Apophis

Apophis, also known as Apep, dating back into the 1500s BCE, was the great water serpent god who slept in the mountains of Baku, rising with the morning star, daily attacks Ra on his journeys through the daytime sky and the underworld, and is subsequently destroyed each evening by Sobek, the god of the crocodiles.

As we have seen in most other religions and cultures thus far, the serpent seems to always hold some chthonic symbolism—that underworld characterization as the giver of life, possessing the creator aspect that seems ever present wherever the serpent is worshipped. Nowhere is this so evident and pervasive than in the mysticism of ancient Egyptian religion and worship. In the mythology and symbolism of Egypt exist some of the most glaring dualistic contrasts between reverent worship of the serpent and fear-based repudiation.

The Egyptians’ reverence for the serpent’s life-giving powers probably arose, in part, from—once again—observing them shedding their skins, continually exposing a new resurrected body in the process. The god Atum, the ancient Egyptian primeval creator deity, is represented in the form of the serpent who seasonally shed his outer skin, a symbol of the continual life, death, and new life cycle. At one point, Atum prophesies to Osiris, the Egyptian god of the netherworld and final judgment, that he is going to destroy the entire world he had created and revert back to his serpentine form.

Early-20th-century Dutch-born archaeologist Henri Frankfort, who spent his life reconstructing ancient Egyptian and Mesopotamian culture and mythology, said of the Egyptian serpent gods, “The primeval snake survives when everything else is destroyed at the end of time. Thus the serpent was strongly and continually associated with creation and eternal existence in the ancient Egyptian ethos. The Egyptians portrayed life itself by the image of the rearing serpent, and a serpent biting its tail was a common Egyptian emblem for ‘eternity.’”

During the Egyptian Middle Kingdom (2030–1640 BCE), post-11th Dynasty, the god Amun came onto the scene as the patron god of the capitol city of Thebes. Amun in one of his manifestations was that of the serpent god named Kematef (“he who has completed his time”). At Karnak, during the beginning of the New Kingdom (1550–1090 BCE), Amun was merged with the sun god Ra, when Pharaoh Ahknaten uprooted the entire Egyptian system of religion and worship and decreed a new, monotheistic society. “Amun-Ra became the monotheistic, supreme state-enforced/endorsed god of Egypt during this period. Amun-Ra’s divine consort, the serpent goddess Mut (“the resplendent serpent”) gave birth to a son named Khonsu.” Together, this holy triad, in the Egyptian worldview, symbolized the perfect union both in the house of the gods as well as being representative of the supreme social structure of the royal family. And it was this family portrait that inextricably linked the house and family of the pharaoh to the mythological serpent of Egyptian mythology. But Ahkenaten’s monotheistic society lasted but one generation before it was overthrown and the implementation of a reversion back to the polytheism took place.

All periods of Egyptian history, from the earliest historical times all the way to the end of the New Kingdom, creation, fertility, birth, the goodness of the gods, rebirth, and resurrection were all embodied in the image of the serpent. Thermuthis was the serpent-headed goddess to whom were brought offerings at the time of harvest, thanking her for successful crops of both food and grape of the vine.

The Father of Serpents, Geb, was the god of earth and “the father of the gods.” The snake was linked to life after death and the recurring cycle of life due to Egyptian obsession with the quest for eternal life, and he became a symbol of survival after death and even resurrection among the ancient Egyptians. In the Egyptian Book of the Dead, sometimes referred to by its more precise title, The Book of Going Forth by Day, in chapter 87, we are told that transformation into a serpent upon death gives new life to the deceased.

A serpent goddess in pre-dynastic Egypt set the stage for her veneration as an enduring symbol throughout the rest of dynastic Egyptian history. The most important serpent of Lower Egypt was Wadjet (“the green one”) who eventually became the symbol of a unified Egypt and its royal house. It was this serpent goddess whose name became synonymous with the general Egyptian term for cobra and the foundation for the creation of the symbol of the uraeus, the standing figure of the cobra found most often as the headpiece on the royal Egyptian crowns. The cobra/uraeus became such an important piece of Egyptian iconography that the life of the Pharaoh became known as the living years of the uraeus. Wadjet not only became physically represented on the Pharaoh’s crown as his guardian and protector, but eventually was bestowed the title of the Eye of Ra. Her green color, significantly, became the color that represented resurrection in ancient Egypt, and Wadjet, also referred to as “the green one,” embodied the forces of health and fertility. As with most gods out of antiquity, you can quickly see how numerous titles continued to be added on, as the powers and influence of the god evolved in worship (Wadjet: the green uraeus of the Pharaoh, the Eye of Ra, the protector and guardian of the life of the Pharaoh, the power of fertility and good health).

Representing the oppositional character of the Egyptian serpent was the Serpent God of Darkness, the winged, fire-spewing Apophis, What Wadjet was to all that was good in ancient Egypt, Apophis was her counterpart, representing the demonic forces, evil gods, and powers of the bleak underworld. Apophis was the serpent of darkness, in complete opposition to the sun god Ra, who was the light of the world. But Apophis, albeit the antithesis to Ra, was never more powerful. He simply counterbalanced the serpent Mehen (“the coiled one”) who was the protector of the sun god Ra, assisting him on his journey through the realm of night to be reborn every morning. And as you find in many cultures and religions, the powers of darkness are thwarted by the power of good. As Satan is to God, so Apophis is to Ra, with minor alterations to the functionality.

It has been said time and again that the ancient Egyptians were utterly preoccupied with death—at least the royal family’s, as far as can be seen. Their entire lives, especially when a seated Pharaoh, were consumed with the afterlife and the resurrection. There is an interesting entry in the Pyramid Texts, the funerary papyri of ancient Egypt. In these documents is listed something for which there is very little explanation: the “snake game,” presumably a test of sorts, played out in the afterlife when a Pharaoh died—a game he has to win. How interesting a tie to modern Christinaity would that be!? The notion of an Egyptian judgment, test, or fist-a-cuff in order to enter the beautiful wonders of the afterlife seem a colloquial version of a much greater religious prime.

Osiris Myth

The myth of Osiris was perhaps the most popular of all the Egyptian stories. Pieces of this story have been found throughout Egypt. One of the most appealing aspects of the Osiris myth is the human-like behavior of the gods within the story. Many of the other gods of the Egyptian pantheon were rather emotionless and their stories far less interesting. With the Osiris story, the gods display a broad range of emotions that made them more real to mere mortals.

Egyptian hieroglyphics do not normally include vowels, so the exact transliteration and pronunciation remains unknown. The name Osiris is Latinized Greek for the original Egyptian name, transliterated into Latin script as Wsjr. Various versions include: Asar, Asaru, Aser, Ausar, Ausare, Auser, Ausir, Usir, Usire, Wesir and Yasar. Gods sometimes had different names, as did all of the latter-day pharaohs. So, we would need to know all of the names of a pharaoh or a god before we could accumulate all of their background information.

Like all very old myths, there are many versions of each of the stories in the block of myths which comprise the Osiris legend.

The key players are,

•         Osiris—king of the gods and ruler of all Egypt.

•         Isis—sister and wife of Osiris.

•         Sett—brother of Osiris.

•         Nephthys—sister and wife of Sett.

•         Horus—son of Isis and Osiris, conceived after the death of the father.

The name “Isis” is Greek for the Egyptian frequently transliterated as Aset or Iset. The “t” ending is frequently taken as feminine. Sett is an obvious exception to this rule, but it may indicate that the gender of this god may have changed in the distant past, or it may indicate a feminine or matriarchal side.

“Sett” is an alternate spelling used in this book to keep from confusing the god’s name with the common English word of the same spelling. “Set” is the most common transliteration of the Egyptian. In Greek, he is called Seth. Other transliterations include Setekh, Setesh, Sutekh and Suty.

“Horus” is an alternate spelling of the Greek “Horos.” Egyptian has been transliterated as Her, Heru and Hor.

“Nephyths” is Greek for Egyptian—Nebet-het or Nebt-het.

In the Beginning

Long before Ra, the sun god, had grown old and had left Earth to dwell solely in the sky, he had ruled the Earth and all of its inhabitants. He was able to see enough of the future to realize that any children by Nut would overthrow him as king. This is similar to other myths whereby god-kings feared being overthrown by their own children, including the gods of Greek mythology. With his great power, Ra commanded that Nut should not be able to bear any child on any day of the year.

This curse greatly distressed Nut. She knew that it could not be reversed. She consulted Thoth (Greek for Tehuty or Djehuty), a god of wisdom, education and writing. If anyone could solve her curse, he could.

Thoth reasoned a way to get around Ra’s command. In the act of superior cunning, he challenged Khonsu, the Moon-god, to a contest of checkers. For each game that Thoth would win, Khonsu had to give up a tiny portion of his light. Game after game, Thoth continued to win, and Khonsu ultimately lost a significant percentage of his light. Finally, Khonsu would play no longer. Thoth gathered up all the light he had won and from it fashioned five additional days that would belong to no year. Until then, a year had consisted of 360 days—the number of degrees in a circle. These new days would become festival days between one year and the next. Because of the losses, Khonsu could no longer shine at constant brightness throughout the month, but would have to grow dimmer toward the end of each month, and could only grow in brightness after the end of each month.

Finally, Nut was able to have children. On the first festival day, she bore Osiris. Then, on each successive day, she gave birth to another god—Horus the Elder, Sett, Isis, and Nephthys. Ra’s curse had been fulfilled to the letter, but also had been defeated on a technicality.

When Osiris came of age, he married his sister. Likewise, Sett married Nephthys.

Conflict in the Land

Osiris, through the wisdom of his wife, became king of all Egypt—a land called in the early days, Kemet (from km, which means black, like the dark, rich soil of the Nile flooding).

Humans had not yet discovered agriculture and frequently had turned to cannibalism in order to survive. They were a violent, warring lot, and this greatly distressed Isis. She discovered wild wheat and barley which grew throughout the land. Osiris developed methods of cultivating these as crops and taught humans the art of agriculture. He also taught them how to bake bread from the wheat and how to brew beer from the barley. He taught them the arts of music and poetry.

With every good thing that Osiris and his wife did for the people of the world, Sett became more and more envious. The more people loved the god-king, and his wife, the more Sett wanted to destroy them and to take the place of his brother on the throne.

Osiris had gone on a long trip to other nations to spread the knowledge of civilization to other peoples. Isis ruled while he was away. When the king returned, Sett was among the first to welcome his brother back, but the younger, jealous God had conspired with 72 of his wicked friends to defeat Osiris.

Sett had obtained the exact dimensions of his older brother and had commissioned the construction of an elaborate box to be made of cedar and ebony, plus gold and ivory. In celebration of his brother’s return, Sett threw the richest possible feast and invited his most loyal friends. After Osiris had grown relaxed and happy with song, food, and wine, Sett brought out the elegant chest he had commissioned. He announced to the crowd that he would give this fine box to whoever would fit inside the chest perfectly.

Several of the guests tried to fit within the finely made chest, but some were too short, too tall, too fat or too thin. Finally, Osiris asked if he could try out the box. As the king hunkered down into the box, all of the guests gathered around in anticipation.

Osiris cried out that the fit was snug. “The chest is mine!”

Sett hissed with glee, “Yes, my brother. And it will be yours forever.” With that, Sett slammed the lid down and as many guests as could reach the box helped to nail the lid shut. They sealed every crack with molten lead and tossed the chest into the Nile.

The Search for Osiris

The river carried the chest downstream, and it came to rest at the base of a tamarisk tree. Soon, the tree grew around the chest, hiding it from view. The mayor of the town saw that the tree had grown more beautiful than any other and claimed it for himself, not realizing that it contained the body of Osiris.

Isis looked far and wide for her husband’s body. Following all of the clues, she came to the town where the tamarisk tree grew. Isis, in disguise, went to work for the mayor’s wife. While there, she grew fond of their children and offered to make one of them immortal. While she was passing the child through flame to burn away the mortal flesh, the mother attacked Isis, not understanding the great honor the goddess had intended to bestow on her child. Thus, the mayor’s child lost its chance at immortality.

Suddenly, Isis took off her disguise and revealed her true nature. The mayor and his wife fell down in terror asking what they could do for the goddess to win her pleasure. Isis asked only for the tree and its contents. When she retrieved her husband’s body, she let the mayor and his wife keep the tree, and it became the most prized possession in the town because it had held the physical body of a god.

Isis attempted to use her own magic and that of Thoth to restore her husband’s form long enough to conceive a son. Before she could finish, Sett discovered the body of Osiris and cut it into fourteen parts and scattered them up and down the Nile Valley.

Again, Isis searched, this time for the various parts of her husband’s body. After she had gathered them, she had Thoth help her make her husband whole long enough to acquire his seed. She immediately became pregnant with a son, whom she would come to name Horus.

Horus Against Sett

For years, Isis protected her son from discovery by Sett and his evil friends. When Horus came of age, he set out to challenge his uncle for the throne of Egypt.

The conflict between Horus and Sett took many forms. In one instance, both agreed to take the appearance of hippopotami and to fight each other under water. Isis, fearing for her son, fashioned several harpoons and took flight to throw them at Sett. When she threw the first one, Horus cried out, “Mother, stop! You’ve hit your own son!” After a few minutes of searching, she found Sett and threw one harpoon after another. The first several either missed or bounced off. Finally, a harpoon struck Sett squarely and wounded him.

Sett cried out for mercy and Isis took pity on him. She helped him to the shore and nursed his wounds.

When Horus heard what his mother had done, he grew so angry with her that he cut off her head and hid it from her in the desert mountains, west of the Nile Valley.

Realizing the mistake Horus had made, Ra, the sun god, came to the aid of Isis and helped to restore her head. In addition, he fashioned a crown of a cow’s head and horns to give her added protection. Ra then punished Horus for what he had done to his mother.

Despite the leniency shown him, Sett still wanted to overcome his nephew. While Horus was recovering from the wounds Ra had given him, Sett plucked out his eyes so that the young god was suddenly blind.

Thoth, referring to the ancient texts, found a formula from which he fashioned two replacements so that Horus could once again see.

In yet another story, Ra commanded the Ennead (council of gods) to ferry to the Island-of-the-Middle-Ground and to judge between the two opposing sides—Horus and Sett. Ra also commanded them to tell Nemty (Anti or Antaeus), the ferryman, not to take on as a passenger any woman with the likeness of Isis. So, Horus, Sett and the members of the Ennead crossed over to the island and attempted to negotiate a peace.

Isis, fearing that she and her son would lose to Sett, turned herself into an old woman and tempted Nemty with a single, gold ring as payment for passage to the island.

Once on the island, Isis turned herself into an pretty maiden so that Sett would be attracted to her. Sett took a break from the meeting to be with the beautiful maiden, and Isis told him that her husband had died and that a stranger had claimed all her husband’s property. The same stranger had threatened to beat her son and to throw him out. She begged Sett to become her son’s protector.

Overcome with sympathy, Sett objected to the stranger’s attempt to take their property, especially with the son of the former owner still there. Sett said that the stranger should be beaten with a rod, expelled, and the son be put in his father’s position.

At that moment, Isis turned herself into a bird and soared upward to a light in an acacia tree. She called out to Sett, “Be ashamed! Your own mouth has said it, and your own cleverness has judged you. What more can you say now?”

Sett became humiliated and protested to Ra how Isis had deceived him. Ra told Sett, “See you have judged yourself. What more do you want then?”

Sett condemned Nemty and demanded that the ferryman be punished because he had taken Isis to the island. So, Nemty was summoned before the Ennead, and his toes were removed. And Nemty gave up gold from that day forward.

In a final series of battles, Sett was ultimately defeated and the members of his forces were scattered across the world.

Abu Simbel

Abu Simbel temples are two massive rock temples in Nubia, southern Egypt on the western bank of Lake Nasser about 230 km southwest of Aswan and the Nubian Monuments which run from Abu Simbel down river to Philae (near Aswan). The temple was originally carved out of the mountainside during the reign of Pharaoh Ramesses II in the 13th century BC, as a lasting monument to himself , to commemorate his alleged victory at the Battle of Kadesh, and to intimidate his Nubian neighbors. The complex was relocated in its entirety in the 1960s, on an artificial hill made from a domed structure, high above the Aswan High Dam reservoir.


This model is a 3d representation for one of the twin temples of Abu Simbel, which is "The Big Temple". You will find nearly all the exteriors of big/small statues , some ruined rocks , and engraves/inscriptions on temple's outer walls. This item is full with atmosphere and ground terrain with the 3d models of the temple as shown in images. It was created nearly like the real place in current time even with its ruined statues and rocks.


Notes: This item works for Vue 8.1 and above. It contains more than 8 cameras to choose different views for the place. Just activate the camera for the view angle you want. This scene is in real size in meters. A hidden from render "Alpha plane" with tourist shape is available inside the scene to help you decide the real size of human figure related to the temple, if you want to add 3d characters or add persons billboards.


The developer owns the copyright and/or has the rights to distribute all of the content contained within this ZIP file.

The Story Of The Egyptian Gods

The principal creator god in Ancient Egyptian religion is the sun-god; in the Egyptian language, the word for sun is Ra, and this was one name for the sun-god, but he was also regularly called Atum, from the word tm 'complete'. The name Atum seems intended to evoke all matter as concentrated in the creator, before creation emerged. Creation is a process of unfurling, with the undivided All gradually fissioning into separable entities.

Atum already exists at least in potential within the primeval nothingness before creation. In some religious compositions, it is stated that his first offshoots were also already present. These are in the terms of human society his 'son' and 'daughter'; the male has the name Shu, from Sw 'to be dry', and the female is called Tefnet, from a rare word tfn 'to corrode' (so, in opposition to Sw, to be moist). The Coffin Texts also equate Shu with the grammatically masculine Egyptian word for life, Ankh, and Tefnet with the grammatically feminine Egyptian word for What is Right, Maat. In other writings, the crucial element that enables the creator to emerge is the female contribution - in different guises this can be not only Tefnet or Maat, but Hathor or the deified principle Iusaas (a name meaning 'she grows as she arrives')

The emergence of the creator is given various verbal and visual expression, predominantly associated with the new land emerging from the annual flood:
a heron alights on the first dry ground - this heron may be called bnw, the Egyptian equivalent and perhaps origin of the classical Greek phoenix a lotus flower emerges out of the water - in the New Kingdom (about 1550-1069 BC) and later, this motif is assigned to Nefertem, god of scented oils, lotus at the nose of Ra the mound itself offers the original sacred ground - temples are said to be sited on the primeval mound of the first time of creation

The various references to the emergence of the sun-god from the flood waters, and the following generations down to Osiris, are often called in Egyptolgy the 'Heliopolitan Theology' (Heliopolis being the Greek for 'city of the sun-god', the place with the Egyptian name Iunu in Lower Egypt province 13). As with the 'Hermopolitan Theology', this assumes much that we do not know - we do not know when or where these ideas developed, and they do not stand in absolute opposition to the ideas of the Eight forces existing before creation, but contain the continuation of the story beyond creation.

From Ra to Osiris and Horus
On 'myth'
There is no single Ancient Egyptian narration combining all the different motifs and expressions of the mysteries of creation and the origins of the present world. We have to summarise the episodes and references of numerous different sources. It is important to be aware that such a summary may be an entirely non-Egyptian, modern analytical response to the question of creation; the Egyptian response seems to have been not to tell stories (these emerge much later in the surviving record) but to express relations between different divine forces in groups like 'constellations' (this is the term Assmann has used for the Egyptian material).

The reign of Ra and its end
The sun-god is the first creator and ruler of creation. In references to his rule, more particularly in New Kingdom tales of the end of his reign, the world already seems to exist in the form it now has. There is no separate Ancient Egyptian composition describing the creation of mankind: they are already in existence early in the story of the world - in some accounts said to be from the tears of the sun-god (in Egyptian the word rmT 'people' evokes the word rmt 'to weep').
The first offshoots of Ra are Shu and Tefnet; they then produce two 'children' of their own - the earth god Geb and the sky goddess Nut. In the language of natural science, we might say that the principles of dry and moist crystallised into the more solid dryness of the earth, and the expanse of sky that the Egyptians considered watery.

A New Kingdom religious composition records rebellion against Ra, prompting him to withdraw to the sky. This 'Tale of the Heavenly Cow' includes the story of Ra sending his eye out from his body, so as a separate offshoot, a 'daughter', to punish mankind. As Sekhmet (meaning 'the mighty goddess') she almost annihilates mankind; the gods trick her into becoming sweetly drunk, by colouring a lake of beer red to look like human blood - she reverts to her sweet character as the loving and maternal Hathor.

The children of Geb and Nut
Ra withdraws to the sky in this tale; this implies that creation has already reached the point where Geb and Nut, earth and sky, have been separated by Shu. The various scattered references indicate that this separation had to be enforced, to prevent the two from producing more divine offspring. However, they managed to win from Thoth (god of knowledge including the calculation of time) an extra five days at the end of the year, and on these extra days Tefnet gave birth to the gods Osiris and Seth, and the goddesses Isis and Nephthys. The elder son Osiris is the quintessential good god; he incurs the jealousy of his anarchic brother Seth, who murders him, dismembers him, and takes his place as the new king of the world. The sister-wife of Osiris is Isis, the great healer; she collects the limbs, revives the body enough to conceive a child, Horus. While the transfigured Osiris withdraws to the underworld to rule the dead, Isis protects Horus in the marshes of the Nile Delta until he is old enough to challenge his uncle. The battles of Horus and Seth are known from numerous sources, the most extended Ancient Egyptian source being a composition on a Ramesside papyrus from Thebes (now in the Chester Beatty collection in Dublin). Eventually in physical combat and in the courts of the gods Horus proves his case and wins his rightful place as heir of Osiris and king. In some versions Seth is given the deserts as his area of authority.

With the kingship of Horus, the unfurling of creation has reached its current stage of development. There is a Horus king on earth, latest 'son' of the sun-god; Ra rules the heavens from his daily boat journey around the world in the day and night skies, and Osiris rules the dead below. This is not a nature religion in the sense that the trees, rivers or mountains are personified divine beings, but there is divine force within the river (the flood, Hapy), and the gods are in one sense in the world as the sun (Ra), the earth (Geb), the sky (Nut).

Together the gods from Ra to Horus make up a group that can be calculated as nine deities - the Nine is the most common means of reference to larger groups of gods in Ancient Egyptian writings. Rituals preserved in funerary literature refer to a Great and a Small Nine (Egyptologists often use the Greek form Ennead). The Nine are not listed by name, but might be Ra, Shu and Tefnet, Geb and Nut, Osiris and Isis, Nephthys and Horus, omitting the disruptive presence of Seth.

It is not known when these stories were developed; in the Early Dynastic Period, Horus and Seth are prominent opposites, but without the presence of Isis or Ra or Osiris. Therefore our image of Egyptian religion may be an amalgam of episodes that took form during the third millennium BC. It is also not known where the stories developed, though it seems likely that the centralised royal court offered the most intense focus for religious and ritual composition.

Other episodes in the generations from Ra to Horus
The rebellion against Ra is not the only one in the story of the gods: one temple shrine now preserved in Ismailiya bears a Late Period hieroglyphic inscription recording the rebellion of Geb against his father Shu. The intrigues in the inscription can be interpreted as veiled references to disturbances in the political history of Egypt from the Late Period to Late Dynastic Period, but they may also present religious narrative elaborating on the otherwise bare succession of events in the mythic period of rule by the gods on earth.

Other aspects of creation

Ra the sun-god, source of light and energy, is only the most prominent and powerful among various aspects of creative power. Two prominent other aspects given name in Ancient Egyptian religious writing include:
Ptah - creation as intervention in and transformation of existing material, whether metal and stone (craft, art) or word (the Logos of Greek philosophical theology)
Khnum - creation as moulding of a physical form, as a potter moulds ceramic on the wheel, changing its shape but not its substance

Within the created world, prominent features given name in Ancient Egyptian religious writing include:
Thoth - knowledge, writing, calculation (and the moon - another prominent moon-god without the sphere of writing is Khons)

Bast - originally the power of ointment to heal and make beautiful, in some ways a milder, defensive version of the aggressive Sekhmet; until the first millennium BC depicted as lion(ess), from the Twenty-second Dynasty as cat

Ipy and Aha (later called Taweret and Bes) - protectors of mother and child at birth
Sobek - voracity, incarnate in the crocodile

Renenutet - abundance, protector of the harvest, depicted as serpent

There are also forces protecting the divine king, with great impact on development of local religious form:
Wadjyt - protecting the north, depicted as rearing cobra, main goddess at Buto in the Delta

Nekhbet - protecting the south, depicted as vulture with outstretched wings, main goddess at Elkab in southern Upper Egypt

Wepwawet - protecting movement by the king (the name means 'opener of the ways'), depicted as a standing jackal

Anubis, god of embalming, may in origin be related to the power of the divine child as king, since the word inp means 'king-child' in Egyptian. Kingship is at the centre of the expression of the divine, and the development of that expression, in Ancient Egypt; there is no visible impact from other areas of society, and the term 'popular religion' in Egyptology covers the areas of birth, harvest and law as experienced as much by the king and elite as by rural or urban workers.


Ancient Egyptian Mythology