For twelve years, my research into the two Zodiacs of Dendera Temple has continued steadfastly. H... more For twelve years, my research into the two Zodiacs of Dendera Temple has continued steadfastly. Herewith are some corrections to our (Park & Eccles 2012) paper in ARAM Journal [which inadvertently elevated me from "Mrs" to "Dr" status.] The paper's core work came from "Looking into the Dendera Zodiac, or Whose Zodiac is it?" which had been the topic of my Bath Spa University MA Dissertation (2004). In fairness to the kind readers I have had on Academia.edu, some of my mistaken conceptions need a review and correction. In 2012, the paper concluded with my speculation that the circular Dendera Zodiac was instigated by Caesar Augustus. For the record now, I am convinced that the Dendera Zodiac was a commission from Ptolemy XII and his daughter Cleopatra VII, towards the ancestor cult worship of the Ptolemies. As Sir Norman Lockyer (1894: 139) asserted, "…however true that the circular zodiac had been sculpted in the time of the Romans, still it certainly referred to a time far anterior." Also in the paper, I stated that eclipses, being baleful, were not a feature of Egyptian monuments. I now believe otherwise. Instead, it appears to me that Solar Eclipses, often cryptically portrayed, are a frequent feature of dateable artwork from the New Kingdom onwards. As in 2012, I do stand my ground, in asserting that the Dendera Zodiac does not portray any eclipses. This view is contrary to the authoritative papers of Cauville and Aubourg (1995) and what the Louvre tells the public. The basis for my view is that neither the Moon nor the Sun, both in Pisces at New Moon, are near the lunar node, which is labelled as the crocodile-god Sobek in Cancer. The Sun and Moon must both be very close to a lunar node for an eclipse, either solar or lunar, to occur.
The most popular visitor attraction in the Egyptian Antiquities department in the Louvre is the s... more The most popular visitor attraction in the Egyptian Antiquities department in the Louvre is the sandstone ceiling with bas-relief of a sky-map from Dendara temple. The 2.5 m ≈ 2.5 m artefact is dated to the 1 st century BC by Neugebauer and Parker (1969) who also claimed, albeit with sketchy discussion on the matter, that the planets shown are merely placements in their zodiacal sign of astrological 'exaltation'. Upon our investigation, this postulation is not fully supported. Aubourg (1995) who does not comment on the assumption of 'exaltations', interprets two particular symbols as depictions of a solar and lunar eclipse in the years 52 and 51 BC, and hypothesises that the planets are at their last stationary point prior to his deduced date for the summer of 51 BC. However these portrayals are otherwise unprecedented in sacred art. Therefore such conclusions seem dubious, both in historic context and to the received wisdom of the nature of celestial ideology in which Egyptian temple priests were normally steeped, and who incidentally, were the only ones with access to the roof-top sanctuary chamber where the zodiac ceiling was secreted. This paper will attempt to unravel more intrinsic, political and practical meaning behind the commissioning of the Dendara zodiac. A re-appraisal of the content incidentally shows astronomical viability for the Sun, Moon and five planets, indicating a date late in the reign of the then Pharaoh of Egypt, Caesar Augustus. And this is suggestive of a more than likely horoscope present amongst the constellations. In his 2 nd century AD biography of Augustus, Suetonius tells how the youthful Octavian had consulted with a Greek astrologer Theogenes and been told of his powerful destiny. This serves to remind us how astrology, and particularly, horoscopes of destiny such as the Dendara zodiac might turn out to be, had taken hold throughout the Roman Empire, in which Egypt was a major player.
Damnatio ad astra on the Dendera Zodiac
(Abstract accepted for poster presentation at SEAC 2015,... more Damnatio ad astra on the Dendera Zodiac (Abstract accepted for poster presentation at SEAC 2015, Nov 9-15, Rome) by Rosalind Park The Ptolemaic kings (332-30 BCE) were enthusiastic patrons of all new learning in philosophy, the mathematical arts and technology. However following fratricidal civil wars, from 144 BCE, serious scholars in Alexandria were executed, or were in exile (Green 1990:538). Reprisals and purges were also carried out by a vindictive Ptolemy VIII Euergetes II, called Physcon, towards Jewish military and high-ranking citizens, and native Egyptians alike. In the relative peace of his great-granddaughter’s era, Cleopatra VII most likely commissioned the famous circular zodiac at the Temple of Dendera. Some renderings of the peculiar Egyptian constellations indicate a bias towards goddesses associated with motherhood - notably the excessively large gravid hippopotamus and the frog goddess called upon to hasten the last stages of birth. Between these female constellations, the temple priests have installed Great Mother goddess Neith, the Egyptian’s first generation goddess Tefnut, the mother and daughter deities Satet and Anutet, the goddess who nourished the fields, Queen Berenice II, and Queen Cassiopeia of Ethiopia. The theme suggests Cleopatra’s justification of matrilineal descent, as she herself produced royal offspring by foreign Roman men. Cleopatra was respectful in honoring her Ptolemaic ancestors; but how she felt about Physcon’s disruption of the dynastic cult with the murder and damnatio memoriae of his son 60 years earlier can only be guessed. The unflattering caricature representation of Physcon in the guise of Lupus on the two Dendera zodiacs may be the answer. Passing mention is made by Lull & Belmonte (2009:191) that the “Mad Dog” constellation of the Babylonians, Lupus ought to be found on the Dendera planisphere; but they give an untenable location. I offer a more plausible celestial position for Egyptian Lupus, in keeping with historical maps (see Dekker, 2013). Connections are noted, between the reviled pharaoh’s nick-name, and various ethnic conceptions of the Lupus constellation. My hypothesis is that the Egyptian priests - who gave the world the constellations of Coma Berenices and Antinous based on real people of the Greco-Roman period - portrayed Lupus to represent Ptolemy VIII, Euergetes II.
The suggestion that the Milky Way is the sky-goddess Nut has been argued by several Egyptologists... more The suggestion that the Milky Way is the sky-goddess Nut has been argued by several Egyptologists. Adding weight to their theory, albiet from a history of astronomy perspective, this paper proposes that Egyptian star-gazer temple priests were purposeful in depicting a secret Milky Way on the Hellenistic period circular planisphere ceiling, popularly known as the Dendera Zodiac. For the representative season that the Dendera Zodiac was cast, most of the unique Egyptian constellations - some with a very long historical pedigree - are examined. Comparing contemporary Greek astronomical texts with the images on the Dendera Zodiac, the Milky Way, and some constellations previously unidentified by modern researchers, are duly matched. It is noteworthy that there existed an artistic dichotomy over portrayal of the stars and constellations: the peculiar and circumspect Egyptian deities lost in meaning to us, and the more open and wayward Greek mythological characters of lasting familiarity to this day. In the compromise era of the First Century, as long as it did not involve a gender change, the Egyptians ceded some of their own long-maintained star asterisms to contemporary Greco-Roman ones (for example, Cassiopeia); but for many of their cosmic constellations (for example, Taweret), they steadfastly and uncompromisingly adhered to their ancient ideology of various Egyptian goddesses' roles in the heavens.
For twelve years, my research into the two Zodiacs of Dendera Temple has continued steadfastly. H... more For twelve years, my research into the two Zodiacs of Dendera Temple has continued steadfastly. Herewith are some corrections to our (Park & Eccles 2012) paper in ARAM Journal [which inadvertently elevated me from "Mrs" to "Dr" status.] The paper's core work came from "Looking into the Dendera Zodiac, or Whose Zodiac is it?" which had been the topic of my Bath Spa University MA Dissertation (2004). In fairness to the kind readers I have had on Academia.edu, some of my mistaken conceptions need a review and correction. In 2012, the paper concluded with my speculation that the circular Dendera Zodiac was instigated by Caesar Augustus. For the record now, I am convinced that the Dendera Zodiac was a commission from Ptolemy XII and his daughter Cleopatra VII, towards the ancestor cult worship of the Ptolemies. As Sir Norman Lockyer (1894: 139) asserted, "…however true that the circular zodiac had been sculpted in the time of the Romans, still it certainly referred to a time far anterior." Also in the paper, I stated that eclipses, being baleful, were not a feature of Egyptian monuments. I now believe otherwise. Instead, it appears to me that Solar Eclipses, often cryptically portrayed, are a frequent feature of dateable artwork from the New Kingdom onwards. As in 2012, I do stand my ground, in asserting that the Dendera Zodiac does not portray any eclipses. This view is contrary to the authoritative papers of Cauville and Aubourg (1995) and what the Louvre tells the public. The basis for my view is that neither the Moon nor the Sun, both in Pisces at New Moon, are near the lunar node, which is labelled as the crocodile-god Sobek in Cancer. The Sun and Moon must both be very close to a lunar node for an eclipse, either solar or lunar, to occur.
The most popular visitor attraction in the Egyptian Antiquities department in the Louvre is the s... more The most popular visitor attraction in the Egyptian Antiquities department in the Louvre is the sandstone ceiling with bas-relief of a sky-map from Dendara temple. The 2.5 m ≈ 2.5 m artefact is dated to the 1 st century BC by Neugebauer and Parker (1969) who also claimed, albeit with sketchy discussion on the matter, that the planets shown are merely placements in their zodiacal sign of astrological 'exaltation'. Upon our investigation, this postulation is not fully supported. Aubourg (1995) who does not comment on the assumption of 'exaltations', interprets two particular symbols as depictions of a solar and lunar eclipse in the years 52 and 51 BC, and hypothesises that the planets are at their last stationary point prior to his deduced date for the summer of 51 BC. However these portrayals are otherwise unprecedented in sacred art. Therefore such conclusions seem dubious, both in historic context and to the received wisdom of the nature of celestial ideology in which Egyptian temple priests were normally steeped, and who incidentally, were the only ones with access to the roof-top sanctuary chamber where the zodiac ceiling was secreted. This paper will attempt to unravel more intrinsic, political and practical meaning behind the commissioning of the Dendara zodiac. A re-appraisal of the content incidentally shows astronomical viability for the Sun, Moon and five planets, indicating a date late in the reign of the then Pharaoh of Egypt, Caesar Augustus. And this is suggestive of a more than likely horoscope present amongst the constellations. In his 2 nd century AD biography of Augustus, Suetonius tells how the youthful Octavian had consulted with a Greek astrologer Theogenes and been told of his powerful destiny. This serves to remind us how astrology, and particularly, horoscopes of destiny such as the Dendara zodiac might turn out to be, had taken hold throughout the Roman Empire, in which Egypt was a major player.
Damnatio ad astra on the Dendera Zodiac
(Abstract accepted for poster presentation at SEAC 2015,... more Damnatio ad astra on the Dendera Zodiac (Abstract accepted for poster presentation at SEAC 2015, Nov 9-15, Rome) by Rosalind Park The Ptolemaic kings (332-30 BCE) were enthusiastic patrons of all new learning in philosophy, the mathematical arts and technology. However following fratricidal civil wars, from 144 BCE, serious scholars in Alexandria were executed, or were in exile (Green 1990:538). Reprisals and purges were also carried out by a vindictive Ptolemy VIII Euergetes II, called Physcon, towards Jewish military and high-ranking citizens, and native Egyptians alike. In the relative peace of his great-granddaughter’s era, Cleopatra VII most likely commissioned the famous circular zodiac at the Temple of Dendera. Some renderings of the peculiar Egyptian constellations indicate a bias towards goddesses associated with motherhood - notably the excessively large gravid hippopotamus and the frog goddess called upon to hasten the last stages of birth. Between these female constellations, the temple priests have installed Great Mother goddess Neith, the Egyptian’s first generation goddess Tefnut, the mother and daughter deities Satet and Anutet, the goddess who nourished the fields, Queen Berenice II, and Queen Cassiopeia of Ethiopia. The theme suggests Cleopatra’s justification of matrilineal descent, as she herself produced royal offspring by foreign Roman men. Cleopatra was respectful in honoring her Ptolemaic ancestors; but how she felt about Physcon’s disruption of the dynastic cult with the murder and damnatio memoriae of his son 60 years earlier can only be guessed. The unflattering caricature representation of Physcon in the guise of Lupus on the two Dendera zodiacs may be the answer. Passing mention is made by Lull & Belmonte (2009:191) that the “Mad Dog” constellation of the Babylonians, Lupus ought to be found on the Dendera planisphere; but they give an untenable location. I offer a more plausible celestial position for Egyptian Lupus, in keeping with historical maps (see Dekker, 2013). Connections are noted, between the reviled pharaoh’s nick-name, and various ethnic conceptions of the Lupus constellation. My hypothesis is that the Egyptian priests - who gave the world the constellations of Coma Berenices and Antinous based on real people of the Greco-Roman period - portrayed Lupus to represent Ptolemy VIII, Euergetes II.
The suggestion that the Milky Way is the sky-goddess Nut has been argued by several Egyptologists... more The suggestion that the Milky Way is the sky-goddess Nut has been argued by several Egyptologists. Adding weight to their theory, albiet from a history of astronomy perspective, this paper proposes that Egyptian star-gazer temple priests were purposeful in depicting a secret Milky Way on the Hellenistic period circular planisphere ceiling, popularly known as the Dendera Zodiac. For the representative season that the Dendera Zodiac was cast, most of the unique Egyptian constellations - some with a very long historical pedigree - are examined. Comparing contemporary Greek astronomical texts with the images on the Dendera Zodiac, the Milky Way, and some constellations previously unidentified by modern researchers, are duly matched. It is noteworthy that there existed an artistic dichotomy over portrayal of the stars and constellations: the peculiar and circumspect Egyptian deities lost in meaning to us, and the more open and wayward Greek mythological characters of lasting familiarity to this day. In the compromise era of the First Century, as long as it did not involve a gender change, the Egyptians ceded some of their own long-maintained star asterisms to contemporary Greco-Roman ones (for example, Cassiopeia); but for many of their cosmic constellations (for example, Taweret), they steadfastly and uncompromisingly adhered to their ancient ideology of various Egyptian goddesses' roles in the heavens.
26th International Congress of History of Science & Technology, 2021
Astronomical artworks on ceilings in the Egyptian temple of Hathor at Dendera occur in two places... more Astronomical artworks on ceilings in the Egyptian temple of Hathor at Dendera occur in two places: the vibrantly coloured hypostyle ceiling named 'Zodiac E' by Neugebauer & Parker (1969), and the more widely known round 'Dendera Zodiac' ('Zodiac B') sandstone monument, now in the Louvre. The twelve classical zodiac constellations are easily identified, but many figures, derived from Egyptian cosmology, pose a challenge in identification. In their critical overview and claiming to have identified 90% of the astronomical images, Lull & Belmonte (2008) considered the creators of the circular zodiac to have suffered from horror vacui, who filled the gaps with carelessly translocated or duplicated constellations.
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(Abstract accepted for poster presentation at SEAC 2015, Nov 9-15, Rome)
by Rosalind Park
The Ptolemaic kings (332-30 BCE) were enthusiastic patrons of all new learning in philosophy, the mathematical arts and technology. However following fratricidal civil wars, from 144 BCE, serious scholars in Alexandria were executed, or were in exile (Green 1990:538). Reprisals and purges were also carried out by a vindictive Ptolemy VIII Euergetes II, called Physcon, towards Jewish military and high-ranking citizens, and native Egyptians alike.
In the relative peace of his great-granddaughter’s era, Cleopatra VII most likely commissioned the famous circular zodiac at the Temple of Dendera. Some renderings of the peculiar Egyptian constellations indicate a bias towards goddesses associated with motherhood - notably the excessively large gravid hippopotamus and the frog goddess called upon to hasten the last stages of birth. Between these female constellations, the temple priests have installed Great Mother goddess Neith, the Egyptian’s first generation goddess Tefnut, the mother and daughter deities Satet and Anutet, the goddess who nourished the fields, Queen Berenice II, and Queen Cassiopeia of Ethiopia. The theme suggests Cleopatra’s justification of matrilineal descent, as she herself produced royal offspring by foreign Roman men.
Cleopatra was respectful in honoring her Ptolemaic ancestors; but how she felt about Physcon’s disruption of the dynastic cult with the murder and damnatio memoriae of his son 60 years earlier can only be guessed. The unflattering caricature representation of Physcon in the guise of Lupus on the two Dendera zodiacs may be the answer.
Passing mention is made by Lull & Belmonte (2009:191) that the “Mad Dog” constellation of the Babylonians, Lupus ought to be found on the Dendera planisphere; but they give an untenable location. I offer a more plausible celestial position for Egyptian Lupus, in keeping with historical maps (see Dekker, 2013). Connections are noted, between the reviled pharaoh’s nick-name, and various ethnic conceptions of the Lupus constellation. My hypothesis is that the Egyptian priests - who gave the world the constellations of Coma Berenices and Antinous based on real people of the Greco-Roman period - portrayed Lupus to represent Ptolemy VIII, Euergetes II.
Key words: sky deities, matrilineal, Canon of Proportion, colures, Greek astronomers
(Abstract accepted for poster presentation at SEAC 2015, Nov 9-15, Rome)
by Rosalind Park
The Ptolemaic kings (332-30 BCE) were enthusiastic patrons of all new learning in philosophy, the mathematical arts and technology. However following fratricidal civil wars, from 144 BCE, serious scholars in Alexandria were executed, or were in exile (Green 1990:538). Reprisals and purges were also carried out by a vindictive Ptolemy VIII Euergetes II, called Physcon, towards Jewish military and high-ranking citizens, and native Egyptians alike.
In the relative peace of his great-granddaughter’s era, Cleopatra VII most likely commissioned the famous circular zodiac at the Temple of Dendera. Some renderings of the peculiar Egyptian constellations indicate a bias towards goddesses associated with motherhood - notably the excessively large gravid hippopotamus and the frog goddess called upon to hasten the last stages of birth. Between these female constellations, the temple priests have installed Great Mother goddess Neith, the Egyptian’s first generation goddess Tefnut, the mother and daughter deities Satet and Anutet, the goddess who nourished the fields, Queen Berenice II, and Queen Cassiopeia of Ethiopia. The theme suggests Cleopatra’s justification of matrilineal descent, as she herself produced royal offspring by foreign Roman men.
Cleopatra was respectful in honoring her Ptolemaic ancestors; but how she felt about Physcon’s disruption of the dynastic cult with the murder and damnatio memoriae of his son 60 years earlier can only be guessed. The unflattering caricature representation of Physcon in the guise of Lupus on the two Dendera zodiacs may be the answer.
Passing mention is made by Lull & Belmonte (2009:191) that the “Mad Dog” constellation of the Babylonians, Lupus ought to be found on the Dendera planisphere; but they give an untenable location. I offer a more plausible celestial position for Egyptian Lupus, in keeping with historical maps (see Dekker, 2013). Connections are noted, between the reviled pharaoh’s nick-name, and various ethnic conceptions of the Lupus constellation. My hypothesis is that the Egyptian priests - who gave the world the constellations of Coma Berenices and Antinous based on real people of the Greco-Roman period - portrayed Lupus to represent Ptolemy VIII, Euergetes II.
Key words: sky deities, matrilineal, Canon of Proportion, colures, Greek astronomers