The Uraeus (plural Uraei or Uraeuses) is a stylized upright cobra (or snake /

serpent), used as a symbol of sovereignty, royalty, deity and divine authority in

ancient Egypt. Uraeus is a Greek word that may have its origins in ancient
Egyptian, meaning "she who rears up".
The Uraeus originated from the goddess Wadjet, who was seen as a cobra. She
became the patron of the Delta, Lower Egypt, and so was worn by the Pharaohs
as a head ornament, in effect part of the crown, as a claim over the land. There
is evidence for this even in the Old Kingdom (3rd millennium BCE). The
pharaoh was seen as a manifestation of the sun-god Re, and so it was also
believed that the Uraeus protected the Pharaohs by spitting fire on their
enemies. In some mythological works, the 'eyes' of Re are said to be Uraei.

As the Uraeus was seen as a royal symbol, Horus and Set were also depicted
wearing one.

Another name for this is the term "Totaf" found also in the Bible.

Golden Uraeus of Senusret II

In 1920, the Qufti worker Hosni Ibrahim held in his hands the solid Gold,
Golden Uraeus of Sesostris II, (after only a half-hour excavation). It had been
decided to make a (follow-up) complete clearance of the El-Lahun Pyramid's
rooms, at Saqqara. The start in the rock-cut offering chamber, leading from the
sepulchre, on the south, immediately revealed in the turnover of the 6 inches of
debris, the Golden Uraeus, crown ornament.

Prior to the 1922 find of Tutankhamun's tomb, this Golden Uraeus was the only
ornament ever known to be worn by a Pharaoh.

The Golden Uraeus is of solid gold, 6.7 cm, black eyes of granite, a snake head
of deep "ultramarine" lapis lazuli, the flared cobra hood of dark carnelian
inlays, and also inlays of turquoise. For mounting on the Pharaoh's crown, two
loops in the rear-supporting tail of the cobra, provide the attach points. See
Reeves Ref, pg. 157 (1920). See Hagen Ref, pg. 202.

Uraeus, as a hieroglyph

Besides, the Uraeus being used as an ornament for "Statuary", or as an

adornment on the pharaoh, it was also used for jewelry and in amulets.
However another important usage is as the Hieroglyph.

The simplest hieroglyph is the "Cobra" (the Uraeus), however there are
subcategories, referring to: goddess, priestess, the goddess Mehnit, shrine of
goddess (àter), goddess Isis, and lastly goddess: (Cobra (uraeus) at base of God
(ntr).
The Rosetta Stone uses the plural of the last example, "3-god 'Flags' with Cobra
at each base of flag ". The story of the Rosetta Stone has the Pharaoh (the
Priests of the pharaoh), listing His reasons for being honored, and in return,
"The Gods and Goddesses (plural)" reward Him. The last (2/3) of the Rosetta
Stone relates how He will be honored, including erecting the Rosetta Stone, for
all to read. Uraeus on buildings in hieroglyphs

Another example of the hieroglyph usage, is as adornments upon the

hieroglyph for "shrine" itself, and also for 'buildings'.

Reference: Budge, Sir E.A.Wallis. An Egyptian Hieroglyphic Dictionary

The human genetic experiment links with snake symbology, DNA, Sumerian
Gods and for some a feeling of connection with an alien race, reptilian or other.

Symbolism of the snake:

• psychic energy, or the power of Nature; intuitive wisdom

• the unconscious
• Kundalini Rising
• new life, rejuvenation and healing
• Rebirth - the snake sheds its skin and grows new skin; shedding the old,
new growth. In ancient times snakes were associated with Goddess, rain
and fertility symbolism.
• Ouroborous
• sexual symbol, or a symbol of temptation - phallic symbol

In Eastern Europe during the time period of 6500 - 3500 BCE. Snake and Bird
Goddesses were often combined into one figure, though not always. Both were
associated with the Great Cosmic Egg, from which came forth the Universe.
Symbols associated with these Goddesses were parallel or zigzag lines, dotted
bands (like a snake's skin), meander shapes, and mazes. These symbols are also
associated with water and rain, making these deities ones which brought the
rains in times of drought. Such symbols appear on pottery more often in the
areas where rain was scarce.
The caduceus/rod of Hermes creates balance. It is thought to be, among other
things, the representation of the Egg-creating Snake God and Goddess.

The snake is also associated with psycho-sexual energy. Those who do Tantra
refer to the "Kundalini Snake", which is coiled three and a half times around
the base of a person's spine. This is not literal truth, but an image of the sexual
energy which starts at the base of the spine and coils upward during specific
Layayoga exercises.
Breasts are symbolic of fertility and nurturing but are also a symbol for rain,
again making the connection between Water and Life. The Snake Goddess
figurines from Crete show a woman with elaborate skirts and headdress who is
bare breasted and clutching a snake in each hand. It may well be that Crete was
the inheritor of the Snake/Bird Goddess symbolism that existed in Eastern
Europe a millennium before. Avebury and its nearby mounds and dolmens
make the shape of a snake guarding a Cosmic Egg, which contains two circles
representing Day and Night (i.e. Time) with the breast-like Silbury Hill not far
away; again, more symbols regarding creation, rain and fertility, concepts very
much related in the ancient mind.

The Snake Dance uses this symbolism. It the Dance of Life, of the twining
strands of DNA, of Creation, bringing rain and new growth to the Earth.

THE COBRA

The cobra is an ancient symbol of power and protection from danger.

In Hindu the cobra is associated with Lord Shiva the 'Creator'. The cobra, a
symbol of fertility, is often shown together with Shiva in stone sculptures and
paintings.

The Cobra as an Egyptian Symbol - Uraeus

The cobra was a symbol of upper Egypt. Cobra was the symbol of the Pharaoh.
The cobra was used for the low g in hieroglyphics. The cobra was also on the
double crown of Egypt. Cobras were a sign of new life and resurrection.

The cobra was almost always portrayed rearing up and with its hood dilated.
The Greek word uraeus is typically used to describe the cobra in this pose. The
word may have its origins from the Egyptian words which meant she who rears
up. The species of cobra represented as the uraeus is the Naja haje.
The king is portrayed wearing the royal nemes head cloth, the royal beard and
the double crown, symbolizing his rule over Upper and Lower Egypt. The
royaluraeus on his forehead protects him against all evil.

The uraeus was a symbol for various things from early times including: the sun,
Lower Egypt, the king and a number of deities. Ancient Egyptian Dynasties.
 King Tut

This picture of me was taken in 1989 during a regression

into my past lives. It was taken in my home using infra- red film.

Additional images can be found here.

 Please place your cursor over my image

Uraeus is a mythic Egyptian snake. This painting symbolizes the power of the
original snake well known by so many cultures The snake is also a symbol of
transformation and evolution. The snake finds its place in the human body in
the spine. The spine is most important as a nervous center but as a carrier of
spiritual energy too, called by some oriental people Kundalini.
The uraeus is a rearing cobra that connotes protection. The uraeus was
associated from as early as the predynastic Period with the Delta region, or
Lower Egypt, and was featured prominently above the brow on the royal crown
or the royal head cloth. The uraeus is often combined with the sun disk.

The cobra, with its dilated hood framing the disk of the sun, was said to
represent the fiery eye of Re. The two symbols were also depicted with various
solar-linked deities, in particular Sekhmet, who is represented in the exhibition
as a lion-headed goddess carrying the solar disk and uraeus above her head.
The uraeus in its protective function is often incorporated into scenes from
the Book of the Dead, associating uraeus with the underworld.
 Uraeus Symbol at Djoser's Step Pyramid in Saqqara, Egypt

The uraeus is a symbol of kingship in Egypt represented by a cobra in an

upright position worn as a head ornament or crown. The symbol protected the
king and was an agent of his destructive powers, spitting fire and associated
with the goddess Wadjit.

The Uraeus - From Kircher's Oedipus Egyptiacus

The spinal cord was symbolized by a snake, and the

serpent coiled upon the foreheads of the Egyptian
initiates represented the Divine Fire which had crawled
serpent like up the Tree of Life.
According to the Story of Re, the first uraeus was created by the
goddess Isis who formed it from the dust of the earth and the spittle of the sun-
god. The uraeus was the instrument with which Isis gained the throne of Egypt
for her husband Osiris.

As the sacred creature of the Delta city of Buto, the reptile was known by the
same name. She soon became an emblem of all of Lower Egypt. The uraeus
was often depicted with the vulture Nekhebet who served the same function for
Upper Egypt. Together they symbolized the unification of the two lands. The
creatures also appear together in the pharaoh's nebty or 'Two Ladies' name.

The cobra was also called the 'fiery eye' of Re. Two uraei were sometimes
depicted on either side of the solar disk.

A gilded wooded cobra called netjer-ankh ("living god") was found in the tomb
of Tutankhamon. It is representative of the cobra's associations with the
afterlife. In funerary works, the cobra is often depicted spitting fire. Two cobras
doing just that were said to guard the gates of every "hour" of the underworld.
During the Late Period, uraei were also shown towing the barque of the sun in
funerary papyri. In all of these examples, the cobra's protective nature is clearly
demonstrated.

The cobra was also representative of various deities such as Neith -- Ma'at --
and Re.

The Great Pyramid

The antechamber to the King's Chamber is highlighted by the blue circle. This
small but very important room can be linked to the ancient ceremony of
'opening of the mouth'. Rather than being lowered as a 'last line of defense'
against intruders, the portcullis stones may have been ritually opened during the
ceremony of activating the deceased pharaoh's spiritual components.

At the top of the ascent of the Great Pyramid's Grand Gallery, the path of the
corridor becomes constricted as it enters into the antechamber to the King's
Chamber. In the anatomical model guided by the Egyptian canon of proportion
for the human figure the Great Step at the south end of the Grand Gallery
coincides with the juncture of the shoulders and the base of the neck.

The north wall of the antechamber is positioned to indicate the lower line of the
jaw, providing an indication that this area within the pyramid may have
pertained to the rituals performed in the ceremony of 'opening of the mouth'.
Two of the several instruments employed in this process of magically
activating the ka and the ba of the deceased pharaoh were the sebur and the
urheka.

The design of the handles of both of these devices appears to have been
inspired by the curvature of the spinal medulla as it passes through the vertebral
canal. The enlarged end of the urheka is comparable to the human brain stem.

The inclusion of an uraeus (enraged cobra symbol) on the 'head' end of some
representations of the urheka demonstrates that this tool was used to magically
activate the Eye of Horus, which is the psychic energy field focused at the
center of the brow.

Unlike the rather elegant appearance of the urheka, the adze-like, utilitarian
design of the sebur signifies that this tool was symbolically representative of
forcefully breaking open a previously sealed aspect or component of the
deceased's spiritual body. That a forceful, as opposed to gentle, intent was
involved in the ritual use of the sebur is clearly emphasized by the presence of
an iron cutting edge mounted with bindings onto the wooden handle.

In Old Kingdom Egypt, iron was very rare and highly valued because of its
strength and hardness.

Two of the
several magical tools used
during the ceremony of 'Opening of the Mouth'.
The urheka is on the left and the sebur is on the right.
Given this backdrop, the seemingly incongruent design features of the
antechamber to the King's Chamber coalesce into a consistent theme. In this
regard, for every design element in the portcullis arrangement of the
antechamber which is supportive of the mechanical closing of the passageway
there is a feature which obviates the functionality of the scheme.

This is clearly evident in the discrepancy between the design of the east and
west walls of the chamber, the equivalents of polarized reference points of birth
and death. While the west wall appears to allow for the closure of the
passageway the east wall lacks the features needed to make the setup
mechanically viable.

Underscoring this motif of inconsistency, the masonry of the antechamber is a

composite of white limestone and red granite. White limestone may be seen as
representing the brilliant light of the noon-time sun while red granite is
indicative of the darkening glow of the setting sun. In this reading, the design
of the antechamber encapsulates the symbolism of a convergence of opposites,
an ineluctable crossing point between states of being.

Contrary to the problematic and unconvincing assertion that the antechamber's

portcullis stones were intended to be lowered as a 'last defense' against tomb
robbers, I submit that they were intended to be raised or possibly even ritually
broken open while in a lowered position. This opening would have taken place
during the ceremony of 'opening of the mouth', comparable to and perhaps even
simultaneously with the symbolically forceful acts involving the sebur tool.

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