Veil of Isis

Last updated
Isis as a veiled "goddess of life" with a French translation of the Sais inscription on the pedestal, located at the Herbert Hoover National Historic Site Auguste Puttemans Isis 2.jpg
Isis as a veiled "goddess of life" with a French translation of the Sais inscription on the pedestal, located at the Herbert Hoover National Historic Site

The veil of Isis is a metaphor and allegorical artistic motif representing the inaccessibility of nature's secrets, personified as the goddess Isis shrouded by a veil or mantle.

Contents

The motif traces back to a statue in the ancient Egyptian city of Sais. As recounted by Greco-Roman authors, the statue of the veiled goddess bore the inscription: "I am all that has been and is and shall be; and no mortal has ever lifted my mantle."

Illustrations of Isis with her veil being lifted were popular beginning in the late 17th century, often as allegorical representations of Enlightenment progress uncovering nature's mysteries. By the end of the 18th century, the unveiling of Isis was invoked as a metaphor for the revelation of awe-inspiring truths beyond scientific discovery. The 1877 book Isis Unveiled influenced Western esotericism and Neopagan movements, promulgating the metaphor to modern magical and spiritual practices.

The veil of Isis was often combined with a related motif, portraying nature as a goddess with multiple breasts, who represents Isis, Artemis, or a combination of both.

Origin at Sais

The first mention of the veil of Isis appears in On Isis and Osiris, a philosophical interpretation of ancient Egyptian religion by Plutarch, a Greek writer in the late first and early second centuries CE. He described a seated statue of a goddess in the Egyptian city of Sais that bore the inscription "I am all that has been and is and shall be; and no mortal has ever lifted my garment." [1] Plutarch called the garment a peplos , a term translated as "mantle" or "veil" in English. [2] Plutarch identified the goddess as "Athena, whom [the Egyptians] consider to be Isis." [1]

Sais was the cult center of the goddess Neith, whom the Greeks compared to their goddess Athena. In Plutarch's time Isis was the preeminent goddess among ancient Egyptian deities, and was frequently syncretized with Neith, and he equates the two. [3]

Three centuries years after Plutarch, the Neoplatonist philosopher Proclus wrote of the same statue in Book I of his Commentaries on Plato's "Timaeus". In this version, the garment is a chiton , "no mortal" is replaced by "no one", and a third statement is added: "The fruit of my womb was the sun". [2]

Proclus said the statue was in the adyton of a temple at Sais, but the inner areas of Egyptian temples were not accessible to anyone but priests, and it is unlikely that a statue of a deity would have been permanently veiled; priests saw the cult image of the god every day when performing temple rites. However, a statue in a temple's courtyards or halls could have borne an inscription similar to the one Plutarch and Proclus related. [2] The first part of the inscription—"I am all that has been and is and shall be"—means the goddess encompasses everything. This claim was commonly made of creator gods such as Ra or Amun in Egyptian religion; if the same was said about Isis, it reflected her increased status in Greco-Roman times, in which she was often said to be the creator of the world. The second part—"no one has ever lifted my mantle"—implies that the goddess was virginal, a claim that was occasionally made of Isis in Greco-Roman times but conflicted with the long-standing belief that she and her husband Osiris conceived their son Horus. [4] Proclus's version suggests that the goddess conceived and gave birth to the sun without the participation of a male deity, which would reflect Egyptian myths about Neith as the mother of the sun god Ra. Another possible explanation, suggested by the Egyptologist Jan Assmann, is that the latter part of the Egyptian inscription said "There is nobody except me", proclaiming that the all-encompassing goddess was unique, and was mistranslated into Greek as "there is nobody who opened [or: uncovered] my face." [2]

Personification of nature

Science unveiling Nature in the frontispiece to Anatome Animalum, 1681 Anatome Animalium frontispiece.jpg
Science unveiling Nature in the frontispiece to Anatome Animalum, 1681

Several other sources influenced the motif of the veiled Isis. One was a tradition that linked Isis with nature and the goddess Artemis. European art has a long tradition of personifying nature as a motherly figure. Starting in the 16th century, this motif was influenced by the iconography of the goddess Artemis of Ephesus (also known under the name of her Roman equivalent, Diana). The Ephesian Artemis was depicted with round protuberances on her chest that may originally have been jewelry but came to be interpreted as breasts. Isis was sometimes compared with Artemis, and the Roman writer Macrobius, in the fourth century CE, wrote, "Isis is the earth or nature that is under the sun. That is why the goddess's entire body bristles with a multitude of breasts placed close to one another [as in the case of Artemis of Ephesus], because all things are nourished by earth or by nature." Thus, the 16th-century artists represented nature as Isis-Artemis with multiple breasts. [5]

A second influence was a tradition that nature is mysterious. It goes back to an aphorism by the Greek philosopher Heraclitus in the late sixth or early fifth century BCE, which is traditionally translated as "Nature loves to hide." Edmund Spenser's The Faerie Queene in the 1590s personified nature as a woman with a veil, though without a direct connection to Isis, [6] although Isis appears elsewhere in the work. [7] Several illustrators in the 17th century used the anonymous woman with a veil in the same way. In the 1650s, Athanasius Kircher's Oedipus Aegyptiacus explicitly explained Isis's veil as an emblem of the secrets of nature. [8]

The frontispiece to Gerhard Blasius's 1681 book Anatome Animalum, engraved by Jan Luyken, was the first depiction of a many-breasted Isis-Artemis figure with her veil being removed. It shows a personification of science removing the veil, as an allegory for the way science uncovers nature's secrets. This metaphor was reused in the frontispieces of many of Antonie van Leeuwenhoek's works, and then in illustrations to other scientific works throughout the 18th century. In some cases the veiled figure is a statue, reminiscent of the original statue of Artemis at Ephesus, while in others it is a living woman. The motif was sometimes elaborated with other metaphors, so that, for example, in the frontispiece to The Philosophy of Nature by Jean-Baptiste-Claude Delisle de Sales, Nature unveils herself to a philosopher as he overthrows Despotism and Superstition. The unveiling of the Isis-figure thus expressed the hope, prevalent during the Age of Enlightenment, that philosophy and science would triumph over unreason to uncover nature's deepest truths. This motif continued beyond the Enlightenment into the 19th century. An example is Louis-Ernest Barrias's 1899 sculpture Nature Unveiling Herself Before Science , in which the multiple breasts are omitted and the figure of Nature wears a scarab on her gown that hints at her Egyptian connections. [9]

Personification of mystery

The unveiling of a statue of Isis as a personification of nature, depicted as the climactic moment of an Isiac initiation, in an 1803 engraving by Henry Fuseli Frontispiece to The Temple of Nature.jpg
The unveiling of a statue of Isis as a personification of nature, depicted as the climactic moment of an Isiac initiation, in an 1803 engraving by Henry Fuseli

Another interpretation of Isis's veil emerged in the late 18th century, in keeping with the Romantic movement that was developing at the time, in which nature constitutes an awe-inspiring mystery rather than prosaic knowledge. [11]

This interpretation was influenced by the ancient mystery initiations dedicated to Isis that were performed in the Greco-Roman world. [12] Although these rites were developed in Hellenistic or Roman times, under the influence of earlier Greco-Roman mystery rites, [13] both classical authors and 18th-century scholars assumed them to have been age-old features of ancient Egyptian religion. [14] Many Freemasons, members of a European fraternal organization that attained its modern form in the early 18th century, adopted Egyptian motifs and came to believe their rituals could be traced back to the mysteries of Isis. [15] One Freemason in the 1780s, Karl Leonhard Reinhold, tried to reconcile Freemasonry's traditional origin story, which traces Freemasonry back to ancient Israel, with its enthusiasm for Egyptian themes. To do so, he interpreted the first statement on the statue at Sais, "I am all that has been and is and shall be," as a declaration of pantheism, in which nature and divinity are identical. Reinhold claimed the public face of Egyptian religion was polytheistic, but the Egyptian mysteries were designed to reveal the deeper, pantheistic truth to elite initiates. He also said the statement "I am that I am", spoken by the Jewish God in the Book of Exodus, meant the same as the Saite inscription and indicated that Judaism was a descendant of the ancient Egyptian belief system. [16] Under the influence of Reinhold's interpretation, other Freemasons came to see the veiled Isis as a symbol of an impenetrable enigma, representing truth and being as well as nature, [17] a deity that, as Assmann puts it, was regarded as "too all-encompassing to have a name." [18]

Immanuel Kant connected the motif of Isis's veil with his concept of the sublime, saying, "Perhaps no one has said anything more sublime, or expressed a thought more sublimely, than in that inscription on the temple of Isis (Mother Nature)." According to Kant, the sublime evoked both wonder and terror, and these emotions appeared frequently in the works of late 18th and early 19th-century authors using the motif of the veil. The ecstatic nature of ancient mystery rites themselves contributed to the focus on emotions. [19] Friedrich Schiller, for instance, wrote an essay on Egyptian and Jewish religion that mostly copied Reinhold's work but put a new emphasis on the emotional buildup that surrounded the mysteries. He said it prepared the initiate to confront the awe-inspiring power of nature at the climax of the rite. Similarly, a frontispiece by Henry Fuseli, made for Erasmus Darwin's poem The Temple of Nature in 1803, explicitly shows the unveiling of a statue of Isis as the climax of the initiation. [12]

Helena Blavatsky's 1877 book Isis Unveiled , one of the foundational texts for the esoteric belief system of Theosophy, used the metaphor of the veil as its title. Isis is not prominent in the book, but in it Blavatsky said that philosophers try to lift the veil of Isis, or nature, but see only her physical forms. She added, "The soul within escapes their view; and the Divine Mother has no answer for them," implying that Theosophy would reveal truths about nature that science and philosophy could not. [20]

Parting the veil

The "Parting of the Veil", "Piercing of the Veil", "Rending of the Veil" or "Lifting of the Veil" refers, in the Western mystery tradition and Neopagan witchcraft, to opening the "veil" of matter, thus gaining entry to a state of spiritual awareness in which the mysteries of nature are revealed. In ceremonial magic, the Sign of the Rending of the Veil is a symbolic gesture performed by the magician with the intention of creating such an opening. It is performed starting with the arms extended forwards and hands flat against each other (either palm to palm or back to back), then spreading the hands apart with a rending motion until the arms point out to both sides and the body is in a T shape. After the working is complete, the magician will typically perform the corresponding Sign of the Closing of the Veil, which has the same movements in reverse. [21]

See also

Related Research Articles

<span class="mw-page-title-main">Diana (mythology)</span> Roman goddess of hunting and the wild

Diana is a goddess in Roman and Hellenistic religion, primarily considered a patroness of the countryside and nature, hunters, wildlife, childbirth, crossroads, the night, and the Moon. She is equated with the Greek goddess Artemis, and absorbed much of Artemis' mythology early in Roman history, including a birth on the island of Delos to parents Jupiter and Latona, and a twin brother, Apollo, though she had an independent origin in Italy.

Ancient Egyptian religion was a complex system of polytheistic beliefs and rituals that formed an integral part of ancient Egyptian culture. It centered on the Egyptians' interactions with many deities believed to be present and in control of the world. About 1500 deities are known. Rituals such as prayer and offerings were provided to the gods to gain their favor. Formal religious practice centered on the pharaohs, the rulers of Egypt, believed to possess divine powers by virtue of their positions. They acted as intermediaries between their people and the gods, and were obligated to sustain the gods through rituals and offerings so that they could maintain Ma'at, the order of the cosmos, and repel Isfet, which was chaos. The state dedicated enormous resources to religious rituals and to the construction of temples.

<span class="mw-page-title-main">Osiris</span> Ancient Egyptian god of the afterlife

Osiris is the god of fertility, agriculture, the afterlife, the dead, resurrection, life, and vegetation in ancient Egyptian religion. He was classically depicted as a green-skinned deity with a pharaoh's beard, partially mummy-wrapped at the legs, wearing a distinctive atef crown, and holding a symbolic crook and flail. He was one of the first to be associated with the mummy wrap. When his brother Set cut him up into pieces after killing him, Osiris' wife Isis found all the pieces and wrapped his body up, enabling him to return to life. Osiris was widely worshipped until the decline of ancient Egyptian religion during the rise of Christianity in the Roman Empire.

<span class="mw-page-title-main">Greco-Roman mysteries</span> Religious schools of the Greco-Roman world

Mystery religions, mystery cults, sacred mysteries or simply mysteries, were religious schools of the Greco-Roman world for which participation was reserved to initiates (mystai). The main characteristic of these religious schools was the secrecy associated with the particulars of the initiation and the ritual practice, which may not be revealed to outsiders. The most famous mysteries of Greco-Roman antiquity were the Eleusinian Mysteries, which predated the Greek Dark Ages. The mystery schools flourished in Late Antiquity; Emperor Julian, of the mid-4th century, is believed by some scholars to have been associated with various mystery cults—most notably the mithraists. Due to the secret nature of the schools, and because the mystery religions of Late Antiquity were persecuted by the Christian Roman Empire from the 4th century, the details of these religious practices are derived from descriptions, imagery and cross-cultural studies. Much information on the mysteries comes from Marcus Terentius Varro.

<span class="mw-page-title-main">Isis</span> Ancient Egyptian goddess

Isis was a major goddess in ancient Egyptian religion whose worship spread throughout the Greco-Roman world. Isis was first mentioned in the Old Kingdom as one of the main characters of the Osiris myth, in which she resurrects her slain brother and husband, the divine king Osiris, and produces and protects his heir, Horus. She was believed to help the dead enter the afterlife as she had helped Osiris, and she was considered the divine mother of the pharaoh, who was likened to Horus. Her maternal aid was invoked in healing spells to benefit ordinary people. Originally, she played a limited role in royal rituals and temple rites, although she was more prominent in funerary practices and magical texts. She was usually portrayed in art as a human woman wearing a throne-like hieroglyph on her head. During the New Kingdom, as she took on traits that originally belonged to Hathor, the preeminent goddess of earlier times, Isis was portrayed wearing Hathor's headdress: a sun disk between the horns of a cow.

<span class="mw-page-title-main">Osiris myth</span> Story in ancient Egyptian mythology

The Osiris myth is the most elaborate and influential story in ancient Egyptian mythology. It concerns the murder of the god Osiris, a primeval king of Egypt, and its consequences. Osiris's murderer, his brother Set, usurps his throne. Meanwhile, Osiris's wife Isis restores her husband's body, allowing him to posthumously conceive their son, Horus. The remainder of the story focuses on Horus, the product of the union of Isis and Osiris, who is at first a vulnerable child protected by his mother and then becomes Set's rival for the throne. Their often violent conflict ends with Horus's triumph, which restores maat to Egypt after Set's unrighteous reign and completes the process of Osiris's resurrection.

<span class="mw-page-title-main">Harpocrates</span> God-child of the Greek mythology

Harpocrates was the god of silence, secrets and confidentiality in the Hellenistic religion developed in Ptolemaic Alexandria. Greeks adapted Harpocrates from the Egyptian child-god Horus, who represented the newborn sun, rising each day at dawn. The name "Harpocrates" originated as a Hellenization of the Egyptian Har-pa-khered or Heru-pa-khered, meaning "Horus the Child". Depictions showed Horus as a naked boy with his finger to his mouth, a realisation of the hieroglyph for "child" (𓀔). Misunderstanding this gesture, later Greeks and Roman poets made Harpocrates the god of silence and of secrecy.

<span class="mw-page-title-main">Neith</span> Ancient Egyptian goddess

Neith was an early Libyan deity worshipped by Libyans and ancient Egyptians. She was adopted from Libya. Her worship is attested as early as Predynastic Egypt, around 6000 BC. She was said to be the creator and governor of the universe and the inventor of birth. She was the goddess of the cosmos, fate, wisdom, water, rivers, mothers, childbirth, hunting, weaving, and, originally, war.

<span class="mw-page-title-main">Sais, Egypt</span> Ancient Egyptian city

Sais was an ancient Egyptian city in the Western Nile Delta on the Canopic branch of the Nile, known by the ancient Egyptians as Sꜣw. It was the provincial capital of Sap-Meh, the fifth nome of Lower Egypt and became the seat of power during the Twenty-fourth Dynasty of Egypt and the Saite Twenty-sixth Dynasty of Egypt during the Late Period. On its ruins today stands the town of Sa el-Hagar or Sa El Hajar.

<i>Interpretatio graeca</i> Methodology for cultural comparison

Interpretatio graeca, or "interpretation by means of Greek [models]", refers to the tendency of the ancient Greeks to identify foreign deities with their own gods. It is a discourse used to interpret or attempt to understand the mythology and religion of other cultures; a comparative methodology using ancient Greek religious concepts and practices, deities, and myths, equivalencies, and shared characteristics.

<span class="mw-page-title-main">Kemetism</span> Contemporary practice of Ancient Egyptian religion

Kemetism, or Kemetic paganism, is a neopagan religion and revival of the ancient Egyptian religion, emerging during the 1970s. A Kemetic or Kemetic pagan is one who follows Kemetism.

<span class="mw-page-title-main">Hellenistic religion</span> Late form of ancient Greek religion

The concept of Hellenistic religion as the late form of Ancient Greek religion covers any of the various systems of beliefs and practices of the people who lived under the influence of ancient Greek culture during the Hellenistic period and the Roman Empire. There was much continuity in Hellenistic religion: people continued to worship the Greek gods and to practice the same rites as in Classical Greece.

<span class="mw-page-title-main">Despoina</span> Greek goddess of Arcadian mystery cults

Despoina or Despoena was the epithet of a goddess worshipped by the Eleusinian Mysteries in Ancient Greece as the daughter of Demeter and Poseidon and the sister of Arion. Surviving sources refer to her exclusively under the title Despoina alongside her mother Demeter, as her real name could not be revealed to anyone except those initiated into her mysteries and was consequently lost with the extinction of the Eleusinian religion. Writing during the second century A.D., Pausanias spoke of Demeter as having two daughters; Kore being born first, before Despoina was born, with Zeus being the father of Kore and Poseidon as the father of Despoina. Pausanias made it clear that Kore is Persephone, although he did not reveal Despoina's proper name.

<span class="mw-page-title-main">Ancient Egyptian deities</span> Deities in the ancient Egyptian religion

Ancient Egyptian deities are the gods and goddesses worshipped in ancient Egypt. The beliefs and rituals surrounding these gods formed the core of ancient Egyptian religion, which emerged sometime in prehistory. Deities represented natural forces and phenomena, and the Egyptians supported and appeased them through offerings and rituals so that these forces would continue to function according to maat, or divine order. After the founding of the Egyptian state around 3100 BC, the authority to perform these tasks was controlled by the pharaoh, who claimed to be the gods' representative and managed the temples where the rituals were carried out.

<span class="mw-page-title-main">Egyptian mythology</span>

Egyptian mythology is the collection of myths from ancient Egypt, which describe the actions of the Egyptian gods as a means of understanding the world around them. The beliefs that these myths express are an important part of ancient Egyptian religion. Myths appear frequently in Egyptian writings and art, particularly in short stories and in religious material such as hymns, ritual texts, funerary texts, and temple decoration. These sources rarely contain a complete account of a myth and often describe only brief fragments.

<span class="mw-page-title-main">Temple of Artemis</span> Ancient Greek temple in Ephesus (near present-day Selçuk, Turkey)

The Temple of Artemis or Artemision, also known as the Temple of Diana, was a Greek temple dedicated to an ancient, localised form of the goddess Artemis. It was located in Ephesus. By AD 401 it had been ruined or destroyed. Only foundations and fragments of the last temple remain at the site.

"The Veiled Image at Sais" is a 1795 ballad by Friedrich Schiller using ancient Greek, Egyptian and biblical motifs.

<i>Velificatio</i> Stylistic device used in ancient Roman art

Velificatio is a stylistic device used in ancient Roman art to frame a deity by means of a billowing garment. It represents "vigorous movement," an epiphany, or "the vault of heaven," often appearing with celestial, weather, or sea deities. It is characteristic of the iconography of the Aurae, the Breezes personified, and one of the elements which distinguish representations of Luna, the Roman goddess of the Moon, alluding to her astral course.

<span class="mw-page-title-main">Lunar deity</span> Deity that represents the Moon

A lunar deity or moon deity is a deity who represents the Moon, or an aspect of it. These deities can have a variety of functions and traditions depending upon the culture, but they are often related. Lunar deities and Moon worship can be found throughout most of recorded history in various forms.

<span class="mw-page-title-main">Mysteries of Isis</span> Religious rites in the Greco-Roman cult of Isis

The mysteries of Isis were religious initiation rites performed in the cult of the Egyptian goddess Isis in the Greco-Roman world. They were modeled on other mystery rites, particularly the Eleusinian mysteries in honor of the Greek goddesses Demeter and Persephone, and originated sometime between the third century BCE and the second century CE. Despite their mainly Hellenistic origins, the mysteries alluded to beliefs from ancient Egyptian religion, in which the worship of Isis arose, and may have incorporated aspects of Egyptian ritual. Although Isis was worshipped across the Greco-Roman world, the mystery rites are only known to have been practiced in a few regions. In areas where they were practiced, they served to strengthen devotees' commitment to the Isis cult, although they were not required to worship her exclusively, and devotees may have risen in the cult's hierarchy by undergoing initiation. The rites may also have been thought to guarantee that the initiate's soul, with the goddess's help, would continue after death into a blissful afterlife.

References

  1. 1 2 Griffiths 1970, p. 131.
  2. 1 2 3 4 Assmann 1997, pp. 118–119.
  3. Griffiths 1970, p. 283.
  4. Griffiths 1970, pp. 284–285.
  5. Hadot 2006, pp. 233–238.
  6. Hadot 2006, p. 237.
  7. Quentin 2012, pp. 145–146.
  8. Hadot 2006, pp. 237, 240–242.
  9. Hadot 2006, pp. 1, 237–243.
  10. Assmann 1997, pp. 134–135.
  11. Hadot 2006, pp. 318–319.
  12. 1 2 Assmann 1997, pp. 126–134.
  13. Bremmer 2014, pp. 110–114.
  14. Macpherson 2004, pp. 241–245.
  15. Macpherson 2004, pp. 245–248.
  16. Assmann 1997, pp. 115–125.
  17. Hadot 2006, pp. 267–269.
  18. Assmann 1997, p. 120.
  19. Hadot 2006, pp. 269–283.
  20. Ziolkowski 2008, pp. 75–76.
  21. Greer 1997, pp. 51–53, 73–75.

Works cited

Further reading

Commons-logo.svg Media related to Nature with a veil at Wikimedia Commons