The ornament of Egypt reflected the transformed world around us, endowed with certain religious ideas and symbolic meanings.

Artists Ancient Egypt combined images with the hieroglyphic writing system into the form of a linear ornament. In all likelihood, the linear arrangement of ornamental elements represented the Egyptian idea of ​​​​the infinity of life. Decorating objects also had a symbolic meaning. The design was read as alphabetic text because it was based on the use of common symbols. For example: the Egyptian cross ankh read life, the image of a kneeling figurine hekh - eternity, etc. The Egyptians also used geometric patterns: straight, broken, wavy lines, checkerboard patterns, grids, dots, etc. In general, Egyptian decor has strict, sophisticated restraint.

Egyptian art as a whole was characterized by a tendency towards softness and plasticity of forms, the desire to avoid right angles and round off kinks. The colors used in paintings and to cover reliefs were conventional and local. Red, blue, yellow, black and white, sometimes green, were used. Rich contrasting tones were mostly found in geometric patterns, and ornaments with floral elements were designed in soft pastel colors.

1.1 Characteristics of the main symbols and signs of Ancient Egypt

Among the animalistic motifs there are a falcon, a goose (the Egyptians represented the birth of the sun from the egg of the Great Gogotun), an antelope, a monkey, a fish, a heron (the sacred bird of Benu - the personification of the soul of Osiris, a symbol of rebirth), a scarab beetle (a symbol of immortality), a snake (a ring, formed by a snake holding its tail in its mouth - a symbol of the ever-restoring world order), etc. The image of the scarab beetle was especially popular; it had a very complex and diverse symbolism. The scarab was considered a sacred symbol of the ever-moving and creative power of the sun, was revered as a sign that brings happiness, and replaced a removed heart in a mummy.

Ankh (Egyptian cross, ankh, crux ansata). The form of this symbol has several interpretations:

1. The simplest interpretation is as a symbol of Egypt, where the oval symbolizes the Nile Delta, and the rest is the river itself, which made life in the desert possible.

2. The next interpretation of the Egyptian cross is the symbolism of the rising sun, the birth of a new day. Thus, in the “Egyptian Book of the Dead” there is an image of Djed (the tree trunk that supported Osiris), with Isis and Nephthys kneeling on both sides of him. From Djed grows an ankh with human hands that hold the Disk of the Sun.

3. The Egyptian cross is a combination of male and female symbols of Osiris and Isis, as a union of life-producing principles - Heaven and Earth, and ultimately - a symbol of new birth;

4. The sign combines a cross, as a symbol of life, and a circle, as a symbol of eternity, but together they denote immortality. Alternatively, an oval could mean eternity, and a cross-shaped expansion in the longitudinal and transverse planes could mean a transition from infinity to space.

Thus, the ankh is a symbol of life, and life at all its levels. The Egyptians depicted the ankh on amulets in order to prolong life on earth; They were buried with this amulet to make sure that the deceased would have life in another world. On a material level, this sign is indeed considered to attract longevity, eternal health, and thereby a long and happy life. However, at the same time, it is the key to opening the gates of heaven in the other worlds and to unity with the Higher Powers. In many images, the gods hold the ankh in their hand or hand it over to people. Here we are talking about the breath of life that has become visible, so to speak, about the divine spark, thanks to which life can arise in general.

Now this symbol is also borrowed by Coptic Christians, and is used by them as a traditional cross.

Scarab. Sellers trying to push any product on you are interpreted as a symbol of prosperity.

The scarab processes the shapeless, soft mass of dung, rolling it in front of itself until it becomes an almost perfect sphere. Having laid its eggs in a rotting ball, the scarab rolls it from east to west, and, having dug a hole, hides it for 28 days. On the 29th day, the beetle digs up the ball, throws it into the water, and small scarabs appear from the lump of dung. It was believed that the small beetle follows the path of the Sun, which is resurrected from the world of light. The Egyptians believed that even the body of the deceased carries within itself the germ of a new life - an immortal sacred soul, which, after the death of the body, is freed, resurrected in another world, continuing its journey along the roads of heaven. The scarab has always been a symbol of the impulse that the soul receives for heavenly flight, for rebirth in the spiritual world, after everything material begins to die and disintegrate in it. He personified the hidden power of the Heart, which a person had to awaken in himself in order to be reborn, die and resurrect, overcoming any obstacles that await him in life and after death.

The symbol of the scarab had another interpretation in Ancient Egypt. This little beetle became the embodiment of the philosopher on his path to wisdom. Just as the scarab tirelessly and persistently transforms the formless, astringent mass of dung into a ball in order to plant the seed of life in it, so the philosopher who follows the path of wisdom must transform the formless and astringent mass of his shortcomings and limitations into an ideal, perfect, fiery and transparent sphere , which displays the light of the Spirit.

At the same time, in Egypt it was believed that all scarabs were males; it was a symbol of male power and the fertilizing life principle. Thus, this is not a very good sign for a woman, and it should be used as carefully as possible.

The Eye of Horus, with the help of Egyptian souvenir dealers, turned into a banal amulet against the evil eye. At the same time, among the ancient Egyptians, the eye of Horus had extremely complex symbolism. The Eye of Horus was a very popular amulet in Egypt, as it embodied its eternally returning universal harmony. According to myth, the envious god Set tore out the eye of his nephew Horus in a duel after killing and cutting into pieces his brother Osiris. Wise God of the moon Thoth cured Horus. After this, Horus gave the eye to his father Osiris to awaken him to new life. The eye and eyebrow of Horus signify strength and power. Two winged eyes are North and South as two divisions of the heavens, the Sun and the Moon, celestial space. The left eye of Horus signified the moon and thus the receptive feminine forces and the past, while the right eye embodied the active, creative and masculine forces of the sun and the future. The lunar eye of Horus, looking into the unconscious, symbolizes the amazing ability to peer into the depths human soul, return a person to a sense of integrity and internal unity.

The Eye of Horus in ancient Egyptian papyri depicts both Horus himself and the full moon during which Osiris was reborn and Horus was born. By the way, similar images of the eye can be found not only in ancient Egyptian drawings, but even found on modern American dollar bills.

Color range and materials used

The general color of the interior is light yellow, beige, ocher or ivory. To decorate objects and decor, a few bright colors are used: red, yellow, green, blue, black. The ancient Egyptians had a limited range of colors, since they used paints of natural origin, which were not mixed with each other, but were applied in a “pure” form. Gold is widely used in the interior, creating the impression of luxury in the palaces of the pharaoh.

The palette was simple: they used white and black colors, from which they mixed to get gray; red ocher (when mixed with white, pink was obtained); blue color, yellow ocher, when mixed they turned out green. The paints were bright and durable; they were made from mineral-based dyes and diluted with water and resin.

The most revered color is white and its shades: unbleached, grayish-yellow, cream. In patterned fabrics on a light or dark background, the colors of the pattern were used: blue, light blue, brown-red, ocher-yellow, green.

The painting used the following paints: black (coal pigment), white (based on gypsum and lime), gray (a mixture of white and black), blue (calcium frit and copper silicate), green (crushed malachite and frit similar to blue), brown (ochre), red (ochre), pink (a mixture of white and red), yellow (yellow ocher and orpiment). Paints were diluted in water with glue and applied in flat strokes using brushes that were made from plant materials and have survived in small quantities to this day.

Ancient Egypt is a mysterious civilization that attracts researchers and lovers of the mysterious. Excavations and research in the Nile Valley have been carried out for several decades; scientists still find interesting objects, jewelry, and amulets that have a deep mystical meaning. Today, Egyptian talismans are popular due to their original and attractive appearance and strong positive influence on the owner.

Egyptian symbols

The cultural heritage of the ancient Egyptian civilization is not only the pyramids and magnificent architectural monuments in Giza, but also numerous images and symbols with deep sacred meaning. Some signs reflected the power and greatness of the pharaoh, others were strong talismans, others helped in everyday life and gave strength.

A cross-shaped figure with a loop-shaped top symbolizes immortality. In many Egyptian frescoes, deities bring the ankh to a person’s mouth, bestowing the “breath of life.” The common name for the symbol is “Egyptian cross”.

Amenti

The image of the underground Kingdom of the dead. The figure means the horizon beyond which the sun's disk sets. In ancient times, it was a graphic representation of the West Nile, a region where burial sites were located.

Ba

An image similar to the soul in Christianity. Looks like a bird of prey with a human face. Ba leaves the body of the deceased. During the day he helps the living, at night he flies to the grave of the deceased.

Jed

A stylized image of the human spine in the form of a column with transverse “ribs” at the top. Symbolizes physical strength, indestructibility. The image was often painted inside coffins. It was believed that it helps the deceased travel through the underworld.

Shenu

An ornamental detail that looks like a ring. It acted as a talisman when the name of the person being protected was written inside. The Egyptians believed that a person wearing a shena would live long, and sorrows and adversities would pass him by.

Benben

Also called primary colliculus. This refers to a piece of land that was the first to rise from the sea depths of chaos. Scientists believe that it was the benben that became the prototype of pyramidal burial structures for kings.

Scarab

Dung beetle. In ancient times it was considered a sacred insect because it rolled dung balls, which was associated with the sun moving across the sky. The beetle's eggs mature in the sand, and young individuals emerge from the ground. According to the Egyptians, the world was also born out of nothing, out of chaos. The image of a scarab rolling a ball is one of the most popular in vintage jewelry design.

Cobra. Refers to the symbolism of Lower Egypt. Two snakes, depicted on the sides of the solar disk, symbolized the withering gaze of the god Ra. During the Middle Kingdom, the cobra was attached to the pharaoh's headdress as a protective symbol. It was believed that poisonous snake above the ruler's head will kill enemies approaching the throne with poison.

Eeb

A figure that looks like a pot. A simplified image of the heart, which in the minds of ancient people was the source of life. The Egyptians did not say “the man died,” but rather “the heart died.” This was the only organ that was not removed from the body during mummification.

Het

Lamp. The source of fire that embodies the sun.

Ka

Graphic sign in the form of two outstretched arms. Also called "spiritual twin". The ancients believed that when a person is born, a soul-double is also born. When a person dies, he meets Ka in another world. Moreover, the double is immortal and continues to live in the tomb, where the Egyptians left food and water for him.

Sesen

Lotus. Egyptian symbol of solar warmth, the birth of life. Graphic representation of Upper Egypt. Just as a lotus closes every evening, goes under water, and wakes up in the morning, so the sun rises in the east every time.

She

Water. Schematically depicted as vertically directed wavy lines. According to the beliefs of the Egyptians, the basis of the world is water. Life in an arid area forced the population to treat water sources with special respect.

Tiet

It's also the Isis knot. It received this name because it resembles the fastening loops on the robes of the gods. It looks like an ankh with drooping side branches. Meanings: prosperous life and resurrection.

Ju

Two mountains, between them - the blessed Nile valley. They supported the heavenly dome. The guards of the mountains were two lions, protecting the rising and setting sun. The mountain was also a symbol of the tomb, since the dead were buried on the hills surrounding the valley.

Horizon, in Ancient Egypt former symbol sunrise and sunset. Depicted as a solar disk between two hills. The deity who patronized the setting and rising luminary was the lion Aker. The famous Sphinx of Giza is the most remarkable statue of this deity.

Rehit

Lapwing with wings folded back. This symbolically depicted the people, ready to obey, bowing at the feet of the ruler. In the late period of development of Egyptian civilization, instead of wings, birds began to depict human hands joined in prayer.

Naos

A wooden casket in which gifts to the gods were kept. Wooden, richly decorated containers were installed in temples and placed in larger stone chests. The meaning of the symbol is a temple, a sacred place.

Sistrum

A ritual percussion musical instrument used in rites in honor of the goddess Hathor. It looked like a structure made of wood or metal with threads stretched inside. The ringing sound made by the instrument attracted the attention of the deities.

Ushabti

The word in Russian literally translates as “defendants.” These are small figures that resemble mummies. Their task is to help the deceased in the afterlife. Each figure had its own instrument and performed its own function. A deceased Egyptian was entitled to 401 ushebti: 365 for each day of the year, and the remaining 36 for overseers.

For the Egyptians, Pharaoh was the embodiment of God on earth. In order to emphasize his special position and superiority over mere mortals, the ruler of the Nile Valley wore and kept with him symbols of strength and power, which include:

1. The staff and flail are Egyptian symbols of autocracy, unlimited power, and greatness. Analogues of ancient Egyptian objects are the medieval scepter and orb.
2. Nemes is a striped head covering worn by pharaohs.
3. Deshret is the red crown of the Lower Kingdom.
4. Hedget is the white crown of the Upper Kingdom.
5. Khepresh is a blue headdress worn by the pharaoh in battle.
6. Pschent is the white and red crown of a united Egypt. The unification of the Kingdoms took place in 3100 BC. e. The first ruler to wear a double crown was Narmer.
7. Atef is the crown of Osiris, consisting of a white base and red feathers.
8. Sekhem is a symbol of the divine power vested in the pharaoh. It looks like a staff with eyes at the top.
9. Uas is a scepter symbolizing the power of the ruler. It is a staff topped with a dog's head.

Cats were treated differently in Egypt. Predators were revered for their dexterity and cunning; they were endowed with the ability to see what is hidden from human eyes. The cat, according to the Egyptians, knew how to transform into other creatures, traveled freely through the afterlife, and lived 9 lives.

The symbol of what the figurine is is determined by the material of manufacture:

• bronze promotes harmonious love relationships, protects against loneliness;
• silver attracts money and luck, promotes career growth and successful business, protects against black magical influences;
• gold endows the owner with sophistication, grace, and the ability to present oneself and join high society.

Symbols of Egyptian gods

Figurines of Egyptian deities and their photographs are common today as an element of the interior. This is not only a stylish decoration, but also a strong talisman for the home. The most popular:

1. Ra is the daylight. Even a child has heard about this deity. The pharaohs were considered the sons of Ra. God was depicted as a man with a falcon's head and a solar disk above it. The image protects from troubles and ensures a prosperous life.
2. Isis is the goddess of fertility and abundant life, protector of children. She appeared as a woman with horns and a sun above her head. The figurine looks beautiful and is considered a family talisman.
3. Feather Maat - goddess of justice and fairness, conqueror of evil. According to Egyptian beliefs, when a person dies, his soul goes to judgment. The judges weigh the soul with the feather of the goddess. The sinful soul is devoured by Amtu - a monster with a crocodile body and a lion's head. A feather as an amulet can only be worn by honest and decent people. This is an excellent amulet for volunteers, social workers, and peacekeepers.
4. Wadjet – protects and heals. One of the most popular amulets today, used not only as decoration and body decoration, but also as a tattoo.
5. The ibis is a bird revered by the Egyptians, the personification of the god of science and knowledge, Thoth. Recommended as an amulet for scientists, teachers, cultural and artistic figures, esotericists, and psychics.
6. The frog is the embodiment of the goddess of birth and fertility Heket. Contributes to the successful course of childbirth, therefore it is recommended for pregnant women to purchase the figurine.
7. The winged solar disk is a symbol of the god Horus. Today it is popular as a tattoo and part of body jewelry. The image of the sky and the life given by the sun sends the wearer a powerful flow of positive energy.

Egyptian amulets and amulets

The symbols of Ancient Egypt were actively used not only as elements of body jewelry, but also in temple paintings, home wall pictures, clothing, and figurines.

The figurines were usually gods and sacred animals.

Bracelets, rings, and necklaces were decorated with scarabs and many sacred signs. This is how the Egyptians tried to protect themselves and their home from troubles and negative magical influences.

Modern artisans, like ancient masters, create a wide variety of Egyptian amulets. Today you can purchase figurines and jewelry from:

• wood;
• semi-precious stones (turquoise, carnelian, jade and others);
• metal (most often bronze, gold, silver).

The most popular Egyptian amulets bought and tattooed are:

• ankh;
• wadget;
• feather of Maat;
• winged solar disk.

Purchased Egyptian amulets require activation.

Figurines made from natural material are already endowed with magical power obtained from nature. But the activation of jewelry occurs through sunlight. The sun fills the product with powerful positive energy, does not allow you to absorb negativity.

To activate the decoration, you need to put it on and go out in sunny weather before lunch to a deserted place. Turn your face to the luminary, put right hand on the amulet, mentally ask it for help and protection. The product is worn without taking off for 3 days.

Egyptian amulets are associated primarily with the powerful forces of nature, represented by the Egyptians in the form of deities, and therefore require respectful treatment. In order for the amulet to reliably protect and fill the space with positive energy, it should not be thrown into the far corner. It is necessary to communicate with it more often, periodically charge it, and cleanse it of accumulated negativity.

Amenta - this symbol means the Underworld, or Kingdom of the Dead. Initially, it designated the horizon - the place where the sun set. It subsequently became a symbol of the West Coast of the Nile, where the sun set and where the Egyptians traditionally buried their dead.

Ankh is a cross with a ring-shaped top, a symbol of eternal life. Often the gods are depicted bringing the ankh to someone's lips, thereby offering the person the "Breath of Life". He will need this “Breath” in afterlife. It is often called the "Egyptian cross" due to the fact that for a long time after the Egyptians adopted Christianity, the image of the ankh often appeared next to the Christian cross.

Ba is something that can be called the soul. Usually depicted as a bird (hawk) with a human head, and sometimes with human hands. After death, Ba leaves the human body. During the day, Ba can benefit living people, but at night it always returns to the tomb of the deceased. Having returned, Ba begins to look for the body of the one who once belonged to him. This, of course, is already a mummy, but, as a rule, the Egyptians also made a statue for Ba, depicting the deceased, in case the mummy was damaged or destroyed.

Shenu (shen) is one of the ornamental curls, or cartouches. It is a rope ring, without beginning or end, inside which a name was written. Served to protect the one who bore this name. This talisman, according to the ancient Egyptians, greatly contributed to the prolongation of life, protecting a person from the misfortunes of the mortal world.

Flail and staff - among the Egyptians, the staff and flail were the main attributes of Osiris as the judge of the dead; a staff with a pen for writing symbolizes the awakening soul. They were also symbols of royalty, majesty and power. The pharaohs of antiquity, just like the monarchs of past centuries, wore a scepter and orb.

Djed - according to legend, the spine of Osiris was installed vertically after his dismemberment. This is the Egyptian symbol of djed. Indeed, there is an opinion that the djed is a stylized image of the human spine. It represents stability and strength. Originally associated with the demiurge god Ptah, who was also called the Great Djed. As the cult of Osiris began to prevail, this symbol came to represent the spine of Osiris. The Column of Djed was often depicted at the bottom of coffins where the spines of the dead lay. This identified the deceased with the god of the underworld Osiris. This symbol also played the role of a talisman in a person’s journey through the afterlife.

Primordial Hill - The Egyptians believed that this hill rose from the sea of ​​chaos and gave birth to dry land. The image of a hill rising from the sea inspired the Egyptians, as a result of which it was used in many buildings, such as temples, and perhaps it was the original hill that served as the prototype for the pyramids.

The feather of Maat represents truth, justice, morality and balance. Keeping the feather of Maat was one of the duties of the pharaoh. When a pharaoh died, Ma'at was lost and the world plunged into chaos until the coronation of a new pharaoh helped regain the pen.

Maat herself was drawn as a straight line and symbolized truth, justice, morality and balance. Often gods and pharaohs were depicted standing on this symbol, which symbolized devotion to Ma'at.

The lower picture depicts the Goddess Hefnut carrying the feather of Maat

Scarab - called a dung beetle because it rolls balls made of dung on the ground. The Egyptians who observed his behavior associated this with the way the ball of the Sun rolls across the sky. They mistook this food source for an egg that the female scarab laid and hid in the sand. When the eggs hatched, the beetles seemed to appear out of nowhere, symbolizing birth from chaos. Thus, the scarab beetle was also associated with sunrise. The scarab-headed god was called Khepri.

Uraeus (cobra) is the emblem of Lower Egypt. She was associated with the ruler and with the kingdom of Lower Egypt itself. The uraeus was also associated with the sun and many gods. Cobra personified the “fiery gaze of Ra,” which was depicted as two uraei located on both sides of the winged solar disk. Beginning during the Middle Kingdom, the uraeus developed into a symbol placed on the crown or headdress of a ruler. It was used as a symbol of protection as the Egyptians believed that the cobra would breathe fire at an approaching enemy.

Udjat is the penetrating eye of the god Horus. Symbolized healing and protection. It is a symbol of the power of the god of light and therefore a popular amulet. There are ujat eyes, which are equipped with arms and hold a bow of life or a staff in the form of papyrus. IN " Book of the Dead"(Ch. 42) it says: “The Eye of Horus rewards with eternal life; and it protects me even when it is closed.” Therefore, ujats were often painted on tombs.

Uas - this symbol of strength and power consisted of a forked stick at the bottom, which ends at the top with a dog's head. The gods held the scepter in their hands (for example, the god of Memphis Ptah) as a sign of their power. It could also be owned by pharaohs, and later by people of lower rank at funerals.

Nemes is a striped headdress worn by pharaohs.

Deshret - Red Crown. This crown represented Lower Egypt (northern).

Hedget - White Crown. This crown was a symbol of Upper Egypt (southern).

Khepresh is a blue crown that was often worn during battle.

Pschent is a double crown consisting of white and red crowns joined together, symbolizing a united Egypt. Although Egypt was not always a unified state, the benefits of reunification were undeniable. Egypt could become stronger, and therefore its unification was desirable. Narmer (Menes), founder of the First Dynasty in 3100 BC. e., was the first ruler to wear such a crown.

Atef - the crown of Atef was worn by the god Osiris. It consisted of the White Crown of Upper Egypt and red feathers symbolizing Busiris, the center of Osiris worship in the Nile Delta.

Yeb - this symbol represents the heart. The Egyptians believed that the heart was the center of all consciousness, the center of life in general. When someone died, it was said that “his heart was gone.” The heart was the only organ that was left in the body during mummification. The Book of the Dead describes the procedure of “weighing the soul,” when the heart of the deceased was placed on one scale and the feather of Maat on the other. This decided whether a person was worthy to join Osiris in the afterlife.

Nebu - this symbol personified gold, which was considered a divine metal and was seen as the flesh of the gods. The shine of its polished surface resembled the light of the sun. Gold was given great importance - it was considered a symbol of immortality. Closer to the era of the New Kingdom, the royal tomb also began to be called the Golden House.

Het - this sign symbolizes a lamp or lamp on a stand. Heth generated a flame, which was originally the embodiment of the sun, the symbol of which was the uraeus - a serpent spewing fire. Fire also played a big role in the Underworld. In this, the Egyptians' idea of ​​the World of the Dead is similar to the Christians' idea of ​​hell. Most Egyptians did not want to get into this world of fiery lakes and rivers, inhabited by fiery demons.

Ka -- Ka is often translated as "spiritual twin." This famous hieroglyph clearly depicts two outstretched hands, but its origin is unclear. Ka is born together with a person. According to legend, the ram-headed god, Khnum, sculpts Ka on his potter's wheel at the time of human birth. It was believed that when a person died, he “met his Ka.” But even after the death of his owner, Ka continued to live. In some tombs, houses were built especially for Ka, and in order for him to eat, food and water were placed at the entrance to the tomb.

Menhead - a scribe's tablet with writing utensils. Writing was one of the most important achievements of the ancient Egyptians. Not everyone knew how to write, only the clerks. These people used a tablet for writing, on which there was a small amount of black and red paint, a jug of water and a feather. Being a clerk was considered very prestigious, and therefore even some rulers and nobles were depicted with tablets in their hands.

Pet - this symbol depicts the sky in the form of a concave roof, just as the sky seems to touch the horizon. This sign was often used in architecture - at the top of walls and in doorways. It meant heaven.

Sesen is a lotus flower. It is a symbol of the sun, creation and rebirth. The lotuses close their petals and go underwater at night, emerging at dawn and blooming again. There is a belief about a giant lotus, which was the very first to rise from the waters of the ancestral ocean. As soon as its petals opened, the sun emerged from them, which remains in the sky to this day. Sesen is also a symbol of Upper Egypt.

She is a pool of water. The Egyptians depicted water flows using symmetrically arranged vertical wavy lines. If these lines were placed inside a rectangle, then such a symbol meant a pool or lake. The Egyptians believed that the entire world arose from water. In conditions of frequent droughts, water played a primary role for the Egyptians, and having a pool of water was considered a huge luxury. Tombs often depicted the deceased drinking water from a pool in the afterlife.

Ra, the sun, was a fundamental element in the culture and life of Ancient Egypt, and its importance is clearly seen in art and religion. Some of the most revered gods are somehow related to the sun. At first Horus was considered the god of the sun, then Ra, and later Amon-Ra. There are many incarnations of the sun, such as Khepri, a giant scarab, symbol of the morning, or the ram-headed god Khnum, symbol of the evening. During the reign of Akhenaten, Aten was considered the sun god. The sun with its rays emanating from it was depicted as a figure holding an ankh. Another image of the sun is in the form of Horus Behudeti, a winged solar disk entwined with uraea.

Menat - the symbol depicts a massive necklace with a crescent moon in front and a sharp tip at the back. This symbol was associated with the goddess Hathor and her son Ihi. Hathor was also known as the Great Menat. Often Hathor is depicted using Menat as a key with which she uses her power. Her powers were based on joy, life, childbirth, fun and rebirth. During the New Kingdom, the pharaoh was usually depicted delivering Menat into the hands of Hathor. Perhaps in this way parallels were drawn between the ruler and the son of the goddess Ikha. This idea of ​​interaction between the ruler and the gods was traditional, although its most striking expression was the representation of the pharaoh in the form of the falcon god Horus.

Tiet - the exact origin of this symbol is unknown. Many believe that it represents the ankh with its arms down. The meaning of this symbol also resembles the meaning of the ankh - prosperity or life. During the Third Dynasty, the image of the tiet was used together with the ankh and the column of the djed, and later with the scepter of was. Tiet is associated with the goddess Isis, which is why it is often called the “Isis knot” or “the blood of Isis.” It was called the Isis Knot for its resemblance to the knots that fastened the clothes of the gods. Its second name - "blood of Isis" - is based on the fact that the tiet was often used as a funeral amulet and was made of red stone or glass. In the later period, this symbol became associated with the goddesses Nephthys, Hathor and Nut, and not just with Isis. But the meaning of the symbol remained the same - it still personified the resurrection and eternal life.

Sekhem is a symbol of power in the form of manifestation divine power. This is the staff of the ruler, on the top of which are drawn eyes. This symbol of power is associated with Osiris, but over the years it has become a real emblem god of the dead Anubis (along with the dog).

Sa - this symbol means protection. Its origin is unclear, but it is believed to symbolize either a shepherd's shelter or a papyrus device used by ancient Egyptian sailors as a means of survival. Sa has played a major role in jewelry design since ancient times. Typically, this sign is used in conjunction with other symbols, such as the ankh, the scepter of was and the djed. The goddess - the hippopotamus Taurt, the patroness of childbirth - was often depicted leaning on the Sa sign.

Ju (mountain) is a symbol depicting two hills between which the Nile Valley is located. The Egyptians believed that it was the celestial mountain range that supported the sky, preventing it from falling. This mountain range consisted of two mountain peaks - the western one, which was called Manu, and the eastern one, called Bahu. The sky rested on these two peaks. Manu and Bahu were guarded by two lion deities who protected the sun during sunrise and sunset. The mountain was also a symbol of the tomb and the afterlife - this was explained by the fact that in Egypt it was customary to bury the dead on the slopes of the mountains surrounding the Nile Valley. Sometimes in religious texts the god of the underworld, Anubis, was also called “he who is on his mountain.” Hathor, who was called the mistress of the City of the Dead, was also considered the goddess of the underworld. She was depicted as a creature with a cow's head, whose body was located inside a mountain.

Akhet - this symbol depicts the horizon, from behind which the sun appears and disappears. Thus, the horizon was a symbol of both sunrise and sunset. Akhet resembles the peaks of Ju, between which is the solar disk. The patron saint of sunset and sunrise was the dual lion god Aker. During the New Kingdom, Harmakhet (“Horus on the horizon”) began to be considered the god of the rising and setting sun in the form of a lion with the head of a falcon or a sphinx. The Sphinx of Giza is one of the most striking images of Horus on the Horizon.

Nekhbet is a goddess depicted as a vulture. She was considered the protector of Upper Egypt.

Rehit is a symbol depicting a lapwing with a crest on its head. The bird's wings are folded back so that it cannot fly away. This symbol represents a group of people. He was often depicted at the feet of the ruler to emphasize that the people obeyed his will. During the New Kingdom era, the symbol began to be depicted with human hands folded in prayer. In this form, this sign can be interpreted as “a group of people offering prayers.”

A naos is a wooden chest, a type of tabernacle, in which an image of a deity or his sacred symbol was installed; a place of worship where statues of gods were placed. These naos were especially common in sanctuaries. A small wooden naos was usually placed in the naos bigger size, hewn from a single piece of stone. Naos were especially common in the late period; they were often richly decorated. Also, the term “naos” was used to designate a temple or sanctuary as a whole.

Winged solar disk - it was believed that this image was taken by the god Horus Behudeti (Horus from Edfu) in battles with Set. God Thoth, with the help of magic, was able to endow Horus with such an ability. In the battle against Set, the goddesses Nekhbet and Uazet joined Horus, turning into urean serpents.

Two uraei entwining the solar disk mean these two goddesses.

Sistrum (sistrum) - this sacred percussion musical instrument was used during sacraments dedicated to the goddess Hathor. The sistrum was a wooden or metal frame, inside of which metal threads with disks were stretched. The sistrum made ringing sounds that were designed to attract the attention of the gods. There were two types of sistrum. Iba looked like a simple ring, like a compressed horse horseshoe with metal cylinders inside, and was placed above Hathor's head using a long handle. Another sistrum - seseshet in the shape of a naos above Hathor's head was decorated with ornaments and rings. Inside the pump box were rattling pieces of metal. Typically, such an instrument was carried in the hands of a woman from the upper class in processions.

Fetish - an animal skin hanging from a pole. The fetish was a symbol of Osiris and Anubis.

Palm branch - marking the years of the life and reign of the pharaoh, the Egyptians made notches on the palm branch. This served to measure time.

Ushabti - literally translated - “to answer”. Ushabti are small mummy-like figures that were supposed to work for the deceased in his afterlife. In some tombs built during the New Kingdom, entire groups of ushabti were found, equipped with a variety of tools. It was believed that the deceased should have had 401 ushabti: one for each of the 365 days and 36 overseers for the rest.

Baboons - in Egypt these animals were held in high esteem. They seemed so smart that they believed they understood human speech and were capable of learning to read. It is possible that they were tamed to do some small housework.

The baboon, along with the ibis, was recognized as a favorite animal and a living personification of the god Thoth.

Canopic jars - during mummification, organs were removed from the body of the deceased and placed in four containers. The lids of these containers often had the shape of a human or animal head. The word "canon" comes from the name of the deity who was worshiped in the city of Canopus, located in the Nile Delta. This deity was depicted as a pot with a human head. Canopic jars were made from alabaster, wood, clay, limestone, and even thick cardboard.

Egyptian canopic jars. The “heads” of the vessels represented the four sons of Horus. From left to right: Imseti with a human head - guardian of the liver; Quebeh-sennuef with a falcon's head is the keeper of the intestines; Hapi with the head of a baboon is the guardian of the lungs; Duamutef with the head of a wild dog or jackal is the guardian of the stomach.

At all times symbols of religions reflected the abstract concept of God, who is something incomprehensible to humans. The main task of numerous symbols of all world religions is the visible image of the Higher Powers with the help of allegory. Symbols of religions They help believers realize and better understand their faith; they connect a meaningful perception of faith with an emotional one. Our whole life is surrounded by many different symbols, but the difference between religious symbols is that they have great strength, since they express moral values and higher order relationships. A believer cannot do without religious symbols.

The phenomenon of paganism is a system of various religious cults based on belief in several gods. For example, before the adoption of Christianity, the Slavs revered Perun - the lord of thunder and lightning, Veles - other world, Roda is the patron saint of the hearth. The main symbol of the Slavs was the pagan Kolovrat - an eight-pointed yellow swastika on a red background. Kolovrat is a sign of the sun, symbolizing the victory of the light side over the dark and life over death. Christianity is a religion based on the teachings of Jesus Christ. Christians believe in divine origin Jesus of Nazareth. The Gospel states that He... God's son, who came to Earth to justify and atone for the sins of all mankind.

In the first stages of its inception, the symbol of Christianity was the ichthus. This is an image of a fish. The symbol was taken from the parable of Jesus Christ about fishing, the meaning of which was that fish are unbelievers, and fishermen are Christians spreading the teachings of Christianity through the preaching of the Gospel.

The well-known Orthodox cross consists of two crossed crossbars. The hands of Jesus Christ were nailed to the horizontal crossbar. Above it is an upper, smaller crossbar, signifying a tablet nailed by order of Pontius Pilate, on which was written “Jesus of Nazareth, King of the Jews.” The slanting crossbar at the bottom symbolizes the story of two thieves crucified with Christ, where the upward end of the crossbar reminds of the forgiven thief who went to heaven, and the downward end of the other one, who blasphemed God and ended up in hell.

The most common symbol of the religion of Christians in the Western world is the Latin cross, consisting of two crossbars, one of which crosses the other slightly above the middle. The cross symbolizes the crucifixion of Jesus Christ, hence its other name - the cross of the Crucifixion.

Another one world religion- Islam, was founded by the Prophet Muhammad in the 7th century. The main holy book of Muslims is the Koran. The very concept of “Islam” is translated as “peace and obedience to the Lord.” Muslims worship one God, Allah, and believe that the Koran was given to the Prophet Muhammad by the Archangel Gabriel. The symbol of Islam is a crescent moon and a five-pointed star. The five-pointed star represents the five pillars of Islam or the five main prayers, and the crescent moon represents commitment lunar calendar.

One of the oldest world religions is Buddhism, which was founded by the Indian prince Sidhartha Gautama (Shakyamuni). The symbol of the Buddhism religion is the Dharmachakra or “wheel of law.” In the center of the wheel there is a hub, symbolizing the point of consciousness. The eight spokes of the wheel express the eight principles on which the teaching is based.

The symbol, as a principle of generalization, as a content-formalized structure, is necessary in artistic creativity. But its absolutization leads to the fact that artistic thinking approaches a religious worldview, a religious-dogmatic interpretation of the meaning of creativity. This feature of a religious symbol was noticed by the modern English philosopher and esthetician C. Collingwood when he wrote that “religion is always dogmatic... it is unable to go beyond the limits of the symbol, since it always contains elements of idolatry and superstition.” And this inevitably leads to the loss of a historically specific ideal, to pessimism and mystical moods, which give the artistic symbol a religious overtones.

The bulk of Hindu adherents live mainly in India. Holy books teachings are 4 Vedas: Rigveda, Samaveda, Yajurveda and Atharvaveda, which are collections of hymns and magic spells. The religious symbol of Hinduism is the combination of the word “Om” or “Aum” - this is the universal name of the three main gods and a description of their functions: creation, maintenance and destruction. The letters also symbolize three states of consciousness - meditation, sleep and awakening. The second highly revered symbol is the swastika - in Hinduism it personifies harmony, the unity of elements and forces, as well as luck and favorable opportunities.

This possible trend in art is especially clearly revealed in the fate of artistic symbolism, which arose at the beginning of this century. Already in the poetic experiments of the late Baudelaire and Malarme, a tendency towards the deidealization of reality was clearly revealed. This was due not only to their social and ideological position, but was dictated and supported by the artistic principles that were chosen by them and which became close to religious consciousness.

Judaism is the religion of the Jews, which proclaims the idea that God has recognized the Jewish people as the chosen ones. The main meaning of the doctrine is faith in one, omnipotent, immortal God. A person is connected to him through the mind and immortal soul, communication with God is carried out through prayer. The symbol of Judaism is the six-pointed Star of David. David was God's anointed one and the ruler of the Jews. The five ends of the star symbolize human desires, which must submit to the most important sixth end - the desire to submit to God in everything.

The doctrine of Taoism originated in ancient China. The founder of Taoism is considered to be Lao Tzu, who wrote the famous treatise “Tao Te Ching”. In this religion, a person is perceived as an immortal substance, eternal life is achieved by merging with the Tao (the ancestor of all things in the Universe) through religious contemplation, physical and breathing exercises and other methods of self-development. Graphically, the concept of Taoism is expressed by Taiji - the symbol of a single limit. This is a black and white circle called Yin and Yang, where the black side is given to the woman and symbolizes the inner world, and the white side is the external, male side.

Kabbalism is an ancient movement of Judaism, which received its greatest development in the 16th century. It is believed that Kabbalism knows the divine revelation contained in the Torah. Kabbalah tries to comprehend the Creator, his role and purpose, as well as the meaning of human existence.

Many researchers of French symbolism point to this trend. In particular, D. Oblomievsky writes: “Baudelaire’s religious “conversion” was expressed primarily in the fact that man gradually loses in his poetry the features of a rebel, a troublemaker, opposed to God. The poet already condemns in “Retribution of Pride” (1850) the rebellion of man, his fight against God. For him, the poet becomes not an opponent of the deity, as was the case in “The Mutiny,” but a mouthpiece and instrument of God.”

And then D. Oblomievsky makes a very deep remark that the late Charles Baudelaire’s attraction to mysticism and religion inevitably pushes him towards decadence: “Baudelaire’s religious degeneration of his poetry, dating back to 1860--, was a transitional form from pure symbolism to consistent decadence. 1963.” By the way, let us note that this is characteristic not only of the fate of an individual artist, but also of entire movements, which, gravitating towards religious consciousness, inevitably become more and more formalistic, decadent movements. This, as will be shown below, is the fate of contemporary artistic modernism.

The social atmosphere in which European symbolism arose was vividly described by Philippe Jullian in his book “Aesthetes and Magicians,” pointing out that at the end of the 19th century. “The industrial revolution, conformism and the spirit of competition began to put too much pressure on social life" And then artists tried to revive the images of the mystical Middle Ages, endowing it with all the virtues that they were looking for in a pseudo-virtuous bourgeois society.

Philippe Jullian considers the symbol of the lily to be one of the striking examples of rethinking the Middle Ages in the art of the Symbolists. "Lily, christian symbol“, he writes, “was picked up by believers and non-believers artists of the end of the century... Lily is an image of the soul. The white lily of the Annunciation, the red lily of Florence, the tiger lily... The lily symbolizes newfound innocence, an untouched soul despite the dirt of life.”

A concrete example of an attempt to create his own mythology of new symbols was the literary experiment of Aubrey Beardsley, who wrote the romantic novel “Venus and Tannhäuser”. In it, O. Beardsley tried to combine ancient and medieval mythology in the spirit of rococo and symbolism. Particularly characteristic in this regard is the scene of the ballet performed by the servants of Venus at the altar of Pan, who are, on the one hand, satyrs, ancient shepherds and shepherdesses, on the other, dandies in tailcoats and ladies of the French court. “What a lovely sight! - exclaims O. Beardsley. What a delightful effect was achieved by this combination of silk stockings and hairy legs, expensive embroidered caftans and modest blouses, artful hairstyles and unkempt curls.” However, O. Beardsley's romantic novel convincingly showed the eclecticism and superficiality of this experiment, as well as the attempts of symbolists in general to rethink medieval symbolism.

The symbol of Hinduism is the quintessence of the word “Om” or “Aum” - the universal name of God, whose triliteral sign represents three main gods and the sphere of their action - Creation, Maintenance and Destruction, and also identify three states of consciousness - awakening, meditative immersion and deep sleep.

The symbol of Islam is a crescent and a five-pointed star. It became a symbol of the Turkish dynasty after the Ottomans captured Constantinople, where it was borrowed. Later it became a symbol of all Muslims. There is a claim that the crescent moon is associated with the hijra of the Messenger of Allah, when he secretly left Mecca and went to Medina. According to them, that night there was supposedly a crescent moon in the sky. According to other versions, the crescent symbolizes Muslim adherence to the lunar calendar, and the five-pointed star symbolizes the five pillars of Islam or the five daily prayers. The symbols of the crescent and star were known to mankind several thousand years before the Prophet Muhammad. It is difficult to trace their origin exactly. But most experts agree that these ancient symbols of the heavenly bodies were revered by the ancient peoples of Central Asia and Siberia, who worshiped the sun, moon and sky.

One of the oldest complex mystical symbols- a pentagram is a regular non-convex pentagon, it is also a regular stellated pentagon, or a regular pentagonal star. The first mention of the pentagram dates back to Ancient Greece. Translated from Greek, “pentagram” literally means five lines. The pentagram was the hallmark of the Pythagorean school (circa 580-500 BC). They believed that this beautiful polygon had many mystical properties. For example, the number of rays of this star was represented by the Pythagoreans as the number of love: 5 = 2 + 3; 2 is the first female number, 3 is the first male number. That is why the pentagram was a symbol of life and health; it was assigned the ability to protect a person from evil spirits. The pentagram was considered protection against evil and witchcraft. In the Middle Ages, it was painted in front of the entrance to the house and on the doors in order to ward off evil. The Pentagon (pentagon) is an amulet of health, a symbol of eternity and perfection, a magical remedy in conspiracies and some rituals. A regular pentagon in the form of a star served as the emblem of many gods: the Egyptian Thoth, the Aztec Quetzalcoatl, the Roman Mercury, the Celtic Gawain... This sign was the totem of the American Indians. The Greeks used it as a sign of the cross, the Jews - as a sign of prosperity, the legendary key of Solomon. Solomon's army had shields with the image of a yellow six-pointed star. For Christians, it symbolized the five wounds of Jesus, and for the Japanese it served as a sign of high status in society. Apparently, the pentagram originally appeared four thousand years ago in Mesopotamia, probably as an astronomical diagram of the movement of the planet Venus. It became the Sumerian and Egyptian star sign. This figure primarily represents a person: the top point is the head, the other four are the limbs. It is sometimes seen as a depiction of the five senses. Light magicians, in order to act on spirits, used the Pentagram with the head up, and black magicians drew the Pentagram with the head down. Faust drew a pentagram so that Mephistopheles could not cross the threshold of his house. For the Pythagoreans, a pentagram inscribed in a circle meant the silence of the initiate. The five ends of the pentagram symbolized the five years of silence and study that preceded initiation. IN Lately the true role of the pentagram began to be forgotten, although previously it served as a symbol of protection even among Christians. Now it is used by some “forgotten” religions (which are not occult), based on magic and the veneration of nature.

In Russian symbolism, the ideas of the idealless concept were picked up and expressed, perhaps even more strongly and consistently.

I can't stand children's babble

I hate the sound of cars

I want under the shade of pine trees

To be alone, always alone...

One of the darkest Russian symbolist poets, Fyodor Sologub, writes. The theorists of Russian symbolism tried to justify this artistic practice, which absolutizes the symbol as an artistic universal principle, and make it a universal condition for artistic creativity. “The romantic, classical, realistic and strictly symbolic schools are only different ways of symbolization,” wrote Andrei Bely.

However, the absolutization of the social, epistemological and artistic possibilities of the symbol inevitably leads to the loss of the ideal. This is precisely what brings symbolism in general closer to the religious worldview, for which the ideal, as mentioned above, is something frozen and unchanging.

Andrei Bely showed this very clearly in the idea of ​​a symbol as a Face, which is something transcendental and eternal, bringing different things to the One. “The image of the Symbol in the revealed Face of a certain beginning,” he wrote, “this Face appears in many different ways in religions; The task of the theory of symbolism regarding religions is to bring the central images of religions to a single Face.”

Symbolism, therefore, must lead diversity to the mystical unity of the Face, which is rationally, and even more so visually, irreproducible and indescribable, and therefore the concrete historical, full-blooded ideal is alien to symbolism. In the epistemological aspect, this leads to the fact that a “completely unnecessary element of agnosticism” is introduced into the process of reflection; in the aesthetic aspect, it leads to the fact that the process of artistic creativity is mystified, and piece of art largely loses elements of imagery.

A striking example of how the absolutization of symbol as a device in art leads to the complete destruction of artistic structure is the work of the Belgian poet and artist of the early 20th century. Jean de Bocher. In his book “In the Kingdom of Dreams and Symbols” he strives to create a picture of nature full of strange symbols: “Where they (birds - E. Ya.) sing, flowers and fruits gently move, like some kind of world of fragile jewels ... But the gloomy wind extinguishes this shiny enamel and the birds stop singing... The fading waves also stop. The horror of silence is felt.”

This picture of the world, created by the imagination of Jean de Bocher, is very close to philosophical concept agnosticism, for which the external is something unstable and constantly changing. Theoretically, this artistic practice is justified by modern neo-Kantians. Thus, Ernst Cassirer generally characterizes the world as something symbolic, but considers man not social being, but symbolic animals.

Between ups and downs in art there sometimes lies a period of twilight; this is a time when art often gravitates towards symbolic thinking. This “twilight art” arises in eras of declining civilizations, which are still capable of giving something to culture, but can no longer create the conditions for this something to become a step in development artistic culture humanity. And this something becomes “twilight art,” an art in which this state public life.

However, “twilight art” is not a sign of the culture of only one era - the era of imperialism. This kind of art in a broad sense of this word, arises when the stable signs of a historically specific monistic (national, regional or specific type of civilization) culture are destroyed as a result of the gradual or rapid collapse of its social foundations. This is one of the spiritual manifestations of the crisis that arises at that stage of development of society when a transition occurs in the structure of the socio-economic formation from progressive development to regressive development or to the restoration of the old. The loosening of the old structure is inevitably associated with the search for new systems of organization, including the search for a new artistic vision of the world, with attempts to create a new culture. In art there is an attempt to capture and convey this process. But, as a rule, “twilight art” captures only the superficial signs of an emerging new culture, which still exists only as a trend. This is, for example, the nature of the culture and art of Hellenism, the era of decline of ancient Greek civilization.

In the era of Hellenism (IV-I centuries BC), the ideal of a “self-sufficient” creator, not connected with the outside world and independent of it, began to dominate in philosophical and aesthetic thinking and art.

Epicurus' ataraxia (inner independence and peace of mind) and the apathy of the Stoics (freedom from affects) become dominant in the thinking and worldview of Hellenistic society. This general attitude, characteristic of Hellenism, also permeates art, in which interest in social problems is weakened and the problem of the individual is put at the forefront; The spiritual structure of a person devoid of social and political integrity prevails; he is the embodiment of a “citizen of the world.” In this art, epic genres die - tragedy and epic; they are replaced by small forms: epillium (“small epic”), elegy, idyll, which turn to intimate - family and friendly - experiences. The genre of epigram and light erotic anacreontics flourishes magnificently.

IN fine arts, especially in sculpture, the civil theme is becoming impoverished, epic genres are weakening, and they are being replaced by a pictorial or sculptural portrait and a genre scene. The pursuit of accurate rendering of small details, the variety of images led to an overload of details (the famous group of the Farnese bull), and the desire to capture a separate, fleeting moment led to excessive external pathosity (the image of the dying Alexander) or to absolute relativity, incompleteness of images (the Frieze of Pergamon altar).

Thus, in Hellenistic art, the attraction to new genres that can capture individual characteristics leads to a significant degree to the loss of civic qualities, and the fixation of a passing moment leads to the incompleteness of the work, to the principle that in modern bourgeois aesthetics is designated by the category “non finito” , as discussed above.

Individualism and incompleteness are features that convincingly indicate that Hellenistic art was not able to unite the past and present into a single whole. The connection between times was broken, and even realistically captured details became just “material for an idealistic artistic synthesis.”

Something similar happened in Italy in the 16th century, when the High Renaissance was replaced by mannerism, born of the Counter-Reformation and the formal, cold use of the techniques of the great artists of the Renaissance.

Mannerists strive for deliberate entertainment, virtuosity, external picturesqueness and complex formal solutions, losing the clarity of language, monumentality and deep citizenship inherent in the masters of the High Renaissance. Just as in the Hellenistic era, the art of sophistication, frivolity and perversity flourishes in Mannerism (Giulio Romano, Parmigianino); hedonistic aesthetics and eroticism become its main features. Mannerism is quickly dying, because (like the art of Hellenism) it cannot connect the past with the present, and especially with the future. His searches turned out to be purely external, very superficial, and therefore they did not find a response among the broad masses of the people, they could not grasp the deep processes of the birth of culture and art of modern times. Only the art of critical realism can master these processes.

This is, in principle, the aesthetics and practice of “art for art’s sake” (Europe and Russia at the end of the 19th and beginning of the 20th centuries), which captured the surface of the deep transformations of critical realism. This, in fact, is modernism (or modern modernism), which grew out of the search for new methods of artistic vision.

Strictly speaking, a developed culture is always traditional, since it is materially fixed in certain tools, in the labor system, in the stable level and skills of the producer, in the creations of spiritual and artistic thought, and its task is to reproduce in its entirety the existing system of socio-economic and spiritual relationships.

“Twilight” art is always one-sided, it is only the use of new forms. It refuses tradition and therefore is not able to grasp the essential, cannot connect the past, the deep, with the present, the emerging; it does not fully realize the meaningful task of art. Such art is associated, as mentioned above, with the process of searching for new forms, but ultimately this search absolutizes the form and turns it into a symbol. Such relativity of artistic search, instability, and superficial novelty are most adequate to the spiritual atmosphere of confusion and loss of humanistic guidelines, the atmosphere of a society that has entered a period of collapse.

In its essential features, art is the most mobile element of culture, and yet it is possible as a developed aesthetic phenomenon only if there is an established stable method of artistic exploration of reality (realism, classicism, romanticism, critical realism, socialist realism). The artistic method presupposes, at least, the presence of such essential features (expressed in a specific historical form) as the recognition that art is: 1) a reflection of objective social and natural reality; 2) a system of generalization of this reality (or typification); 3) a structure in which substantive tasks determine the artistic merits of the form; finally, 4) a certain social position, expressed either in spontaneous tendentiousness or in the artist’s clear and open partisanship.

All these functions can only be performed by art that most thoroughly realizes the possibilities of artistic reflection, that is, art that has a holistic and universal method within a given type of creativity.

“Twilight” art does not have stable and universal principles at the level of a universal artistic method; it, as a rule, exists only at the level of a system (formal systematization), combining various techniques into an eclectically unstable manner of creativity. The only thing to which such art can rise are more or less stable stylistic principles, realized in the individual manner of the artist, and a sense of the tragedy and hopelessness of life in a dying society.

“Twilight” art reaches its apogee in contemporary artistic modernism, when it not only loses progressive social guidelines, but in its artistic tendency goes to self-destruction - to ugliness and pointlessness, abandoning even the symbol. Neither in the Hellenistic era, nor in late imperial Rome, nor during the period of the Counter-Reformation in Europe did art lose its most important artistic quality - imagery. The image in this art was deformed and distorted, but it artistically reflected the sick world in which this art lived.

Petronius points out the grinding and artistic wretchedness of the art of late Rome in his famous “Satyricon”: “Sublime art and... chaste eloquence are beautiful in their original beauty, and not in pretentiousness and pomposity. Only recently did this inflated, empty eloquence creep into Athens from Asia, like a harmful star, sending an infection that took possession of the minds of the youth... And so, when the laws of eloquence were undermined, it froze in stagnation and became numb... Even poetry no longer shines healthy blush: they all seem to have been fed the same food; none will live to see gray hair. Painting is destined to the same fate, after the arrogance of the Egyptians utterly simplified this high art.” And speaking of social reasons, who gave birth to such art, Petronius exclaims: “The loud fame of wealth blinded the eyes and souls of these unfortunates.”

Contemporary modernism, in its extreme manifestations, has encroached on the holy of holies of art - the image; he does not need an image, even an extremely generalized and symbolic one, his desire for self-destruction is evidence that the society that gave birth to him is losing its historical perspective, and at the same time all traditional humanistic values.

This process is associated with the general trend of increasing the active role of the individual in the social and spiritual processes of modern life. In art, this is expressed in an exaggerated interest in the emotional states of the artist’s personality. “...Consciousness of the exceptional significance of what is experienced and created... constitutes characteristic feature modernity,” M. Fabrikant once noted, speaking about the initial stages of modernism.

This is also emphasized by modern researchers of artistic symbols. Thus, Todor Vidanu says that an artistic symbol is characterized by the prevalence subjective reflection above objectivity, although objective content is expressed through this subjectivity. But the subject still dominates here, and this is fraught with artistic subjectivism. Today, in modernism and among its theoretical interpreters, this process acquires the only and absolute value. “...Only individuals keep pace with the evolution of art... This means that society follows the spiritual age of the minority who creates art...” writes the above-mentioned Greek esthetician P. Michelis. The words-symbols of one of the typical representatives of modern modernism, Georges Rouault, sound aphoristic and programmatic: “Painting for me is only a means of leaving life. Scream in the night. Suppressed sobbing. Laughter stuck in throat." This desire for spiritual and sometimes physical self-destruction is very characteristic of the worldview of a consistent modernist artist; in this he differs from the wavering artist, the artist in whom nevertheless lives a healthy sense of the necessity and value of life.

“Living in the world is both scary and beautiful,” A. Blok wrote in his diary in 1911, and this feeling of the beauty of life largely determined his future creative path, a departure from the extremes of modernism, from the tendencies of anti-humanism and self-destruction. A. Blok’s words are also symbolically aphoristic, but this is an aphorism that refutes and denies the boundless pessimism of Georges Rouault. The absolutization of the personal world clearly appears at the social and epistemological level, but it is much more difficult to detect it at the aesthetic level, since art always and necessarily captures the individuality of the artist and at the same time it is a holistic phenomenon in its mobility. It is not so easy to separate the wheat from the chaff, the structures based on a stable artistic method, from the structures based on a system organized merely into a quantitative unity. Real life art is internally contradictory and complex and therefore requires analysis that covers the most important aspects of its existence. Therefore, turning to the analysis of modern searches for artistic symbols, one should first of all establish the content dominant of these searches.

Thus, the formal search for “pop-art” in its absolute form represents a clear modernist destruction of the nature of art, while the use of real life forms in their meaningful aspect from a progressive position contributes to the creation of a modern artistic figurative vision (anti-tank hedgehogs as an artistic symbol of the defense of Moscow ; a tank raised on a pedestal as a symbol of liberation, a fire on the Tomb of the Unknown Soldier, etc.). The principles of extreme formal symbolism, deformation and metaphor in surrealism lead to the destruction of art, but these same principles, included in the method of a certain monumental painting school (Siqueiros, Orozco, etc.) or modern realistic expressionism (Käthe Kollwitz, Ernst Barlach, Renato Guttuso), become means of progressive, democratic art.

Modern symbolic expressionism, for example, is complex and contradictory, but in its main tendencies it manifests a protest against human suffering; this is the exposure of suffering - for the sake of denying it, for the sake of rejecting this suffering. V. Kataev writes about the monument to O. Zadkine “Destroyed Rotterdam” as an impressive image of humanistic suffering. “Oh, if only someone knew what a torment it is to be an iron man-city with a torn out heart, doomed to eternal immobility and silence on its concrete base...”

Often works of symbolism are the fruit of a tragic delusion or a hopeless protest, in which sometimes there is still a glimmer of hope for salvation. At one time, Andrei Bely wrote:

I'm lying... Falling asleep in oblivion

And melting and gentle snow,

Flying down onto my chest,

To slightly vegetating shoots.

These “slightly vegetating shoots” indicate that the creation of artistic values ​​is still possible. Therefore, they are not without interest for a holistic understanding of the history of the artistic culture of mankind.

Thus, in the process of historical life, there was an ever closer rapprochement between religious symbolism, which was static and dogmatically unchanging, and artistic symbolism, which, developing and transforming, in its extreme manifestations, followed the path of rapprochement with the extreme tendencies of modern bourgeois modernism.

This was deeply felt by the neo-Thomist J. Maritain, who saw the closeness of the religious symbol to the most “spiritual” movements of modern modernism, although outwardly he in every possible way disavows it, because he understands art as a symbolization of the transcendent. J. Maritain says that art is not only a “world of things,” but, most importantly, a “world of signs,” those signs that are inexpressible either through scientific truths or through ideas. A work of art is a double symbol: firstly, a symbol of human feeling and, secondly, a symbol of superhuman concepts, since highest meaning a work of art is “a sign of the feelings of divine existence.”

One of the bourgeois researchers of the philosophy of J. Maritain, V. S. Simonsen, emphasizes precisely this in Maritain’s interpretation of the symbol: “... it is no longer the only, final symbol that dominates... not a symbol accompanied by a clear epithet, but a series changing symbols." Therefore, it becomes clear that J. Maritain’s statement that the formation of his aesthetics took place under the influence of the work of French symbolists such as Rimbaud, Mallarmé, Verlaine.

J. Maritain, supporting symbolism in modern artistic modernism, puts forward the principle of “discovering invisible things through visible things.” That is why he does not accept surrealism, since the latter suffers from a lack of the mysterious, mystical, “spiritual”. But Maritain speaks with delight about the work of Georges Rouault. “A philosopher could study Rouault’s work as a field of pure art with all its duties, secrets and chastity... He captured for us in the real and factual a certain light splashing, which no one has yet discovered. His pathetic art has a deeply religious meaning." J. Maritain speaks with no less enthusiasm about M. Chagall, who, in his opinion, is a true artist. “...The evangelical feeling is unconscious in him and, as it were, bewitched,” writes J. Maritain. “Chagall knows what he’s saying, but he probably doesn’t know everything brought by what he’s talking about.”

Thus, J. Maritain requires a rather unambiguous answer to the question of true “spiritual” values, which are revealed only through a symbol close to the radiant light of the divine.

But, as V. Dneprov correctly notes, “art is more resilient than any other ideology, it resists pressure from the bourgeoisie...”. And not only the bourgeoisie. Precisely because in art the search for something new is always associated with the desire to reflect the entire complexity of the spiritual life of society, the artist seeks new forms, new means of expressing the era. And therefore “the forms themselves are not to blame. Any form may be needed for art and sculpture...” The culprits are those social forces, including religious ones, which require art to be limited and unambiguous (with all its external diversity) necessary to protect their interests. "IN modern conditions, when the general crisis of capitalism has deepened significantly, its irreconcilable contradictions have intensified...”, the inevitability of the union of religion and the extreme movements of modernism becomes especially clear.

One of the most important ancient Egyptian symbols with the meaning of “life” (“immortality”), also known as the “crux ansata”. The sign is very simple, but powerful.

It combines two symbols - a cross, as a symbol of life, and a circle, as a symbol of eternity. Their combination means immortality.

Ankh can be interpreted as rising Sun, as the unity of the male and female principles (the oval of Isis and the cross of Osiris), as well as the key to esoteric knowledge and the immortal life of the spirit.

In hieroglyphic writing, this sign symbolized “life”; it was also part of the words “welfare” and “happiness”. The Egyptians believed that the image of the ankh prolongs life on earth. They were buried with the same amulet in order to be sure that life in another world awaited the deceased. Exactly this form, according to ideas ancient world, had a key that could open the gates of death.

This symbol was also placed on the walls of water canals in the hope that it would protect against floods. Later, the ankh was used by witches in rituals, divination, fortune telling, healing and helping women in labor. During the hippie movement in the late 1960s, the ankh was a popular symbol of peace and truth.

It is impossible to list all the meanings of a symbol. A sign of happiness, prosperity, inexhaustible vitality, eternal wisdom, etc.

All Seeing Eye - Wadget



A painted image of an eye with a spiral line below it is usually the emblem of the falcon-headed sky god Horus, a symbol all seeing eye and the unity of the cosmos, the integrity of the universe. According to ancient Egyptian myth, the lunar eye of Horus was torn out by Set in the battle for supremacy among the gods, but after Horus's victory in this battle it grew again. This myth became the reason for the extreme popularity of the Eye of Horus as an amulet to ward off evil. The Eye was also often depicted or carved on Egyptian tombstones to help the dead in the afterlife. The spiral under the eye (resembling a galaxy) symbolizes energy and perpetual motion.

The Eye of Horus was also associated with healing, as ancient Egyptian physicians often viewed illness as analogous to the battle between Horus and Set.

In mathematics, the Eye had a curious function - it was used to represent fractions. According to one version of the myth, Seth cut the torn out eye of Horus into 64 parts, so its incomplete image symbolizes some fractional number: the pupil is 1/4, the eyebrow is 1/8, etc.

Scarab


The scarab is one of the most popular Egyptian symbols. It is known that dung beetles, which include the scarab, are able to skillfully sculpt balls from dung by rolling them in front of them. This habit, in the eyes of the ancient Egyptians, likened the scarab to the sun god Ra (the ball of dung in this allegory is an analogue of the solar disk moving across the sky).

The scarab was considered a sacred creature in Ancient Egypt; figurines of this beetle, made of stone or glazed clay, served as seals, medals or talismans, signifying immortality. Such amulets were worn not only by the living, but also by the dead. In the latter case, the beetle was placed in a sarcophagus or inside a mummy - in place of the heart, while it was written on the back, smooth side sacred texts(often - the thirtieth chapter of the book of the dead, convincing the heart not to testify against the deceased at the afterlife court of Osiris). Scarab figurines often depicted only the upper part of a beetle, without legs, and the smooth oval base of the figurine was used to apply various kinds of inscriptions - from individual names and aphorisms of a moralizing nature to entire stories about outstanding events in the life of the pharaohs (hunting, marriage, etc.)

Shenu


This emblem in the form of an oval with a straight line at the end is often called a cartouche.

Inside there is a name written in hieroglyphs (for example, the name of the pharaoh), which the oval symbolically protects.

Winged solar disk




According to myth, Horus took this form during the battle with the evil god Set. On both sides of the disk there is an image of a snake, signifying the balance of opposing forces. The entire composition symbolizes protection and world balance.

This sign was often depicted above the entrance to the tomb of the pharaoh; in this case, the disk in the center symbolized Horus, the wings - Isis protecting him, and the snakes - Lower and Upper Egypt.

Sesen


Lotus flower, sign of the sun, creativity and rebirth. Due to the fact that at night the lotus flower closes and sinks under the water, and in the morning rises again to bloom on the surface, this association arose. One of the cosmogonic myths says that at the beginning of time, a giant lotus rose from the waters of chaos, from which the sun appeared on the first day of the world’s existence.

The lotus flower is also considered a symbol of Upper Egypt.

Feather Maat


The emblem symbolizes truth and harmony. Maat is the daughter and eye of Ra, the goddess of justice, truth and world order. Together with her father, she participated in the creation of the world from chaos. Like her Greek counterpart, Themis, Ma'at is depicted blindfolded. The goddess's head is decorated with an ostrich feather, which is her symbol and hieroglyph. According to the ideas of the ancient Egyptians, in the afterlife the heart of the deceased was placed on one pan of the scales, and the figurine of Maat on the other. If both objects were balanced, then this meant that the deceased was worthy of bliss in the reed fields of Iaru (otherwise he would be devoured by a monster with the head of a crocodile and the body of a lion). The figurine of Maat on the chest was an invariable attribute of the judge.

Cat


For the Egyptians, the cat was the earthly embodiment of Bastet - the goddess of solar warmth, joy and fertility, protector of pregnant women and children, guardian of the hearth and harvest. Bastet, personifying such qualities as grace, beauty, dexterity and affection, is considered the Egyptian analogue of Aphrodite and Artemis. Her sculptures and paintings were used to protect the house from evil spirits.

Naturally, cats were treated with great respect in Ancient Egypt, and killing them was punishable by death. During life, this animal was an equal member of the family, and after death it was embalmed and placed in a sarcophagus, which was placed in a special necropolis.

Heron


The heron was considered a symbol of resurrection and eternal life (a prototype of the Phoenix bird) and personified Benu, one of the original, uncreated gods like Ra or Atum. According to myth, at the beginning of creation, Benu appeared by himself on a stone that emerged from the watery chaos. This stone - Benben - was one of the fetishes of God.

Isis

The doctors of Ancient Egypt were very “savvy” in terms of medicine. The surviving frescoes depict scenes of complex surgical operations on internal organs. According to some Egyptologists, they were even able to perform neurosurgical operations, which in our time are performed only in the leading medical centers of the world.

But paranormal researchers pay most of their attention to the mysterious Egyptian priests. What is not attributed to them is the ability to use spells to lift huge blocks of stone into the air, destroy enemies at a distance and revive fallen warriors who have previously been turned into mummies. In their work, Egyptian priests used all kinds of amulets and talismans, which will be discussed in this article.

Ankh

The Coptic or Egyptian Ankh cross can be considered one of the most important symbols denoting life and immortality. This is a kind of key that seals the doors to the temple of Great Knowledge. It can be found on the walls of Egyptian pyramids and other ritual structures. The Ankh is also part of the ancient Egyptian writing system. There was a belief that with the help of this symbol one could defeat natural disasters, in particular, stop flooding.

Used as an amulet, the Coptic Ankh cross gives its owner the ability to perform magic. It helps develop intuition and extrasensory perception. A person who constantly wears this talisman increases his personal power and his ability to make predictions. However, only those who are brave in spirit and pure in thoughts have the right to use a sacred symbol.

The Ankh amulet helps to reveal secret channels through which you can gain access to information accumulated by your ancestors. Silver is considered the best material for its manufacture. Gold is also suitable if a person sets out to acquire not spiritual, but material goods. The talisman should be worn around the neck, on a cord made of genuine leather (a metal chain will not work).

Ba (strength)

This sacred object implies the qualities of a person, more precisely his heart, soul and vitality. The central element of the composition is a falcon with a human head, whose wings are spread wide in different directions. The ancient Egyptians believed that the god Ba visited the body of a deceased person. Therefore, narrow gaps were left in the sarcophagi through which the soul had to penetrate.

Since the god Ba controls the life force of a person, an amulet with his image has similar properties. It can be used if there is a need to get rid of chronic illness, apathy and fatigue. The talisman will help the athlete during tedious training.

During the physical life of his body, his Ba travels through the world of dreams, the soul seems to exist between the kingdom of the living and the dead. Therefore, the Ba talisman will be useful to a person who practices astral exit or lucid dreaming techniques. To feel its effect, you do not have to wear the amulet on your body. Just put it under your pillow at night.

Ibis

The Sacred Ibis is a symbol of the patron of justice and wisdom - the god Thoth. However, it was the white bird whose flight feathers were painted black that had sacred status. Herodotus writes that killing an ibis was punishable by death. According to legend, the god Thoth lived among the ancient Egyptians for some time in the guise of a white ibis and taught them occult sciences. This deity is also credited with creating the famous fortune-telling deck of cards, the Thoth Tarot.

The sacred ibis is considered the patron of intellectual pursuits and mental work. Therefore, representatives of science and art can use it as an amulet. The talisman stimulates intellectual activity and helps its owner to reveal dormant talents and creative abilities. It can be made in the form of a small figurine made of porcelain or precious metal.

Isis

The Wings of Isis is a figurine in the form of a woman with outstretched wings and a crown on her head. Instead of a crown, the goddess's head can be decorated with a solar circle or gilded cow horns. Isis is one of the most significant goddesses of the ancient Egyptian pantheon. What’s interesting is that she patronized the oppressed sections of the population - artisans and slaves, as well as sinners. Isis was revered as a symbol of motherhood and femininity.

The "wings of Isis" talisman can have various uses. Firstly, the amulet helps to manage life processes and control current events. Secondly, it protects its owner from “evil from within” - his own mistakes and oversights. And finally, it will be useful for a pregnant woman carrying a child.

The “wings of Isis” figurine can be installed in your home to find happiness and family harmony. In this incarnation, the sacred object acts as a talisman against conflicts and disagreements. It is best placed in the hallway, living room or dining room where the whole family gathers.

Cat

One of the most revered animals in Ancient Egypt was the cat. She was considered a symbol of cunning and intuition, grace, grace. The Egyptians endowed cats with the ability of clairvoyance (the ability to appear in the earthly and afterlife worlds), as well as reincarnation. It was in Egypt that all sorts of myths began to arise, for example that they have 9 lives.

As a talisman, a cat figurine will be useful to a person whose life is full of all sorts of risky activities. Also, a figurine with the image of a “fluffy” will be useful for people involved in physical activity. The bronze cat fulfills love wishes and helps you quickly find your soulmate.

If you set out to attract good luck and material wealth, then buy a cat made of silver. The same amulet helps its owner protect himself from damage and black magic. If your desire is to turn into a sophisticated and sublime person, then you should give preference to a cat pendant made of gold.

Frog Heket

This talisman was created in honor of the goddess Heket - a woman with a frog head. This is a very friendly person who helped people be born safely into this world. At will, Heket could transform into an amphibian, but most often she is depicted in an anthropomorphic form. Heket is considered a symbol of fertility. By the way, in some countries central Africa Even today women eat frogs because they believe that it will help them have numerous offspring.

As you probably already guessed, the amulet in the form of the Heket frog can be used by women who want to get pregnant, or by ladies who are already carrying a child. Fortunately, you don’t have to swallow the frog at all (not everyone likes such a delicacy). You can simply buy a figurine in the form of a frog, made of earthenware or, if finances allow, gold.

Menat

It is believed that Africans never experience problems with potency. But, in all likelihood, the ancient Egyptians preferred to play it safe with this issue. And their aphrodisiac was menat, a symbol of male energy and fertility. As you can see, the item is a necklace with a phallic-shaped pendant. Bronze, copper or lapis lazuli were used to make it.

The menat amulet is worn by both gods and goddesses. Its practical application is to restore or preserve reproductive function. The ancient Egyptians generally believed that this symbol could instill the ability and desire to engage in *cake even in dead person. Tourists visiting the Egyptian pyramids should be more careful when walking past the tombs, which display the almighty menat symbol.

Pectoral (breastplate)

This is a very powerful item that can simultaneously combine several magic symbols. A pectoral breastplate was placed on the chest of a mummy to protect the deceased from dangers that might await him in the afterlife. The talisman was intended to ensure the speedy transition of the soul to the blessed kingdom of Osiris. The ancient Egyptians were very sensitive to the afterlife and tried to prepare for it in every possible way.

Of course, only pharaohs and other local aristocrats could afford the most luxurious pectorals. For example, several pectorals were discovered in the tomb of Tutankhamun. These were gold plates decorated with obsidian, turquoise and other precious stones. On one of the tablets there was an image of the sacred falcon - the sun god Horus. Such a pectoral was supposed to provide the powerful earthly ruler with eternal life.

Feather of the Goddess Maat

The goddess Maat is revered as the patroness of harmony, justice and all-conquering truth. According to the ideas of the ancient Egyptians, the soul of a deceased person in the afterlife appears before 42 judges. To determine the further fate of the deceased, the soul was weighed on special scales, the counterweight of which was the ostrich feather of the goddess Maat. The scales were held by the god Anubis with the head of a jackal.

Maat can be used as a talisman by people who have dedicated their lives to the fight against injustice and evil. For example, these could be human rights activists, peacekeepers, volunteers of the Red Cross and similar organizations. But we must take into account that the goddess Maat patronizes only crystal honest people.

Do you wonder what happened to the soul of a man whom the court of 42 judges recognized as wicked and unworthy? No, he was not sent to hell or hellfire. Instead, the sinful soul was given to be devoured by a certain monster named Amtu, who had the head of a crocodile and the body of a lion.

Ra

So we got to the supreme representative of the ancient Egyptian pantheon - the god Ra. By the way, all Egyptian pharaohs were revered as the sons of this deity, called to do the will of their great parent on earth. Most often, Ra is depicted as a falcon with the solar disk shining above its head. You can also find an image of the symbol in the form of a male figure with the head of a falcon.

The use of the Ra talisman is simply comprehensive - it bestows upon its owner the favor of the heavenly powers. The house in which such a talisman is located will avoid any disasters and wicked people. It protects from physical danger, disease, grants material well-being. Palaces, temples and homes were decorated with similar signs. ordinary people seeking to gain the favor of the gods.

According to ancient Egyptian mythology, the god Ra fought daily with a serpent named Apep, who sought to swallow the sun and deprive the world of daylight forever. This is what explained the alternating cycles of day and night. Of course, Ra always defeated his opponent, but only then to fight him again after dark.

Sesen

The symbolic designation of this sign is the lotus flower. Sesen represents a symbol of rebirth, creative energy. With the onset of darkness at night, the lotus folds its petals and plunges under water. As soon as the sunlight illuminates the sky, the flower appears on the surface again. One of the ancient myths says that the sun itself emerged from a giant lotus flower on the first day of the existence of the material world.

The Sesen talisman will come in handy creative people who are in a state of search, crisis. It will help you to be reborn, to find new strength and new ideas. The talisman is made in two versions - in the form of a lotus flower and the sun, half appearing above the horizon. It can be worn as a pendant or pendant.

A similar function is performed by the “Sun with Wings” amulet, which is also called the “Winged Disk”. This sign is still used by some esoteric communities, for example, Freemasons, alchemists and Theosophists. The sun with wings, complemented by images of snakes, denotes the battle of light and dark forces, global balance. This sign can often be found above the entrance to the tomb of the pharaoh.

Scarab

A variety of areas are subject to this amulet. human life. It is believed that it is capable of attracting material success, giving its owner courage, and protecting the lives of warriors and travelers. In addition, the scarab amulet gives courage to timid people, makes them more decisive and confident in their abilities. It also protects its owner from obsession and enemy spells.

The scarab beetle has a mystical connection with the sun. Therefore, for energy recharging, it must come into contact with the daylight as often as possible. However, this does not mean that the owner of the talisman needs to walk under the scorching rays of the sun during the daytime. Just put the amulet on the windowsill and let it charge itself with solar energy.

Tiet (Isis Knot)

Visually, this symbol resembles an inverted ankh. The amulet must be painted red, as it is a symbol of fertility. It is dedicated to the goddess Isis, wife of Osiris. Gold was most often used to make the “Isis knot”; figurines made of mahogany were also found in sarcophagi.

Like many other sacred objects of Ancient Egypt, Tiet was closely associated not only with the “earthly” kingdom, but also with world of the dead. This sign is found on funeral fezzes. The Isis knot was tied around the mummy of a deceased person. It was believed that this would help the deceased get to his place faster. ultimate goal afterlife journey. The same knot adorned the clothes of priestesses and clergy.

Thiet (Tet) is mentioned several times in the sacred Egyptian Book dead. There are lines there that can be translated into Russian as follows: “May the Blood of Isis protect you from evil spirits.” The Ani papyrus contains a magical formula that could be used to activate this amulet.

") is the left eye of the falcon-like god Horus, which was knocked out in a fight with the powerful Set. Ancient Egyptian healers used the symbol in witchcraft practice. It was believed that with its help it was possible to cure any disease. This is probably due to the fact that, according to legend, a knocked out eye The mountain after some time was reborn in its place.

The wadget has several symbolic meanings. First of all, it is mysticism, intelligence, vigilance, knowledge, insight. Wearing the Eye of Horus amulet will help a person become more insightful and more easily comprehend the essence of things. He will gain the ability to reveal the intrigues and secret thoughts of ill-wishers.

By the way, a slightly transformed sign " all-seeing eye"has not lost its meaning in modern world. It is used by "free masons" masons, as well as representatives of some esoteric lodges. And finally, the image of the eye of the “Architect of the Universe” can be found on the back of the dollar bill.

Heron

Few people know that the “ancestor” of the mythological bird Phoenix was the Egyptian heron. This bird is credited with eternal life and the ability of repeated resurrection, which the god Benu awarded it with. This Benu was a very influential god, because he was nothing more than the soul of Ra himself! And he showed himself to the world in the guise of a majestic heron.

The heron talisman will help a person who wants to “revive” cooled love feelings or a dormant creative muse. But the amulet’s abilities are not limited to this. He cleanses a person from all kinds of filth and becomes... It can be seen as a symbol of the arrival of spring and creative change.

IN Chinese teaching Feng Shui also has a heron symbol. An amulet in the form of a bird clutching a stone in its paws is suitable for travelers. A heron bringing a snake will protect the house and offspring from negative energy. A bird standing on one leg attracts good luck and financial well-being.

Nature