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When Ra was in the underworld, he would visit all of his various forms. Apophis , the god of chaos, was an enormous serpent who attempted to stop the sun boat's journey every night by consuming it or by stopping it in its tracks with a hypnotic stare.

During the evening, the Egyptians believed that Ra set as Atum or in the form of a ram. The night boat would carry him through the underworld and back towards the east in preparation for his rebirth.

These myths of Ra represented the sun rising as the rebirth of the sun by the sky goddess Nut; thus attributing the concept of rebirth and renewal to Ra and strengthening his role as a creator god as well.

Apophis was born from Ra's umbilical cord , indicative of how evil in Egyptian religion is the result of free will rather than a primordial force.

When Ra was in the underworld, he merged with Osiris , the god of the dead, and through it became the god of the dead as well.

Ra was worshipped as the creator god among some ancient Egyptians, specifically followers of his cult at Heliopolis. Hu , or authority, and Sia , or mind.

Ra was represented in a variety of forms. The most usual form was a man with the head of a hawk and a solar disk on top and a coiled serpent around the disk.

Ra was also pictured as a full-bodied ram, beetle, phoenix, heron, serpent, bull, cat, or lion, among others. He was most commonly featured with a ram's head in the Underworld.

In some literature, Ra is described as an aging king with golden flesh, silver bones, and hair of lapis lazuli. He was identified with the local sun god Atum.

Ra's local cult began to grow from roughly the Second Dynasty , establishing him as a sun deity. By the Fourth Dynasty , pharaohs were seen as Ra's manifestations on earth, referred to as "Sons of Ra".

His worship increased massively in the Fifth Dynasty , when Ra became a state deity and pharaohs had specially aligned pyramids , obelisks , and sun temples built in his honor.

The rulers of the Fifth Dynasty told their followers that they were sons of Ra himself and the wife of the high priest of Heliopolis.

During the Middle Kingdom , Ra was increasingly affiliated and combined with other chief deities, especially Amun and Osiris.

At the time of the New Kingdom of Egypt , the worship of Ra had become more complicated and grander. The walls of tombs were dedicated to extremely detailed texts that depicted Ra's journey through the underworld.

Ra was said to carry the prayers and blessings of the living with the souls of the dead on the sun boat. The idea that Ra aged with the sun became more popular during the rise of the New Kingdom.

Many acts of worship included hymns , prayers, and spells to help Ra and the sun boat overcome Apep. The rise of Christianity in the Roman Empire put an end to the worship of Ra by the citizens of Egypt , [9] and as Ra's popularity suddenly died out, the study of Ra became of purely academic interest even among the Egyptian priests.

As with most widely worshiped Egyptian deities, Ra's identity was often combined with other gods, forming an interconnection between deities.

From Wikipedia, the free encyclopedia. This article is about the Egyptian deity. For other uses, see Ra disambiguation.

In one of his many forms, Ra, god of the sun, has the head of a falcon and the sun-disk inside a cobra resting on his head. Funerals Offering formula Temples Pyramids.

Dedi Djadjaemankh Rededjet Ubaoner. For the Egyptian month named in his honor, see Mesori. Archived from the original on A Dictionary of Egyptian Gods and Goddesses.

The Question of Evil in Ancient Egypt. Still others protect the deceased from various hostile forces or guide him through the underworld past various obstacles.

Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual. Such spells as 26—30, and sometimes spells 6 and , relate to the heart and were inscribed on scarabs.

The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves.

The act of speaking a ritual formula was an act of creation; [20] there is a sense in which action and speech were one and the same thing. Hieroglyphic script was held to have been invented by the god Thoth , and the hieroglyphs themselves were powerful.

Written words conveyed the full force of a spell. The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life.

A number of spells are for magical amulets , which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy.

Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value. Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available.

For most of the history of the Book of the Dead there was no defined order or structure. The spells in the Book of the Dead depict Egyptian beliefs about the nature of death and the afterlife.

The Book of the Dead is a vital source of information about Egyptian beliefs in this area. One aspect of death was the disintegration of the various kheperu , or modes of existence.

Mummification served to preserve and transform the physical body into sah , an idealised form with divine aspects; [29] the Book of the Dead contained spells aimed at preserving the body of the deceased, which may have been recited during the process of mummification.

The ka , or life-force, remained in the tomb with the dead body, and required sustenance from offerings of food, water and incense.

In case priests or relatives failed to provide these offerings, Spell ensured the ka was satisfied. It was the ba , depicted as a human-headed bird, which could "go forth by day" from the tomb into the world; spells 61 and 89 acted to preserve it.

An akh was a blessed spirit with magical powers who would dwell among the gods. The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion.

In the Book of the Dead , the dead were taken into the presence of the god Osiris , who was confined to the subterranean Duat. There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.

There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead , a group of gods, as well as his or her own parents.

While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required.

For this reason burials included a number of statuettes named shabti , or later ushebti. These statuettes were inscribed with a spell, also included in the Book of the Dead , requiring them to undertake any manual labour that might be the owner's duty in the afterlife.

The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures.

Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead ; once pacified they posed no further threat, and could even extend their protection to the dead person.

If all the obstacles of the Duat could be negotiated, the deceased would be judged in the "Weighing of the Heart" ritual, depicted in Spell The deceased was led by the god Anubis into the presence of Osiris.

There, the dead person swore that he had not committed any sin from a list of 42 sins , [44] reciting a text known as the "Negative Confession".

Then the dead person's heart was weighed on a pair of scales, against the goddess Maat , who embodied truth and justice.

Maat was often represented by an ostrich feather, the hieroglyphic sign for her name. If the scales balanced, this meant the deceased had led a good life.

Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru , meaning "vindicated" or "true of voice".

This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content. The judgment of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society.

For every "I have not John Taylor points out the wording of Spells 30B and suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure.

A Book of the Dead papyrus was produced to order by scribes. They were commissioned by people in preparation for their own funeral, or by the relatives of someone recently deceased.

They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver, [51] perhaps half the annual pay of a labourer.

In one case, a Book of the Dead was written on second-hand papyrus. Most owners of the Book of the Dead were evidently part of the social elite; they were initially reserved for the royal family, but later papyri are found in the tombs of scribes, priests and officials.

Most owners were men, and generally the vignettes included the owner's wife as well. Towards the beginning of the history of the Book of the Dead , there are roughly 10 copies belonging to men for every one for a woman.

The dimensions of a Book of the Dead could vary widely; the longest is 40m long while some are as short as 1m. The scribes working on Book of the Dead papyri took more care over their work than those working on more mundane texts; care was taken to frame the text within margins, and to avoid writing on the joints between sheets.

The words peret em heru , or 'coming forth by day' sometimes appear on the reverse of the outer margin, perhaps acting as a label. Books were often prefabricated in funerary workshops, with spaces being left for the name of the deceased to be written in later.

The text of a New Kingdom Book of the Dead was typically written in cursive hieroglyphs , most often from left to right, but also sometimes from right to left.

The hieroglyphs were in columns, which were separated by black lines — a similar arrangement to that used when hieroglyphs were carved on tomb walls or monuments.

Illustrations were put in frames above, below, or between the columns of text. The largest illustrations took up a full page of papyrus. From the 21st Dynasty onward, more copies of the Book of the Dead are found in hieratic script.

The calligraphy is similar to that of other hieratic manuscripts of the New Kingdom; the text is written in horizontal lines across wide columns often the column size corresponds to the size of the papyrus sheets of which a scroll is made up.

Occasionally a hieratic Book of the Dead contains captions in hieroglyphic. The text of a Book of the Dead was written in both black and red ink, regardless of whether it was in hieroglyphic or hieratic script.

Most of the text was in black, with red ink used for the titles of spells, opening and closing sections of spells, the instructions to perform spells correctly in rituals, and also for the names of dangerous creatures such as the demon Apep.

The style and nature of the vignettes used to illustrate a Book of the Dead varies widely.

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