However, these mystery religions valued the change in wisdom, personality, and knowledge of fundamental truth, rather than the exact details of the acknowledged myths on which their teachings were superimposed. Thus in each region that it was exported to, the myth was changed to be about a similar local god, resulting in a series of gods, who had originally been quite distinct, but who were now syncretisms with Osiris.
These gods became known as Osiris-Dionysus. Serapis Eventually, in Egypt, the Hellenic pharaohs decided to produce a deity that would be acceptable to both the local Egyptian population, and the influx of Hellenic visitors, to bring the two groups together, rather than allow a source of rebellion to grow.
Thus Osiris was identified explicitly with Apis, really an aspect of Ptah, who had already been identified as Osiris by this point, and a syncretism of the two was created, known as Serapis , and depicted as a standard Greek god. The Theodosian decree in about AD to destroy all pagan temples and force worshippers to accept Christianity was ignored there. However, Justinian dispatched a General Narses to Philae, who destroyed the Osirian temples and sanctuaries, threw the priests into prison, and carted the sacred images off to Constantinople.
However, by that time, the soteriology of Osiris had assumed various forms which had long spread far and wide in the ancient world. Osiris in popular culture Albert Pike the grand commander of Freemasonry worshipped Osiris and he proudly made that known in his book, Morals and Dogma. Osiris is a deity used more than once in the hit television show Buffy the Vampire Slayer. In the show, Osiris is described as the "keeper of the gate, master of all fate" and is used in resurrection rituals.
He is also unique as he is seen in one episode, communicating with Willow Rosenberg as she tries to resurrect her dead lover, Tara Maclay; although names of deities are often given in spells on the show, most of the time the deity is not seen. Duel Monsters. In the Animatrix , the Osiris is the name of the ship that is sacrificed to make sure Zion gets the information that the machines are coming.
In the television series Stargate SG-1 , Osiris and other gods are represented as evil aliens pretending to be gods, whereas in Egyptian culture, most of them were told to be good and beneficial, in some way, to life. Osiris is unique among the villains in that he has a male personality, but a female host body. As the one part of Osiris unable to be found by Isis was his genitals and because he is the god of the underworld, Lestat believes him to be a vampire god, as vampires are unable to copulate.
In Vampire: The Masquerade, Osiris was a powerful vampire, either an antedeluvian or methuselah who fought against the Antedeluvian Set. He was the founder of the vampire bloodline known as the Serpents of the Light.
Fans would know this as he would sometimes shout on a song, "I'm the Osirus of this shit!! For more information, see Osiris band. Osiris is the name of a large Order battleship in Microsoft's Freelancer videogame. He can be found within the highest level of the Pyramid map and resurrects an hour after being destroyed.
In the Doctor Who episode " Pyramids of Mars" the Osirans were a long lived and extremely powerful race of beings possessed of enormous psionic might and great technical sophistication. One of their number, Sutekh, ravaged planets across the galaxy until the rest of them ran him to ground and imprisoned him on Earth.
Their presence here is implied to be the source of Egyption worship. Osiris is also the name of a stem-cell therapy research organization. Isis, who had great magical powers, decided to find her husband and bring him back to life long enough so they could have a child together. Isis breathed the breath of life into his body and resurrected him. They were together again and soon afterwards Isis magically conceived a child — Horus. The deceased were buried in their tombs, they slept in them at night, and awakened at dawn.
Each day their bas would leave these resting places in order to participate in the cult performed in the temples in Akhetaten. The one who provided the deceased with the means to do this was Akhenaten himself, who was the only guarantor of the afterlife. We even know of cases where his name and image were left intact but those of Amun erased. The lecture surveyed a number of examples. So evidently belief in the god and his relationship with the dead was preserved.
Some think that this was only a marginal phenomenon surviving alongside the dominant official cult of the Aten or solar disk. Specifically, Akhenaten identified himself with Osiris as the son of the Aten. Several of these were presented and analysed in the lecture. It was argued that in cases where an unambiguous representation of Akhenaten is involved, it is not actually in the form of Osiris, while in cases where we have an unambiguous representation of Osiris, there is no obvious connection with Akhenaten.
Other problems with their theory were identified as well, not least the fact that the dating of many of the objects that they cite in support of it to the Amarna Period is questionable, and it was concluded that there is no basis for thinking Akhenaten ever identified himself with Osiris. References in contemporary texts, some in inscriptions from tombs of high-ranking officials at Amarna itself, show that the underworld as a distinct realm of the dead remained an important concept.
The evidence for continued belief in Osiris as a god of the dead during this time is more abundant than one might have expected.
Was he aware of this survival and, if so, was it a matter of concern to him? The Egyptians imagined that the sun god Re entered the western horizon and passed through the underworld each night. This union had a positive effect on both participants. As a result, Re emerged newly born from the eastern horizon while Osiris, who remained behind in the underworld, was revivified. The conception of this nightly union becomes especially prominent in the New Kingdom, when it figures in both guides to the underworld and the Book of the Dead, although some would trace its existence as far back as the Old Kingdom.
According to this view, the nocturnal union of Re and Osiris ceased to be regarded as a temporary merger of the two gods, and was seen instead as something more substantial and permanent, resulting in a completely new type of composite deity, the giant, cosmos-spanning figure of Re-Osiris, described in texts as the great god.
It was this new divinity who emerged from the eastern horizon at dawn, and it was with this figure that the dead were now associated. Thus the traditional relationship between Osiris and the deceased changed dramatically as a result of this new conception.
In particular, the idea that a group of compositions preserved in the tombs of Tutankhamun, Ramesses VI, and Ramesses IX illustrates the new doctrine of the solar-Osirian unity did not stand up to close scrutiny. Joachim Quack has demonstrated convincingly that the main theme of these compositions is not the union of Re and Osiris.
Rather, they are concerned with the beings the solar deity encounters in the underworld and how he interacts with them. The sun god is all-important, and Osiris much less so.
The texts never speak of the union of the two divinities. A number of passages that have been interpreted as references to this union are simply references to the sun god. It has been claimed that the end of this text describes how Osiris leaves the underworld merged with Re in the form of the great god.
In fact, this does not happen. Re and Osiris are clearly distinguished throughout the Book of Caverns. The former is said to perform various services for the latter.
Osiris is in the following of Re and adores him. At the conclusion of the text, Osiris requests and is given a place in the bark of the sun god, just as the deceased hoped they would be given one.
But his position is clearly that of a dependent. Those who tow the bark acknowledge only Re as their passenger. They make no reference to Osiris or to any composite form involving him and the solar deity. He is very much the dominant figure, the main actor, and features in every scene.
Osiris is important but he is only one of a number of beings that the sun god encounters in the underworld. Osiris continues to exercise his traditional functions in relation to the dead in these texts, but the solar deity seems to act in a supervisory capacity, with Osiris subordinate to him. It is this emphasis upon the primacy of Re, rather than any new conception of the nightly union between him and Osiris, that characterises the underworld guides and other sources of the New Kingdom.
As a result, he is not just the ruler of the underworld and judge of the dead, but a deity on whose continued well-being and daily rejuvenation the entire cosmos is dependent.
Is this concept an innovation of the New Kingdom? We are unable to say, mainly owing to uncertainty over the original date of composition of the underworld guides. What does seem innovatory is the fact that they begin to be inscribed in tombs at this time, and references to the concept start to appear in other sources like the Book of the Dead.
So perhaps what is new is that these texts begin to be linked with the deceased more regularly. How do they benefit from the link between Osiris and the sun god? In the lecture, four benefits were identified. First, the fact that the cosmos continues to function is obviously a precondition for the continuity of the afterlife. Second, the relationship between Re and Osiris provides a model for that between the ba and the body of the deceased.
The ba alights upon the body and regenerates it each night just as Re meets with Osiris. Fourth and finally, knowledge of what happens in the underworld is important. What is beneficial for the deceased is not just that this cycle takes place, but that they know about it as well, since such knowledge is a means of gaining admittance to the entourage of Osiris. But the connection between Osiris and the sun god does not affect the basic relationship between Osiris and the deceased.
What happens instead is that this relationship, like every other aspect of life in the underworld, is placed under the supervision of the sun god.
This focused upon the consequences of the establishment of the Ptolemaic dynasty at the end of the fourth century BC. Two questions were investigated : did the change from native Egyptian rule to Greek rule have an impact on Egyptian ideas about the afterlife, and did it have an impact on the way in which the Egyptians conceived of Osiris and his relationship with the deceased? In connection with the second question, particular attention was devoted to the introduction of a new god, Sarapis, who was sometimes identified with Osiris.
Did this influence ideas about Osiris and the dead and, if so, how? Osiris was still regarded as the ruler of the underworld. The judgement of the dead remained an essential rite of passage. Mummification and its attendant rituals continued to be important for the posthumous well-being of all. Egyptian conceptions of the various aspects in which the dead were supposed to continue their existence in the next world, akh , ba , and ka , stayed the same as well.
There was also a significant amount of continuity in terms of the texts used to ensure a happy afterlife for the dead. Several works composed prior to the beginning of the Ptolemaic Period remained in use. Although a large number of new texts were introduced at this time, many of these were clearly based on earlier models. In terms of how tombs were provisioned to supply the needs of the dead in the next world, there was little change, if any, between the Late Period and the Ptolemaic Period, so much so that it is sometimes difficult or impossible to determine whether a particular burial belongs to the end of the former or the beginning of the latter.
In the sphere of funerary art, some innovations do begin to appear, for example, the dead are sometimes depicted in a more naturalistic way, or with non-Egyptian modes of dress and adornment. But these do not represent a new way of conceptualising life after death so much as the adoption of new artistic conventions to express an older symbolism. How an individual chose to be portrayed on items of burial equipment or how relatives chose to have that individual portrayed had nothing to do with the nature of his or her hopes and expectations for the next world.
Some have argued that this reflects belief in a closer connection between the god and the deceased than before, which arose under Greek influence. As noted in the first lecture, this designation identifies the deceased as a follower of Osiris in the afterlife. The Osirian form of each individual is unique, just as each individual is unique. It has been argued that this may have been introduced as a result of Hellenistic influence.
According to one view, the use of this designation reflected a desire to create a closer relationship between deceased and divinity. Linking a deceased woman with a goddess rather than a god supposedly made it possible to avoid the barrier that gender imposed between her and the male deity.
Then the solar bark stopped and the earth fell into darkness. Thoth assured Isis that the earth would remain in darkness, that wells would dry up and that crops would fail until Horus was cured. Then, in the name of the sun, he exorcised the poison from Horus's body and cured the child. The sun god travels through the darkness of night in his solar bark. Drawing: Nancy Ruddell.
The people of the marshland rejoiced with Isis at the recovery of her son. Horus became the archetype of the pharaohs, the sun god's representative on earth. It was now the duty of the people to protect the pharaohs from harm, to love and respect them.
If they did not, world order would collapse and the people would perish. Isis kept her young son hidden until he became an adolescent and could face Seth to claim his rightful inheritance, the throne of Egypt.
While Horus was growing up, the sun god, Re, grew old and started drooling. Isis took the saliva that fell to the ground and modelled it into a serpent. She placed the serpent across Re's daily path in the sky, and it bit the sun. Since the sun had not made the serpent, he could not cure himself. He turned to Isis for help. She said she could do nothing unless he revealed his secret name to her.
By learning his name, she would gain knowledge of his power.
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