls were chosen to become the terrestrial receptacle of certain gods”.
In Memphis, people worshipped Apis, the sacred animal of Ptah; Mnevis, him, was the solar bull of Heliopolis, while the Theban region honoured the Boukhis bull. The sacred animal of the “palladium of Thebes”, it was venerated in the sanctuaries of Tod, Medamoud and Ermant (Hermonthis), as a manifestation of the god Montu.
The selection of the bull by the priests responded to very precise characteristics: it must have a black head and the rest of the coat white. Thus, indicates Dominique Valbelle: “Macrobe (Saturnalia, I, 21) describes it thus: ‘In the town of Hermonthis (Armant), in a magnificent temple of Apollo, they worship a bull, named Bacis, consecrated to the sun and remarkable for the wonderful properties inherent in the nature of the sun. For it is said that its colours change every hour and it is said that its coat is the opposite of that of other animals. That is why it is considered in a way like an image of the sun shining away from the sky.
Aerial view of the Bucheum d’Erment published in “The Bucheum. Vol. I” edited by HW Fairman – MOND Robert – MYERS Oliver H.
This bull, the object of true worship, lived in a “sacred stable” and was especially honoured during the processions of the Valley Festival. At his death, he was mummified and his funeral followed a very precise ritual. To the Seraphim of Memphis corresponded, to Ermant, the Bucheum which was active in the XXXth dynasty in Roman times. These large basements housed the burials of bulls, surrounded in particular by commemorative stelae…
Excavations financed by Sir Robert Mond and carried out by the Egypt Exploration Society, 1929-30 in the Bucheum d’Arment (Hermonthis) – photo EES
The excavations carried out at Erment in 1926 by the Egypt Exploration Society benefited from the financial support of the patron Robert Ludwig Mond. They allowed the discovery of the Bucheum in 1929-1930 and, it is in its ruins that this stele dated to the year 25 of Ptolemy V was found. It has been recorded at the Egyptian Museum in Cairo under the reference: JE 54313.
Official catalogue Egyptian Museum of Cairo, Mohamed Saleh, Hourig Sourouzian, Verlag Philippe von Zabern, 1997
Treasures of Egypt – The Wonders of the Egyptian Museum in Cairo, Francesco Tiradritti
The Egypt of the Pharaohs at the Cairo Museum, Jean-Pierre Corteggiani
Ancient Egypt and its gods, Jean-Pierre Corteggiani, 2007
Dictionary of Egyptian Mythology, Isabelle Franco, 2013
The Bucheum. Flight. I: The history and archaeology of the site. Flight. II: The inscriptions. Flight. III: The plates (complete set). With chapters by TJC Baly, DB Harden, JW Jackson, G. Mattha, and Alan E. Shorter and the hieroglyphic inscriptions edited by HW Fairman
With a little delay but hopefully not too late! I would like to publish my wishes to you yesterday, but I had no time for that! Though I stunned to see how some friends write and post their stories, one after another, and I’d only say; Wow! I know, I need definitely some practices. 😁 I have my reasons for sure.
It is, of course, one of the reasons!
We put up the Christmas tree almost every year. In the past, because of our son, and now for our grandchildren.
Mila is helping me not to get crazy!
The reason for the stress in this year is Corona (what else?), which does not allow us to celebrate in huge numbers, therefore, the family of my wife ( I have no one from my side!) who also is not some few, has planned to divide into some groups to meet in different days (and of course no waiver has been allowed) it meant to me; everyday business!
I didn’t find my red wardrobe 😉🎅😅
Anyway, I hope you have a good time and wish you all peace and health and some leisurely holidays. 💖💕🌹
You are attached to someone and you see the whole history of attachment: what it includes, its whole structure, its nature, its consequences. And at some point, you finish it. What happens then? Go slowly, what happens; The person, of course, is still there. If you were attached to this person before and you are no longer, you are not complete, what happened? A change was made, right ?. What does that mean? Did the memory that you cling to you, fade away? Just the moment you completely gave up clinging? This is very important to see if you have done it. Why; What happens; When I was attached, the whole recording mechanism worked. So; Now that I am not at all attached, the recording mechanism has stopped. If it has not stopped, then it means that the attachment continues, perhaps in a different way. Now: When the mind was freed from attachment, what recorded, has been erased, right? This is the issue: There is no psychological memory. I tell you – if you do – there will be no memory. It is one thing to forget something and another to not have its psychological memory. Let’s take another example: suppose I have been hurt. The memory of this wound, the feeling of the wound is always there. If, now, I erase this wound, then with this erasure, with the cleansing, there is never again the feeling that I have been wounded. Yeah Al that sounds pretty crap to me, Looks like it ain’t for me either. You can’t even recall it – psychologically. You practically remember the fact, but if you want to put the emotion back there, you can not remember it, you can not recall the state of your mind or emotions are hurting…
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lampmagician 
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