Hathor – Earth’s Ring of Debris (gks 2)

Hathor – a variety of Colours and forms

Hathor traditionally took on more forms than any other Egyptian deity, many of whom were limited to only one or two shapes. In terms of imagery, she is the most fluid of all the Egyptian deities, rivalled only by the god of chaos, Seth. For example, the goddess Bastet appeared in two forms – as a cat and as a woman with a cat’s head. Hathor took on innumerable forms: woman, goose, cat, lion, malachite, sycamore fig etc. This is consistent with the infinite number of forms displayed by the hazy band of space debris over the millennia. Earth’s band was a hive of activity as asteroids, comets (kas of the AE’s), dust and gasses of all shapes and sizes combined to create a variety of manifestations.

As well as forging different shapes, at certain times of the day Hathor appeared in a kaleidoscope of colours, this depending on things such as the intensity of chaos, light refraction, day, night, dust, gasses, ice particles as well dust and gasses in earths atmosphere. All this and more would play a part Hathor’s colour – sure enough we find reference to this.

‘The Beautiful, with numerous colours…’

(Temple at Deir El-Bahari)

However, it is with titles such as ‘the lady of turquoise’ and ‘the golden one’ that we find Hathor’s more prominent colours. There are many references to gold and turquoise, especially turquoise, the Egyptians carried out many expeditions into the Sinai to mine for turquoise, Hathor’s most sacred colour. Turquoise was mined to venerate Hathor in her most prominent colour.

If I can draw your attention to image figure 6 above. Here traces of yellow and blue paint can clearly be seen on the Hathor’s face and wig. Such images should be taken at face value with the gold on the top and down the side of the wig as representing the middle part of earth’s band with the turquoise colouring at the ends as representing the further most east and west points. I would suggest this is a daytime representation of Hathor.

It would have been a spectacular sight and it is no wonder ‘her associations and cult centres were among the most numerous and diverse of any of the Egyptian deities.’

It is puzzling that scholars, when referring to Hathor as the golden one, refer to her close relationship with Re (daughter of Re) as the likely source of this title. This is incorrect because Re was depicted as red-coloured disk (Figure 5) and not golden, so there is no connection between Hathor’s golden colour and the Sun.

Hat-hor – “House of the King.”

Hathor Hieroglyph

Figure 8. Hathor Hieroglyph

‘The literal meaning of Hathor was ‘House of Horus,’ (hat-hor) and it was written in the form of a falcon contained within a hieroglyph representing a rectangular building (Figure 8). Since the pharaoh was identified with Horus, Hathor was correspondingly regarded as the divine mother of each reining king, and one of the royal titles was ‘son of Hathor.’ (ibid)

The planets in chaos (Mars, Venus, Mercury and the Moon) in undergoing repeated encounters with earth in the guise of the divine monarchy (kas) were many times… born in this ‘house,’ hence the titles ‘Mysterious One who gives birth to the divine entities…’ and ‘You from whom the Divine Entities come forth…’ They also reigned in this house, a divine relationship encapsulated in the title ‘son of Hathor.’ And, finally as they slowly moved away from earth towards the west, they died in this ‘house.’ That’s why Hathor was also known as the ‘Goddess of the dead, lady of the west.’ I cannot think of a more appropriate name for earth’s ring of debris than ‘house of the king’ – Hathor.

If we examine the orthodox belief of Hathor as a mythological figure it is actually nonsensical for how can the ‘house’ of an earth-bound human king be located in the heavens? Hathor was a sky goddess, this isn’t disputed but how can a human king inhabit the sky? My identification of Hathor allows us to take the literal translation of her name at face value.

Hathor Hairdo

Hathor Hairdo Wig

Figure 9. Hathor

The emergence of royalty amidst Hathor and the subsequent ‘mothering’ can be supported by looking at a very common image of Hathor. If I can draw your attention to figures 9, 10 and 1, 6. These particular images of Hathor with cow’s ears and an unusual hairstyle was standard and ubiquitous. It is regularly found atop architectural columns (to reach the heavens) and was traditionally used to decorate Hathor’s musical instrument, the sistrum.

Hathor’s hair was so distinctive that scholars have dubbed it the ‘Hathor hairdo.’ It was not a heavily bejewelled or elaborately braided hairstyle as was typical of ancient Egyptian imagery or custom. It was simplicity in the extreme and took the form of a simple quiff which was frequently parted down the middle and wrapped around Hathor’s face as part of an elaborate style.

Hathor Capitols Karnak

Figure 10. Hathor Capitols

I believe this particular trait, and in fact Hathor’s entire image, was wholly symbolic of Earth’s celestial ‘haze’ as it wrapped itself around the ‘royal’ celestial bodies. A universal cosmic phenomenon enveloped the kings as they were born to earth – the ‘lady to the limit of the universe’ wrapped herself around the kings as they took to the throne as ‘sons of Hathor.’

How else could the ancient Egyptians represent such a manifestation? The planets were gods; they were ‘swathed’ by a phenomenon that remained for millennium and this divine relationship demanded representation. Hathor was given a human face which symbolically represented the face of the king.

The debris which enshrouded the kings was represented by the ‘curling’ hairdo. The ancient Egyptians could not portray the king’s face within Hathor’s hair as this would merely be the king with the same hairstyle as Hathor which would be totally confusing. The kings did not become Hathor – they were merely nurtured by this goddess; they did not take on her attributes but emerged from within them. When the kings died and moved away from Earth to become stars (Osirians), they were occasionally portrayed in the image of Osiris (Seti would be one such king). This was understandable because they took on this god’s ‘star’ attributes, it’s the same principle.

Hathor’s bovine attribute – Saturn’s Moons suckling ‘milk’ from its rings – a phenomenon observed thousands of years ago.

Hathor Suckling Hatshepsut

Figure 11. Hathor Suckling Hatshepsut

Hathor’s most famous manifestation is as a cow. Even when she appeared as a woman, she often wore cow’s horns, or a pair of cow’s ears. Hathor is frequently depicted suckling the pharaoh, whether in the guise of the cow or as a sycamore fig, a tree that exudes a white milky substance. At the Shrine of Hathor; Hatshepsut (Venus), a queen who would rule as pharaoh and Tuthmosis III (Moon) are depicted bringing offerings to Hathor. Hatshepsut (Venus) is also seen nursing from the divine cow as seen in figures 11 and drawing 11a.

Drawing of Hathor Nurturing Milk

11a. Drawing of Figure 11

If we examine this image in more detail, we will see that Hathor is depicted as a very large cow with horns. There is also a large sun-disk between the horns; in the usual tradition this was once painted Red. Hatshepsut is shown at least a quarter of the size of Hathor and is kneeling below Hathor’s rear legs sucking milk from her udder.

The figure at the front, leading Hathor is the god Amun (in subsequent books I will give real physical identity to this god known as the ‘hidden one’).

This imagery may seem strange and unfamiliar to us. Are we to assume that ancient Egyptians lived in a world of giant cows? Why did they portray such a surreal scene? By using the GKS, I will show that such images had a purpose and came about as a direct result of observations of planetary bodies sucking material from earths rings. To explain this further we must visit Saturn’s rings.

Saturn is the sixth planet from the Sun and is the second largest in the solar system and its prominent ring system makes the planet one of the most beautiful objects in the solar system. Consisting mostly of ice particles with a smaller amount of rocky debris and dust Saturn’s rings brake up into countless narrow ringlets which resembled the grooves of an old-fashioned gramophone record.

Although there are countless rings, it is possible to make out bands with distinctive, bright features. Planetary scientists have sectioned out a least seven ‘bands’ and have labelled them A to G. Some of the gaps separating the bands have also been named. There is the narrow ‘Encke division’ and the larger ‘Cassini division’ which spans 5000 kilometres and separates the A and B rings. It is believed that these gaps were created by tiny satellites as they swept out bands of particles. For example, the two ‘shepherd’ moons, Pandora and Prometheus, orbit in gaps either side of the narrow F ring. They are known as shepherds because they prevent the ring particles from straying.

Saturn’s Ring Suckling Prometheus

Prometheus NASA/JPL/Space Science Insitiute

Figure 12. Prometheus
NASA/JPL/Space Science Insitiute

A recent space probe called Cassini was sent to study Saturn’s rings and its moon, Titan, in September 2004 and made a remarkable discovery. It went through a gap in Saturn’s rings and captured an incredible image of the moon Prometheus ‘sucking out’ some of the dust particles from Saturn’s F ring. Here is a photo of this incredible event (Figure 12).

More information at NASA.

As can be seen, a faint stream of material or ‘streamer’ connects the moon to the ring. The moon is gravitationally perturbing the material as the satellite passes near to the ring – Prometheus is slowly ‘sucking on’ Saturn’s F ring.

This incredible event of a body sucking material from a planetary ring system was observed by humans long before we sent space probes to Saturn!

This phenomenon was observed thousands of years ago by ancient cultures throughout the world as they looked up and observed planetary kings and queens (& lesser bodies) sucking material from the enormous ring system (Hathor) that once orbited Earth. Further, such events were common place and took place on a far grander scale due to the heightened celestial events of 4,000 years ago.

In ancient times there was no ‘art for art sake,’ whether it be caved hieroglyphs, images or the jewellery worn by the monarchy, all had a connection to the gods and the worship of them. The above image of the Hathor giving milk Hatshepsut is no different; it is a symbolic representation of Venus in the guise of Hatshepsut, literally sucking material from Earth’s ring of Debris – Venus/Hatshepsut taking advantage of the nourishing generosity afforded by Hathor.

Another example of Hathor suckling can be found Cairo museum, here we find a statue that depicts Hathor suckling the pharaoh Amenhotep II. This represents Amenhotep as a facet of Mars within Earth’s rings ‘sucking’ in the finer dust and debris – Hathor suckling Mars.

It is a reoccurring image because Hathor remained for the duration of pharaonic Egypt and many pharaohs were observed sucking milk from the ‘Mothers of Mothers, the celestial nurse.’ It is clear that the nourishing manifestations of Hathor can easily be understood, and the iconography surrounding this goddess can be taken at face value.