Bringing the Shields of the Lords of Valor: A Journey in the Mysteries of Religious Engagement Comes to an End

Triptych Retouched Photo

The Lords of Valor Triptych– An Original Triptych of Kemetic Icons By Master Iconographer Ptahmassu Nofra-Uaa / semi-precious genuine mineral pigments, semi-precious & precious stones, Austrian crystals, 22 kt gold, 23 kt gold, platinum on museum conservation panels, 5″ x “7

 

“Manifests the terror of Sutekh
in His Shield-image of sacred power!
I bring Your testicles O Sutekh
the Lord of Might and Great of Strength!

You have Your power O Set!
You ejaculate O Suty!
Your penis rises like the Cobra Goddess;
You tear the sky,
Your right arm is raised,
You traverse the sky as its Lord.

Manifests the terror of Sutekh
in His Shield-image of sacred power!
I bring Your testicles O Sutekh
the Lord of Might and Great of Strength!

You traverse the sky as its Lord,
the Great Green churns for You,
the desert rejoices for You;
its breath comes upon the storm for You,
Your arrows shoot straight
like the light-beams of Ra,
bringing down the rebel serpent
and exorcising Your enemies!

Manifests the terror of Sutekh
in His Shield-image of sacred power!
I bring Your testicles O Sutekh
the Lord of Might and Great of Strength!

For fear of Sutekh Who overlords the Red Land
the earth opens!
For fear of Sutekh Who overlords the sky
the sky opens!
For fear of Sutekh the Chosen One of Ra
the enemies of Ra fall!
For fear of Sutekh the Son of Geb
the mountains shake!
For fear of Sutekh the Son of Nut
the northern sky is cleaved!”

– Excerpt from The Rite of Bringing the Shields of the Lords of Valor in The Book of the Guild by Ptahmassu Nofra-Uaa

 

Well over a year ago I entered into a period of intense initiation into the Mysteries of the Lords of Valor Triptych. I had just finished a nine month run with “Anpu Lord of the Sacred Land”, an icon demanding my highest level of skill as a craftsman, and a work emblematic of all that I had learned of my vocation up to that point. My intention had been to move on to the next and final panel of the Sacred West Triptych, but the Gods let me know- on no uncertain terms- that They had set a new and unlooked-for challenge for me that would alter the course of my work and life as a devotional polytheist.

The work I do as a Kemetic iconographer might seem at first glance to be strictly limited to the realm of cult and ritual, prayer and devotion, without being connected to the outer world of the human condition, to its evolution, needs, and catastrophes; and it may appear that my work is being created in a vacuum in which the profane and secular have no vital role to play; but this would be a quite mistaken view. For more than four-thousand years, the tradition to which I belong maintained the sacred craft of cult images as a means of engaging its Gods (the Netjeru) directly, and, through such continuous and intimate engagement, to perpetuate the human condition, and creation as a whole, by way of a co-creative relationship between Gods and humankind. The crux of life for the ancient Egyptians was the reality that creation was a continuous process in which both divine and human conditions played vital roles; neither being removed or exempt in any way from the fragile maintenance of creation as a living machine and process.

The Egyptians answered their part in this delicate system through the development of cultic actions (iri khet, iru) whose intention was to work directly with the Gods through Whom the processes of creation were manifest. Such actions were conducted in the temples, the Houses or Mansions of the Netjeru, where cult (iri khet) acted as the vital dialogue between the sacred and profane realms, and was experienced as the pulsing and living thread of divine power essential to the existence of all created things.

Cult in ancient Egypt was never empty or token worship, nor was it a religious system of slavish enactment of traditions solely for their own sake. Cult was dynamic action flowing from- and ultimately flowing back to- the Gods Themselves; it was a system of repeating (wehem) the actions of the Gods as these actions had been and were performed in the sacred time of mythic cycles, and then- via cultic actions mirroring the activities of the Gods- linking the earthly, profane time directly to this sacred time. The benefit of all cultic activity was that human beings and their communities could share in the life and dynamic expansion of the Gods, Who perpetuated creation through direct engagement with it and in it. The Netjeru (or Gods) are not removed from the mundane or terrestrial, nor are They distant Gods merely judging or punishing human beings for their actions. The Gods are as present and active as we are in the world They have created and continue to create, and it is a world whose very existence is a primary concern of the Gods, together with the wider components of creation entire.

At the center of cult in the Kemetic (Ancient Egyptian) experience is the vehicle of the cult image, which not only symbolizes the living power of the Netjer (or Deity) resident in the temple, but actually houses and contains a portion of that deity’s spiritual anatomy. The cult image itself becomes a piece of the deity’s body, an earthly manifestation of the larger numinous makeup of the divine presence. It is by way of such precious images that the terrestrial and mortal world comes face to face with- and interacts with- the dynamic spiritual reality of the living Gods. Cult images provide an immediate and direct access point to the realm of the sacred and to the Gods inhabiting that realm, together with serving as receptive vehicles for the cultic exchange of offerings (hotepuwt) and boons (hotepu) that embodies the Kemetic experience of religious life.

 

Aegis of Sutekh

The “Aegis of Sutekh Great of Strength” / Panel #2 of the Lords of Valor Triptych~ An original Kemetic icon by Master Iconographer Ptahmassu Nofra-Uaa / Extra fine watercolor, acrylic, precious metal, semi-precious stones on 5″ x 7″ museum conservation panel / Genuine mineral pigments used as watercolor:  lapis lazuli (sourced from Chile), amethyst (Soladad, Brazil), bloodstone (Alaska, USA), jadeite (Alaska, USA), piemontite (Alaska, USA), rhodonite (Bellahorizonte, Brazil), red fuchsite (Brazil), garnet (Brazil), hematite (Utah, USA) / 22kt yellow gold, 23kt rose gold, platinum / Cabochon gemstones:  fire opals (Mexico) & carnelian / Austrian lead crystal elements by Swarovski®

 

The Lords of Valor Triptych is the first “family” of Gods comprising the Aegis Series of icons I have been compelled to create. These aegis-shields form part of an arsenal of spiritual technology whose aim is to engage specific Netjeru in the work of defending, healing, and empowering the human condition, and in particular the human family committed to the service of the Netjeru in the current age. This work acts like a magnet to the spiritual bodies of the Gods, attracting Them to focus Their powers into objects that magnify and expand the presences of the Divine in the material world. As the focal point of the Daily Cult, offerings, and pilgrimage to sacred sites recognized throughout the natural world, the aegis-shields are *generators* fueling and enabling the work of the Kemetic community to push the constructive process of sacred creation forward. Such a process is a co-creative and interdependent endeavor taken up by Gods and humankind together, and the Aegis Series of icons are holy tools aiding the divine-human struggle in the accomplishment of cosmic justice or Ma’at.

My work began with the Aegis of Djehuty and the Souls of Khmennu, a cult image embodying the apogee of the strange and tempestuous relationship between the Gods Heru (Gr. Horus) and Set, Whose icons flank that of Djehuty (Gr. Thoth) in the triptych. In one of the more bizarre moments of the famous dynastic conflict between Heru and Set, the God Set is tricked into eating lettuce glazed with the semen of Heru, which is later- during one of the assemblies of the Gods to place judgment on the matter of this raging family quarrel- called forth from the forehead of Set as a manifestation of the lunar disk worn by the God Djehuty.(1) It may thus be said, in a manner of speaking, that the God Djehuty is the son of the God Heru via the body of Set.

 

20180610_173003

Aegis of Djehuty and the Souls of Khmennu“:  an original Kemetic icon by master iconographer Ptahmassu Nofra-Uaa / panel one of the Lords of Valor Triptych / natural semi-precious mineral watercolor, acrylic, semi-precious stone, Austrian lead crystal, 22 karat yellow gold, 23 karat red gold, platinum on 5″ x 7” archival wood and clay panel.
Natural mineral pigments used as watercolor:  lapis lazuli, amethyst, malachite, jadeite, garnet, red fuchsite, piemontite

 

But there is much more going on in these myth cycles than trickery or sexual dominance; the Gods Heru and Set are establishing the foundations of sacred kingship on earth and within the hierarchy of the Gods, and, by extension, over the fragile cosmic order through which creation is expanded and maintained. The emergence of the lunar disk from the forehead of Set (which appears from the force of Heru’s semen digested by Set) heralds the healing of the Wedjat Eye of the God Heru after its blinding or wounding by the anger of Set. It is the God Djehuty as Master of the lunar disk Who restores the fullness and potency of the Wedjat Eye as the incarnation of the Full Moon; thus the epithets of Djehuty appearing on the right side of the Aegis of Djehuty which declare Him as the One Who “brings the Wedjat Eye”.

 

20180610_153427

 

20180610_152520

 

20180610_153440

 

20180610_155110

 

20170913_071856

 

IMG_0358

 

The restoration of the Wedjat Eye by way of the wisdom of Djehuty is one of the principle themes expressed by the Aegis of Djehuty. Crowning the head of the Deity is the lunar disk, seen in both Full and Waxing aspects, in the center of which resides the God Djehuty in His form of the “dog-headed” baboon (Papio Cynocephalus). Here the God performs the act of offering back the completely healed or “Wedjat ” Eye after its period of injury or bleariness. In this instance the Wedjat Eye embodies not only the sight and potency of the God Heru as Lord of Justice, but also, and on an even greater cosmic scale, the wholeness (wedja, uwdja) of creation as a perfect manifestation of the Divine; a creation in alignment with the cosmic justice of Ma’at. It is Djehuty, the representative of the cosmic order, Who establishes (or reestablishes) the sound (uwdja) working of creation after periods of chaotic instability; it is He Who brings together the disparate forces of creation, weaving them together as the fabric of cosmic stability. Within the iconography spelled out by The Lords of Valor Triptych is the culmination of that cosmic disturbance caused by the conflict of the two Gods Heru and Set; that these “Two Combatants” are reconciled one with the other according to the fullness of Djehuty’s wisdom, and that They become the sovereigns over the two halves of creation.

When all three panels of The Lords of Valor Triptych are viewed together, one will notice that the Wedjat Eye at the bottom right of Djehuty’s epithets faces the Aegis of Sutekh Great of Strength. The intention here is at once cultic and magical; for it is the God Djehuty, Bringer of the Wedjat Eye, Who takes the injured Eye in His hands and restores It to Its fullness. This is the Eye Whose sight is diminished by the God Set (or Sutekh) during His great conflict with Heru, Who severs the testicles of Set in recompense. But the Wedjat Eye is the healed Eye of Heru, embodying the reconciliation of aspects and the wholeness of creation, and this wholeness embraces the wounds inflicted by the Two Combatants upon one another, and grants healing to them as part of the cosmic justice that is Ma’at ; the Eye of Heru is restored to Heru while the testicles of Sutekh are restored to Sutekh. The magic of the restored Eye of Heru (offered up by the God Djehuty) is enough to pacify the anger of Sutekh and channel His tempestuous actions into the struggle for cosmic harmony.

 

Triptych Retouched Photo

 

On Full Moon night (tep semdet) May 10, 2017 the Aegis of Djehuty and the Souls of Khmennu was taken on pilgrimage to the Bonneville Salt Flats in the northwestern Utah desert to receive the first in a series of sanctification rites. One of these is called the Khnem-Iah or “Union With the Moon”, during which the cult image is placed in the open air where it will receive full exposure to lunar (and stellar) light, and will thus absorb the vitality of the heavenly body. This rite is especially significant to the God Djehuty, Whose primary manifestation is that of the moon, also known as the “silver Aten”. It was during this rite that the Aegis of Djehuty was handed over to the possession of the God as a vehicle of the Netjer’s protection and healing. This image of Djehuty is a manifestation of the God not solely as scribe of the Gods, creator of language, and divine patron of all knowledge, but more unusually as the wrathful defender of cosmic justice (Ma’at) and healer of wrongs, the Divine Judge Who arbitrates between what is just and what is unjust. Here is Djehuty as the ultimate source of law and order, the One Who metes out punishment and reward, and the One Whose hands heal what has been wrongfully torn asunder.

“Manifests the justice of Djehuty
in His Shield-image of sacred power!
He Who brings the Wedjat Eye
the Thrice-Great Lord of Eight-Town!

You have Your justice O Djehuty!
You accomplish what the Nine Gods desire.
You bring back the distant Eye,
Giving sight to the bleary-eyed One,
Making whole the shining power of Ra!
You are the Silver Aten, the Moon of dazzling radiance,
the Maker of the Balance
Who exterminates the enemies of the great Wedjat Eye!

Manifests the justice of Djehuty
in His Shield-image of sacred power!
He Who brings the Wedjat Eye
the Thrice-Great Lord of Eight-Town!

You are great in power and great in strength,
the Lord Who establishes Ma’at and is great in fear
in every land.
You are the Messenger astute in speech
before all the Gods,
the Clean One Whose purity increases truth
and knows the mysteries of every heart.
You are the seer of all hearts,
the Master of every mystery,
the One foremost in the balance
Whose knowledge foretells the message
of the Scales of Truth!

Manifests the justice of Djehuty
in His Shield-image of sacred power!
He Who brings the Wedjat Eye
the Thrice-Great Lord of Eight-Town!

For love of Djehuty Who is clean of hands
the ills of the heart are washed!
For love of Djehuty Who increases His form
the radiance of the Moon increases!
For love of Djehuty Who is Great in Magic
the wounds of the Wedjat Eye are healed!
For love of Djehuty Who is Mighty in Words
the speech of the Netjeru is faultlessly heard!
For love of Djehuty Who is Judge of Truth
the truth of the heart is faultlessly declared!
For love of Djehuty Who is most excellent in counsel
the whispering of falsehood is silenced in the heart!
For love of Djehuty Who repels all that is evil
the enemies of Truth are fettered by their tongues!
For love of Djehuty Who knows all the secrets of heaven
the earth bows before its Lord and Truth before its Maker!

Manifests the justice of Djehuty
in His Shield-image of sacred power!
He Who brings the Wedjat Eye
the Thrice-Great Lord of Eight-Town!”

– Excerpt from The Rite of Bringing the Shields of the Lords of Valor in The Book of the Guild by Ptahmassu Nofra-Uaa

 

The wind howls in the desert of northwestern Utah where our places of pilgrimage wait for us beneath dazzling azure sky and dominant amber peaks. We make a trek through winding desert roads to reach the holy site we have named Merit-Sager’s Womb, a place of deafening silence broken only by the trill of birds or chirping of crickets. This desert land was the birth place of the Aegis of Sutekh Great of Strength, where the Red One made His appearance in a vision now captured by my hands in precious minerals, gold, and semi-precious stones. Lord Set (or Sutekh, Setesh) led us to this harsh and haunting landscape as part of our journey to bring into this world an image that would be directly touched by the desert that acts as home to the God’s brazen power. He is a God Who speaks through the wind, sand, and rocks of the desert, Whose body burns through the sharp cliffs and red peaks stretching up from the desert floor, and Whose purifying hand is known by way of the salt flats meeting the edge of the tawny and burning sand. This is Set country, so we brought the Aegis of Sutekh here to empower it and honor it as the vehicle of the Red One’s mighty and indomitable hand.

June 7, 2017 witnessed the first of many sacred rites to bestow life and holiness to the Aegis of Sutekh Great of Strength. Beneath the yellow light of the near Full Moon, and in the presence of relics brought out into the desert from our Shrine (including part of a leg and backbone of an antelope), a liturgy of praising the names and epithets of Lord Sutekh was bestowed to His Aegis together with offerings of food and libations of wine. The Aegis soaked up the essence of these words and gestures and offerings, and indeed the power of the wind and desert that dominated the atmosphere around us. Our chanting and incense rose into the sky, and the light of our flames cast flickering shadows on the rocky earth as the sun died in the west, giving free reign to the expanding light of the moon above. Such events punctuate the work of a craftsman required of me to produce these cult images, for the craftsman must always give way to the Hem Netjer or Priest, which means that the artistic challenges of my vocation are equally married to the demands of cult, to the ritual fulfillment of giving the Gods the things They ask for.

AirBrush_20170608161214

The northwestern desert of Utah, the mountains where Merit-Sager’s Womb rises above the red desert land sacred to Lord Set

 

AirBrush_20170608161622

Merit-Sager’s Womb, where the Aegis of Sutekh Great of Strength was first blessed and handed over for habitation by Lord Set

 

AirBrush_20170608160430

Holding the Aegis of Sutekh Great of Strength at Merit-Sager’s Womb on the night of its first major blessing rite

 

AirBrush_20170531122259

The Aegis of Sutekh Great of Strength as it looked at the time of its first blessing in Merit-Sager’s Womb

 

AirBrush_20170608160746

The Aegis of Sutekh Great of Strength is fed and adored during the offering rite at Merit-Sager’s Womb on June 7, 2017

 

AirBrush_20170608160905

 

This is the aspect of my work- the aspect of cult, of ritual, worship, and sacred observances- that gives it its true function and power, and gives it its religious significance as the profession of bringing the earthly bodies of the Gods to life. It is also what differentiates my work from the merely decorative arts or of art for art’s sake. The world’s museums and fine art institutions are full of cult objects that were created by iconographers or sacred artisans for the purpose of being recipients of cult. These are objects whose creation was dictated by time honored traditions and governed by ritual, sacrifice, and ceremony. In the setting of museum or gallery, cult objects are rarely (if ever) allowed to speak for their ceremonial and ritual origins, and are, of course, divorced from the cultural and ritual settings that comprise the domain of cult or sacred worship. Within the museum or gallery, objects that were once the focal point of elaborate daily ceremonies, and the recipients of prayer and sacrifice, may be seen as tokens of history and culture, and accepted as works of art whose value is now strictly aesthetic and informational. This is the fate of so many masterpieces of cult and iconography, and it is a sad fate for any cult object to move from the realm of adoration and divine communion to the realm of the spectator sport that is the contemporary museum floor or art gallery.

What visitors to museums or galleries are missing when they view cult images in their contemporary secular settings is the direct encounter with the sacred through the lens of the rites and sacrifices that have always accompanied the use of cult images in the environments for which they were originally created. There is the mystery of religious engagement that is absent from the contemporary settings, except in very rare cases, and this separation of cult images from their sacred spaces is a grave detraction from the ultimate purpose of all cult objects, which is and must be to take part in the sacred activities of cult. Cult objects might look like works of art, and they might sit very well on the desk of the wealthy collector or on the wall of an important cultural institution, but they are not works of art, after all; they were not created to be merely looked at, appreciated as decorative objects representative of a culture’s style, nor critiqued or judged according to contemporary secular tastes. All cult images were or are born from the deepest desire to connect directly with the holy powers, to engage the Gods in a tangible and vital manner, and to assist the worshiper in making that contact through which human and divine share an immediate relationship in the same sacred space. Once you remove a cult object from access to these aims, once you make of it an object strictly for display, you have cut it off from its sacred source and lost the vital component that fashioned its relevance and gave it true life.

The work I am now engaged in with the creation of the Aegis Series of icons is that of providing concrete points of entry for the numinous powers of the Gods to take root in the sacred spaces handed over to Their worship. Of course, the Gods can enter and live in Their creation whenever and wherever They choose, using whatever methods suit Them at any given time; however, the Gods of each tradition have always found ways of indicating to Their worshipers Their preferred methods of entry and engagement, thus the diversity in cultic practices and iconography throughout the world. It has always been the manner of the Netjeru of Kemet (or Gods and Goddesses of Ancient Egypt) to alight on specially prepared images- both three and two-dimensional- that have been installed in ritually pure spaces reserved for the celebration of the Daily Cult. These images must have been crafted by ritually qualified individuals from precious materials, and must be maintained on a daily basis through the observance of the correct ritual procedures and offerings. These are not works of art. They are not even objects for spiritual contemplation or inspiration. They are earthly vessels containing the vital power of the resident deity, which must be approached as one would approach the actual deity, for they are the actual deity, manifest within the material expression of the cult image established within sacred space.

The Aegis of Sutekh Great of Strength has been empowered by its Lord by way of constant pilgrimage to sacred sites in the desert, where the image has received sand and sky, fire and water, wind and smoke, moon and stars….and all of the elements embodying the work and powers of creation. This Aegis has been given the fruits of the earth through food and drink, and the essence of man via saliva and semen. It has ceased to be an inanimate object crafted by the hand of a man, and been awakened to a life of its own as the living skin of a living god. It has become the living image of Sutekh in our world, and an image that invites the dynamic force of the God to engage with those who walk in His holy footsteps.

 

“O Sutekh, Setekh, Setesh, Suty, Set!
All Your names are fashioned from the metal of the sky,
from the northern sky where Your image is renewed daily.
O Lord, Red One of the deshret,
come and fulfill this offering of my heart,
for it is the Eye of Ra set firm in its place;
its seat is the center of heaven where You rise.
Take the essence of the Sacred Eye;
take its red wine of the north
and its white milk of the south;
the Two Countries bound together before You!

O Bull of the Sky, thundering with red hair,
Your place is with the Seven Stars
and Your mansion is above the Netjeru of the earth!
Your Father Geb has prepared Your rightful place for You
and Your Mother Nut has torn open Her side for You,
O glorious God of fearsome strength!

O Sutekh Who causes the sky to shake!
All Your forms are opened from that metal of the sky,
from that northern sky where Your power is renewed daily.
O Lord, standing at the prow of the Ark of Ra,
come and fulfill this offering of the sky,
for it is the shield of the earth set firm in its place;
its protection is the seat of the Eye where You rest.
Take the power of the Sacred Eye;
take its green essence as Chieftain of the Black Land
and as Lord of the Red Land;
may the Two Countries bind themselves together at Your feet!

– Excerpt from The Rite of Bringing the Shields of the Lords of Valor in The Book of the Guild by Ptahmassu Nofra-Uaa

 

AirBrush_20180214095843

 

20170914_101521

 

20170913_073226

 

20170913_072341

 

20180610_155004

 

20180610_153227

 

20180610_153326

 

20180610_175123

 

On Monday May 21, 2018, First Quarter Moon Day (denat), the Aegis of Heru Who Unites the Two Lands was completed, bringing an end to work on The Lords of Valor Triptych, or rather bringing an end to the hands-on work of crafting the individual panels of the three Gods. My work on the triptych as a priest and ritual technician will continue for the next three months in order to complete the required number of ritual activities to be offered towards the awakening and sanctification of the three panels. The correct number of lunar festivals must be observed for each image, and the appropriate quantities of offerings given in accordance with the wishes of each God; for these are the bodies of the Gods on earth, and each earthly body is linked with the heavens through the Festivals of the Sky established in ancient times. These festivals witness the heavenly revelation of the moon in its phases (New or pesedjentiu, First Quarter or denat, Full or tep semdet, and Last Quarter or denat), and it is these phases that govern the actions of the Houses of the Gods on earth, the Temples, which mirror the progression of the heavenly bodies with the progression of the earthly bodies of the Gods by way of processions and pilgrimages. The three panels of the Lords of Valor Triptych will be taken out into the desert beneath the moon during each of its principal phases, and the rites and liturgies that unite the heavens and earth will be given to the accompaniment of abundant offerings to feed the Gods. It is the essence of each offering that imbues the images with the life of the Gods, for the Gods enter Their images in order to receive the offerings and dispense the boons that are Theirs alone to give.

 

“Manifests the valor of Heru-sema-tawy
in His Shield-image of sacred power!
He Who Fights in the Horizon
the Beautiful Falcon of Gold!

You have Your valor O Heru-Who Unites-the Two Lands!
You are He Who Fights in the Horizon,
the Powerful of Face Whom the light-rays beget
as the Beautiful Falcon of Gold.
O Lord of the Sky Whose Wedjat Eye shines undiminished!
Your Throne is established forever in the seat of Your Eye;
this dazzling green Wedjat Eye of supreme fear
throughout the lands, offered by those You heal,
proffered by those who praise You as preeminent and above.

Manifests the valor of Heru-sema-tawy
in His Shield-image of sacred power!
He Who Fights in the Horizon
the Beautiful Falcon of Gold!

O Heru the Behdetite, Beloved of Hwt-Her, Beloved of Aset!
You are the Great God, Lord of the Sky, the Beautiful Falcon
and Potent Heir as the Son of Aset, the cherished of Hwt-Her
Who came forth from the Great One, the Eldest Son of Wennefer!
Terrible in Your greatness, dazzling in Your plumage of precious metal,
dominant in the sky with sharp talons, sharp beak, and sharp-sighted
Wedjat Eye; You are the Heir of Sunbeams begotten of the
light of Ra.

O Lord of the Sky and Keeper of Heaven, radiant of face and
powerful of countenance with Your Eye of lapis-lazuli
and feathers of electrum!
Receive the sight of Your Wedjat Eye in the moment of
its returning; may its renewal be the renewal of those who
praise You as the Great God among the Gods!

Manifests the valor of Heru-sema-tawy
in His Shield-image of sacred power!
He Who Fights in the Horizon
the Beautiful Falcon of Gold!

For adoration of Heru-Who Unites-the Two Lands
the sky hails Her Lord and the earth His Master!
For adoration of Heru-Who Unites-the Two Lands
the lily and papyrus are joined together beneath Him!
For adoration of Heru-Who Unites-the Two Lands
the Two Ladies crown His brow and flank His loins!
For adoration of Heru-Who Unites- the Two Lands
the Two Powerful Ones are woven on His vertex!
For adoration of Heru-Who Unites- the Two Lands
the Two Banks are united in proclaiming His forebears!
For adoration of Heru- Who Unites- the Two Lands
Wennefer receives Him on His seat, the Goddess Aset on Her throne!
For adoration of Heru- Who Unites- the Two Lands
the Cobra Goddess rises in the north, the Vulture Goddess in the south!
For adoration of Heru- Who Unites- the Two Lands
the Two Horizons open wide their arms to receive Him!
For adoration of Heru- Who Unites- the Two Lands
all the rekhyt-people salute Him when as king He rises high!

– Excerpt from The Rite of Bringing the Shields of the Lords of Valor in The Book of the Guild by Ptahmassu Nofra-Uaa

 

20180610_173309

The “Aegis of Heru Who Unites the Two Lands” / Panel #3 of the Lords of Valor Triptych~ An original Kemetic icon by Master Iconographer Ptahmassu Nofra-Uaa / Extra fine watercolor, acrylic, precious metal, semi-precious stones on 5″ x 7″ museum conservation panel / Genuine mineral pigments used as watercolor:  lapis lazuli (sourced from Chile), amethyst (Soladad, Brazil), bloodstone (Alaska, USA), jadeite (Alaska, USA), piemontite (Alaska, USA), rhodonite (Bellahorizonte, Brazil), red fuchsite (Brazil), garnet (Brazil), hematite (Utah, USA) / 22kt yellow gold, 23kt rose gold, platinum / Cabochon gemstones:  lapis-lazuli (Afghanistan) fire opal (Mexico) & carnelian / Austrian lead crystal elements by Swarovski®

 

20180610_173329

 

20180610_173347

 

20180610_173438

 

20180610_174440

 

20180610_174542

 

20180610_180339

 

20180610_153527

 

20180610_153556

 

20180610_153814

 

20180610_153819

 

20180610_154220

 

20180610_180932

 

20180610_180911

 

Note

  1.   See Dimitri Meeks, Christine Favard-Meeks. Daily Life of the Egyptian Gods. John Murray, Ltd, London, 1997, pp. 68.
Advertisements

One thought on “Bringing the Shields of the Lords of Valor: A Journey in the Mysteries of Religious Engagement Comes to an End

  1. This work truly is a blessing to Netjer and to us all. You have outdone yourself yet again and the accompanying essay to these pieces was an initiation of itself.

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: