The document summarizes the author's experience documenting artifacts at the Egyptian Museum in Cairo over multiple visits in December 2015. Some key findings included a pre-dynastic lapis lazuli tube that was evidence of more advanced ancient technologies, and difficulties photographing in the museum's low lighting conditions. The author gained a better understanding by discussing items with colleagues and recording explanatory videos. Many parallels were also found between ancient Egyptian and Indian symbolism, mythology, and beliefs about eternal cycles of consciousness.

1. Visual Adventure in the Egyptian Museum by Beatrice Babare-
Awyan (Khemit School Audio-Visual Team)
Leave a reply
It was a curious series of synchronicities that led the Khemit SchoolTeam to the Egyptian Museum on
the 4th
of December 2015. For years we had been waiting for an opportunity to document all the
anomalies that can be found in the treasure trove that is the collection of the Cairo Museum. We once
inquired how much it would cost to get an official permission and we were told that it would be 500
Egyptian Pounds (approx. $100 USD) PER PICTURE TAKEN. Thanks to the new Minister of
Antiquities, Mr. Mamdouh El-Damaty, who issued an allowance of cameras inside the museum from
December 1st
, 2015 until January 7th
, 2016, our team was able to take 11,000+ pictures and videos
during this time.
It was a very interesting and educational experience for me. I had visited the museum a couple of
times before, but it was different on these visits. For me personally it was about documenting as much
as I could (at first) in the hope that, even though many items might not mean anything to me yet, they
might to Patricia, Yousef or Mohamed. There are so many items displayed, that the sheer magnitude is
hard to put into words. The first day I spent 3 hours without a break, just taking pictures and I was
only able to capture the items in one measly corridor. Ok, granted, I was very meticulous in that
corridor, but I only covered a smidgen of ground.

2. For my second visit on December 11th
I tried a different strategy. I had made a list of items and
depictions that we needed original pictures of to use for planned projects of the Khemit Team. One
such item was the piece of an ancient world map that had been mentioned in our Gosford Glyphs
YouTube video. I knew it was in an ‘out of the way’ location, so I called Mohamed to give me
detailed directions. And I must say, it was in a very sorry spot. Funny enough, by the time of my last
visit on the 7th
of January, it had been moved into the front entrance area, for everyone to see. Yousef
was fortunate to be present when they moved it and had the opportunity to take some pictures.

3. Meanwhile, I was on the top floor in the prehistoric section and just couldn’t help continuing onward.
I knew I needed to get some serious ground covered and it was just too interesting to resist, so I started
documenting the showcases in that area when I came across the item below.
Try to imagine my incredulity… I am in the Egyptian Museum in Cairo, Egypt, in the prehistoric
section (I mean it can’t get any more “official Egyptology” than this), looking at a showcase with
crudely carved combs made from animal bones right next to a perfectly fashioned, hollow (!) Lapis
Lazuli (!) tube with a gold (!) sheath. And the tag says Predynastic. ARE YOU KIDDING ME?

4. I guess I will save you and myself a rant about timelines and a more ancient civilization with
advanced technologies and just give you some pictures of items found in the pre-dynastic section. You
can be the judge if they are all congruent with pre-dynastic times as Historians tell us.
As a Photographer, I faced many challenges trying to get the best quality out of my pictures. The
lighting conditions are a photographer’s nightmare, probably because it is normally not allowed and it
seems that they make conditions as bad as possible for people trying to sneak pictures with their
camera phones. On the top floor the lighting consists mostly of natural light from high above
windows, fluorescent and spot lights on the ceilings (which reflect horribly in the showcases) or as in
the case of the ground floor, sometimes no lighting at all. Flash photography is not allowed to preserve
the colors of the artifacts, according to the officials.

5. I wasn’t sure if tripods would be permitted, so on our next visit on the 29th
of December, we inquired
and were given the go-ahead. Unfortunately, by the time of my last visit on the 7th
of January, a tourist
had apparently smashed a showcase with one of those “selfie sticks” for mobile phones, and so they
banned all additional equipment. This meant I would be limited to using my camera handheld. Some
issues with the pictures can be artificially enhanced within professional software (if one shoots in
RAW format), but nothing is as good as a fabulous quality picture straight from the camera.
I am using a Panasonic Lumix GH3 camera, which is a micro 4/3 system – 1.5 sensor crop. For the
majority of my pictures I used my 12-35 mm lens, which translates to 24-70 mm full frame. This was
perfect for my purposes, as the space I could maneuver in was very limited and cramped at times. My
lens was wide angle enough to encompass a complete showcase and I could zoom in enough to get
details of the various items in each showcase.

6. In some instances I had to switch to my 35-100 mm lens as items were too high or at a medium
distance away. There is a staircase that has papyruses hung on the walls, some which can be easily
viewed as you walk past, but some are so high up, you can’t see properly what is depicted on them, so,
I switched lenses to get them. I was surprised when even the 100 mm was not enough and I had to
switch again to my biggest lens – a 100-300 mm.

7. Aside from trying to document EVERYTHING, some items just struck me and I wanted to get some
pictures with a more artistic approach.

8. Of course, the architecture of the Museum itself is very inspiring.

9. On my third visit we did mostly video work. Mohamed and Yousef would explain items of special
interest to me while I recorded them. Having worked with them for the past four years and having
learned and experienced the things I did, that I actually understood what they were talking about. I
was excited to be able to ask intelligent questions which garnered fascinating answers! I showed
Mohamed the lapis tube I had discovered and you will see on our YouTube Channel what his response
was (so stay tuned for this and much more). I also want to thank my nephew Mohamed Awyan, who
volunteered to be my assistant for the day.

10. Fortunately, the mask of King Tut was back in the exhibit by that point, as it had been taken out of the
museum for some restoration work. The jewelry in this exhibit is simply breathtaking and a solid
testament to ancient Egyptian craftsmanship.
Yousef and Mohamed made many new discoveries which they will be studying in the coming months,
as will our team members who couldn’t be there for this exceptional opportunity. There are exciting
times ahead for the Khemit School and we hope that you are just as excited as we are.

11. Aside from cropping and watermarks, all pictures used in this Blog Post are unedited.
This entry was posted in Articles on January 25, 2016 by Patricia Awyan.
Reflections of Khemit (Egypt) in India: Common Source or
Migration of Knowledge & Wisdom? by Patricia Awyan

12. Leave a reply
In December of 2015, I traveled with Suzan Moore, the Techno-Spiritual Team’s Geologist, to India
at the invitation of Nayantara Chakravarthi, a friend of the Khemit School. I was overwhelmed by the
wealth of wisdom and knowledge still held intact throughout India within the dogma of the Vedic
texts, as well as the structures, and rituals still being performed by ‘devotees’ at temple sites.
What struck me most are the similarities I discovered there with the results of my own research of the
ancient Egyptian symbolism and mythologies, as well as the fieldwork and research done by the
entire Khemit Team here in Egypt (based on a foundation of knowledge left to us by Abd’el Hakim
Awyan). As my new friends and fellow researchers in India and I shared our viewpoints, recognizing
the vast similarities, we began to connect many dots within our own respective studies.
The science of the Vedas has been written about prolifically, and I must admit I returned home with
more than a few new books about this and more! Just as I discovered in Egypt, they point to the truth
of the nature of our reality, and give us details about Physics, Biology, Astronomy and more. They
both portray the unique story of our alchemical existence in this seen world of illusion, the
Hindu Maya, and the unseen world that holds all wisdom and truth, as well as how we migrate
through both, through cycles, and cycles within cycles of consciousness, death, birth and rebirth…
eternally. It is the cosmic dance of Shiva, as well as the symbolic journey of Kheper, the Egyptian
scarab that pushes the sun, sol, or self across the milky way of this hologram.
Although my understanding of the significance of the symbolism of the traditions of Hinduism,
Buddhism, and Jainism is superficial in this moment, I could not help but see many parallels with that
of my indigenous understanding of very ancient Khemit.
Basic similarities include:
A belief that humanity migrates through eternal cycles of consciousness and vibration
There is no ‘Judgement Day’ or Eternal Hell or Heaven
Symbolism emerges to express truth as a higher cycle descends into lower cycles

13. Mirrored symbols in both ancient cultures are used to express these truths
Created structures are engineered with symbolic codes and wisdom within the architecture itself
Structures reflect the universe and self with solar and stellar alignments that recognize cyclic events
Structures utilize unique combinations of minerals, running water and use of sound and resonance
As above, so below; the outer macrocosmic universe reflects the inner microcosmic self
A belief in a fractal and holographic existence where the all is contained within each of its parts
All is breathing or vibrating in day and night patterns
The practice of Yoga
Understanding of our ChakRAS as inner suns, or energy centers
Symbolism and structure reflect the Alchemy of our reality
The reality we are currently enjoying is an illusion likened to being in a dream state
We have the opportunity to change our reality with every breath, minute, day, year, Great Year, etc.
Understand the patterns (Sacred Geometry and Flow) in order to transform or alter them
We will cycle into moments of complete ‘Gnosis’ or knowing before we breathe out a new physical
reality
The story of our current reality begins with the birth of matter, or the physical reality, as symbolized
in both cultures, by its birth from a Lotus flower. This reality is characterized by day and night cycles,
a wave pattern or cosmic serpent that reflects the basic formula for how all living things express
themselves or vibrate.

14. This sine wave is patterned as the first breath from the sea of primordial waters, or the
unmanifested potential of consciousness itself. In Egypt, this was reflected in the mythology of the
Neter, Atum, the Atom who creates the dual Neters, or twins, Shu and Tefnut from his saliva or,
alternatively, his SEAmen.

15. Both cultures see the Lotus as a symbol of the birth of the sun.
This birth of the Sun or Son from a Lotus Flower can be reflected in many different ways.

17. “The lotus flower, sacred to Buddha and to Osiris, has five petals which symbolizes the four limbs
and the head; the five senses; the five digits; and like the pyramid, the four parts of the compass
and the zenith.
Walafrid Strabo (c. 809–849)
The four sons of Horus, who are often displayed emerging from a Lotus flower, represent the four
directions, seasons and elements of our material world. Form FLOWers from the four elements
represented by the Lotus, which is rooted in Earth, sprouts upward through Water and into the Air,
before opening its petals to give birth to Fire as the Sun.
We also see this reflection of the four directions, seasons and elements with the symbolism of
the Four Pillars.

18. All in this reality is dual in nature as communicated in Hinduism as the Ardhanarishvara, in Buddhism
as Yin/Yang and throughout symbolism and mythology in Egypt. Spirit and Matter
(Purusha & Prakriti) are the two basic aspects of Creation.

19. Ptah, an Egyptian creator Neter, took the form of a bull at times and his consort, Sekhmet, a great
mother lioness, is a ‘destroyer’, associated with the fierce rays of the sun. Ptah represented the
projection of matter from spirit, and Sekhmet (as purification by fire) scorches the physicalmaterial
world when it falls out of Ma’at, or balance.

20. Matter and Spirit, Positive and
Negative, the Seen and the Unseen worlds, are ultimately one and the same. Matter is materialized
Spirit and Spirit is spiritualized Matter. What is considered as empty space is just a manifestation of
matter that is not awakened to the physical.

21. There is only the One, which gives birth to Two, and then Three. This is expressed as the Hindu
Triurti or Trinity of Brahma the creator, Vishna the sustainer, and Shiva the destroyer. In Egypt we
see many triads that mirror this concept.
Both the Egyptian Sekhem and the Hindu Shakti are labels for power and self-empowerment and
represent the creative power and flow of life force energy that connects body, mind, and soul.

22. The Hindu Goddess, Shakti (also known as Durga or Devi) is the divine energy which destroys evil
forces and restores balance. As Kali, Shakti will appear at the end of the Kali Yuga to remove the
debris of a spiritually dead humanity in order to usher in a new cycle of light and peace. The Egyptian
Neter, Sekhmet embodies this aspect of the divine mother principle as the fierce rays or flares of the
sun that ultimately restore balance through the resultant volcanoes, earthquakes and shifts in the
Schumann Resonance.
These principles also apply to the female Neters of ancient Egypt. Tefnut is associated with the
magnetic, galactic storms and the spark of life. Hathor is the Alpha and Omega, the womb that holds
and gives birth to the Hor, the seed of life. Isis restores the vitality to her consort, Osiris.These Neters
are also known as great and divine mothers who nurture and heal.
For this is what Shakti and Sekhem represent: the most powerful force on our planet, which is the
fierce protective love of the mother as displayed by the lioness.

23. The ‘nurturing mother of the son or sun’ dynamic is expressed similarly in iconic symbolism
throughout many cultures worldwide.

24. I also found many similarities between Osiris and Vishnu. Both, as aspects of self, migrate through
cycles of consciousness, and are often shown in a reclining position, as if they are asleep, in a dream
state, waiting to be awakened.

25. Lord Vishnu is said to rest in the coils of Ananta, the great serpent of Infinity, while he waits for the
universe to recreate itself.
The Egyptian hawk Neter, Horus, becomes the ‘ascended’ Osiris, as his Son or aspect of the Sun and
self. Horus represents rising consciousness as the newly enlightened or awakened Osiris. In Hindu
mythology, it is the hawk headed Garuda who is Vishnu’s vehicle to travel to the Sun or
enlightenment.

26. In Egyptian mythology the world rests on the divine serpent, Nehebu-Kau. The red crown of Upper
Egypt and the white crown of Lower Egypt in the image below refer to the polarity of consciousness
that exists in the lower, night cycle. Cycles spiral in both directions. Horus tames this serpent in order
to fly into the light.
Garuda is known to be the natural enemy to serpents, the sine wave or cosmic serpent of the lower
night cycle. Horus as Harpokrates, ‘the infant Horus’, is often displayed standing on crocodiles, and
holding both serpents and scorpions (all symbols of a lower earth bound reality), in his hands, having
tamed or transmuted his shadow self within.

27. The legends and depictions of the “stretching of the cord” ceremony in ancient Khemit represent how
temples were patterned after the universe. Stretching the cord referred to the architectural planning
process that emulated these universal patterns in a microcosmic structure. The Neter, Seshat holds the
cord which is used to outline the sacred geometric blueprint of the temple. All natural forces must be
harmonized within the energetic architecture of the structure so it can perform its interactive function.
These living structures contain sacred geometry, precise mathematicalcodes, the use of a combination
of natural elements that include the use of sound and running water within their energetic architecture,
along with symbolism and iconography that interact with one’s body, mind and spirit as you navigate
through them.

28. They also contain both solar and stellar alignments that cite astronomical events which have an effect
on our consciousness and levels of awareness. Sound chambers and niches adorn many of these
ancient structures and caves in both India and Egypt, where you can create amazing resonant tones
that have the ability to spontaneously heal the body and enhance levels of awareness. We visited two
structures in India in which columns themselves could be played like an instrument, where the tapping
of them created unique musical tones.

29. The similarity between Lingam – Yoni’s, held sacred in India, with Hoteps found throughout Egypt
was apparent. I hope to write more about these and their significance in the future.

30. I can’t even begin to write about the comparison of the science of the Yuga Cycles to that of ancient
Khemit at this time, as this topic requires more space and time. I can say that I know, beyond any
shadow of doubt, that the ancient understanding of our eternal cycles of existence and consciousness
was also mirrored.
And now I come back to my original question:
Does the obvious similarity between these two cultures result from a common source of information
or from migration of knowledge and wisdom from one location to the other?
Many would like to claim that India learned its truths from ancient Egypt—and many would
claim the opposite. Does it even matter? In both cultures there is much speculation as to the
authenticity of the dating of structures, iconography and dogma.
It is possible that everything stemmed from an ancient civilization that spanned a much larger
geographical area, which encompassed both countries as we knowthem today. However, we
need to remember that this ancient wisdom and knowledge is evidenced in countries worldwide.
Many believe, including myself, that this wisdom is inherent in the dynamic flowof the universe
and was realized through observation of natural patterns in the vibration and growth of all
living things.
If consciousness does cycle through day (high) and night (low) cycles, then we must believe that
human beings across the globe once enjoyed moments of higher states of awareness and
understanding of the nature of our reality. As such, wouldn’t they ALLhave had the
opportunity to fully comprehend who we are and where we came from? And in so
knowing, would they not have understood that the world would descend into another night cycle of
declining consciousness and as such, want to leave behind clues to enable their descendants to
unravel…the secrets of the universe?

31. I want to thank Liesbeth Pankaja Bennink, and Nayantara Chakravarthi for all that they contributed to
my experience throughout my journey in India, as well as my understanding of the alchemical science
within the ancient Vedic texts, symbolism, structure, dance and rituals left behind by this incredible
culture. Liesbeth will be writing articles that will be posted here in the future.
I also want to thank Suzan Moore, for her wonderfulinput, and Alex Mott, who filmed much of our
journey for his own upcoming documentary, both of whom promise to offer articles that will be shared
on this blog.
Although I have only shown a sprinkling of the many reflections I discovered on my travels and
within my research, I hope that the incredible resemblance between these two ancient cultures has
been conveyed. I can only guess at the depth to which these similarities go and the significance of the
knowledge and wisdom that is offered to those who choose to delve more deeply. My adventure into
the study and experiencing of ancient India has just begun—but, I am excited at the infinite
possibilities of what I might encounter!
This entry was posted in Articles on January 4, 2016 by Patricia Awyan.
Why is Osiris Green? by Patricia Awyan
Leave a reply

32. Osiris, Ausser–or Wizzer (Wsjr), is the original Green Man–he is the land and the earth in his
representation of mankind migrating through cycles of consciousness. He is the seed, self, sun and
universe, enabling consciousness to express itself as a manifestation in the physical, earthly realm. As
such, he is associated with all phases of agricultural processes and to the symbolism of the tree of life.
He is expressed as green in many depictions to represent these associations and their relationship to
the fertility of the earth, his dual feminine aspect. It is through the portal of our solar plexus,
the Lion’s Gate, and our true heart center, that we traverse the dimensions from spirit to matter, from
unity consciousness to individuated consciousness and back again. This is the ‘Hero’s Journey’ that is
likened to the path of the Sun across the sky.

34. The Tarot, which originated in Egypt, tells the story of Osiris. The Fool is Osiris (manifestation of
the physical) who emerges from and sails the primordial waters of Nut, the sky, shown here in the first
image in the picture below. Osiris is looking back here as he leaves the higher vibrational ages of
Cancer and Gemini, before his descent into matter (the material, physical reality) in the age of Taurus
and he begins his journey as the seed that is planted in the earth cloaked in the darkness of a new night
cycle.
Osiris is leaving a state of unity consciousness and beginning his descent into the earth bound reality
as he sails across the ecliptic or path of the sun, through the process of separation and into the polarity
consciousness of Gemini toward the Age of Taurus, where spirit is made manifest in a densely
physical dimension.

35. The second image is from the Dendera Zodiac on the second floor, which depicts this same adventure
in a three-dimensional, spiraling image. You can see Osiris again in the lower right hand corner
beginning his journey as the seed in the Dark Age that will be fertilized and reborn as
his ascended aspect, Horus, who will continue this journey until he earns his wings and flies back into
the higher dimensional day cycle.

36. “He is the spirit in search of experience…it’s subsidiary name was at one time the alchemist as
depicting folly at the most insensate (unconscious) stage”. ~ Arthur Edward Waite, Co-Author,
Rider-Waite Tarot Deck
These stages can be related to the planting of a seed in the dark earth where it germinates and takes
root, is nurtured by the minerals and water of the earth before breaking through the surface where the
new seedling as it seeks the light of day before spreading its branches (wings) and flying into the light
of the sun.
Those of us who grew up seeing and/or reading copies of the Farmer’s Almanac know that the
success of planting and harvesting activities can be greatly affected by the stages of the moon, as well
as stellar and solar events. Osiris is related to agriculture and the 14 stages of the moon waxing and 14
stages of waning for this reason.

37. In a popular myth about Osiris, the Neter, Set, symbolizing sunset, is jealous of his favoured brother
and sets out to kill him. He eventually cuts his brother’s body into 42 pieces (or 14 in a later telling)
and scatters the pieces throughout Khemit.
This occurs when the sun sets on the day cycle and we fall into the hidden cycle of Amun/Amen. The
42 pieces represent the Nomes or divisions of the land of Egypt and the original 42 tribes. It describes
what occurs as consciousness falls and we can no longer communicate without the use of written and
oral languages. Our hearts and minds no longer vibrate in unison and we can be manipulated through
controlagendas.
Osirus is now depicted as a mummy, but, in truth he is only wrapped in his own wings andearthbound.
Humanity can now be held hostage by their fear and anger through separation principles; from a God
who they are now told exists outside themselves and from each other and the natural environment that
surrounds us. We have forgotten the unified nature of all of lifeforms.

38. His journey takes him through the process of death, birth and rebirth, as he faces the challenges of
the Duat (duality), the underworld of the night cycle. This is the true alchemical journey we take as
we precess through the constellations representing ages or stages of consciousness. This Sacred
Spiral (Spirit) of Birth and Rebirth that gives definition to time and space, shown in the picture
below, is also ‘the Land of Osiris’, and portrays the alchemy of mankind migrating through eternal
cycles. This sine wave spirals in both directions, creating a vortex of breath wherein consciousness
experiences itself. It is in the Lion’s Gate, the heart, ruled by the Sun and Leo that we finally
transmute our polarities and experience unity consciousness.

39. The cycle of our Hero or Heru continues, as Horus rises on the HORizon as RA-HORachty, the Son
or Sun rising as the ascended Osiris.
Osiris is also related to the Djed Pillar, which is his spine and the axis of the earth. As a vertical
symbol, the Djed displays the path to and from the sky and earth, spirit and matter and our own
experiencing of heaven and hell.

40. In the above picture you can see what is referred to as the Raising of the Djed ceremony which
celebrates a restoration of balance and harmony. The Djed or spine, can also represent the trunk of
the Tree of Life.
Osiris embodies the tree, rooted in the earth and reaching for the heavens. This is the path of
the kundalini moving through our glandular ChakRAs , from the root to the crown . We choose how
we want to interact with this reality by where we place our focus. We vibrate at higher levels when
we raise our levels of consciousness and transmute our polarities within.

41. You see, we don’t have to wait for our illusions of a linear cycle of time and space to bring us back to
a state of complete Gnosis….we are challenged to raise our levels of awareness in any given moment,
which can take us to this precious place in a heartbeat.
This entry was posted in Articles on September 27, 2015 by Patricia Awyan.