PETOSIRIS ALCHEMIC GOLD

THE TOMB OF THE GREAT PRIEST OF THOT PETOSIRIS, at Tuna el Gabal contains interesting texts from the ALCHEMIC point of view

The far Tuna-el-Gabal site, emerging from the sands of the desert in the west of the Nile at the coresponding site of Ashmunein, is nothing but the Necropolis of the ancient Hermopolis Magna, the homeland of God Thot.

One of its tombs in the Late period houses the last abode of the Great Priest of Thot Petosiris. Given the great importance of this man, the structure of the tomb is of templar type with a columned pronaos and a façade worthy of a small Temple.

This tomb was thoroughly and scrupulously studied by Gustave Lefebvre, whose studies were published in 1923 by the IFAO editors in Cairo. The work was condensed into three volumes that I downloaded from the web, printed and studied carefully, as they report a detailed analysis of texts and images on the walls of the tomb.

The face of the wooden sarcophagus of Petosiris, which I photographed at the Egyptian Museum in Cairo. His Egyptian name was Pa-dj-Wsir which meant "Osiris Gift". In the Hellenistic period he was called Petosyris. Originally the name was Ankhefenkhons (His life is the god Khonsu). He lived after 323 BC) and was a great Egyptian Priest, considered a wise and learned, sage during the XXX Dynasty

What prompted my attention is a series of passages to the central image of the naos where texts refers a series of processes and rituals related to the use of organic and mineral substances to ensure the "rebirth and regeneration" of the deceased following a conception that in some way reverberates some alchemical  principles (in my opinion) .

the texts of Lefebvre that I studied

The depiction of the wall is pretty well preserved, though the colors are a bit faded and evanescent. There are also images drawn scrupulously by Lefebvre that help to understand the overall picture. Below I tried to summarize what I read from the text of another author: François Daumas, who in my opinion has brilliantly analyzed and valued the scene.

a photo taken in november 2017 of the back wall in the tomb of Petosiris

On one side, the goddess, Lady of the  Rekhyt, compassionate towards humanity, of which she is the Mistress, implements the most effective remedies for eternity. He resumes the "GRAIN" magic as he did for Osiris, identifying it with the grain sown in the mystical garden of the god.

It was his chtonic appearance that then glittered in the mystery, as in the recitations made on the reconstructed body. And this was only a form of this resurrection, obtained from a sort of assimilation to the cosmic powers that periodically demonstrate their eternity.

The other form was the transmutation of this being (who was to receive the lives of gods) in an unalterable, and therefore divine, material: GOLD. Osiris becomes part of the sun, regenerated by the combined offer of grain and gold, he can now communicate, thanks to the gold that emits in turn, the renewal of life. The human-headed Ba, near Isis, suggests that the deceased reborn thanks to this the golden light was restored to the world ;

the drawings of Lefebvre, useful to study hte bas-relief

in fact, in contact with the sunlight in a glittering golden dust, as the texts often say,  the whole world, and the statues, as well as the bodies come to life. So, before being rejuvenated, reincarnated in a body this time imperceptible and unalterable as gold, the charitable goddess lets it fully express its joy.

But these are just a few words to synthesize a deeper and wider concept for which I can only cite here François Daumas's words. He was an archaeologist in the 1950s who have deepened the esoteric aspect of texts and images (click on the side image).

Daumas work ends with these few words, which I fully share (though consciously Daumas recognizes that total understanding is far from being achieved):

 

<< It seems these are the ideas that initiation to the mysteries of the Osirian resurrection could evoke in the minds of those who had benefited. There is no doubt that there were others ideas. Perhaps what we now come to understand, in fact, was more complex and subtle. Undoubtedly, even the ceremonies expressing these concepts still largely escape. Yet what we can see is, as it seems to us, very interesting and sufficient to justify this long exegesis of the mysterious bas-relief of Petosiris. >>

Here are  the photos I took at the Egyptian Museum of Cairo about the wooden sarcophagus of Petosiris and its magnificent hieroglyphic inlays with colored glass paste.