Egyptian Murals Seen From the Perspective of the Hopi Creation Story, A Guest Post by Thomas O. Mills

A Universal Language That Time and Scholars Cannot Change
By Thomas O. Mills
Author of The Book of Truth A New Perspective of the
Hopi Creation Story
and Stonehenge, If This Was East

When I look at translations of Egyptian writings and murals, I see where many of their ideas are really based on just on one idea: The pyramids were built for a pharaoh’s tomb and after that, everything else just seems be added on to fit this hypothesis of death and tombs.

When I look at the murals with an open mind, and a point of view based on the Hopi Creation Story, there seems to be a different conclusion . . . a universal language that scholars or time cannot change.

It is the Hopi belief that we are in the fourth world or time. The Creator has had to come back to Earth and help populate (Create) the planet after three global catastrophes. The first world was destroyed by fire, the second by ice and the third by a flood of biblical proportions.

Figure 1

Figure 1: Creator is Creating when seen at this angle. Figure 1 shows the order of creation; From Peter Tompkins, Secrets of the Great Pyramid, Page 258

Figure 1 Explanation: My definition of the mural is: Positive, fertility, productivity, procreation and life giving. The Creator is shown with an erect phallus, a universal symbol of creation, creating four beings or guardians that represent one of each of the four worlds or times, past to the present. Whenever you see these figures represented in another mural, you know which world or time the mural is talking about. The first world is represented by a human figure with a beard; the second world is represented by a baboon-headed figure; the third world by the jackal or dog figure; and last, the fourth world (the present world) is represented by a hawk-headed figure. The Creator is lying at an angle that I imagine has to do with the earth’s tilt or angle, based on the Hopi Creation Story. He has the head of a snake in his right hand and its coils represent our path through the different worlds or times.

Figure 1 is a twenty-first century Dynasty drawing from Albert Champdor’s The Book of the Dead. The standard definition is that Figure One shows a mummy with phallus erect sliding into the Seventh Region of the Lower World, described as being “filled with serpent’s coils and the four sons of Horus who protect the viscera of the dead.” My research has not yielded an explanation of why or how the Egyptologists came up with this explanation.

 Figure Two

Illustration by Thomas O. Mills, of the Great Serpent Mound in Southern Ohio, USA

Figure Two Explanation: 

In Native American lore, Snake represents a path or boundaries, the number of coils referring to the number of times, and the right angle, which illustrates the end of the path. In Southern Ohio, The Great Serpent Mound is thought to a serpent eating an egg. My thoughts would be that it represents the Hopi story of initial Creation, and the six times the Creator would return and re-populate the Earth. After that, we are on our own.

 Figure Three

Figure 3 Explanation: With the universal knowledge that each of the four figures (See Figure 1) represents a different world or period of time, let’s take a look at a mural that has perplexed everyone since it was discovered.

The dog or jackal-like figure representing the 3rd world is on the lower level and is teaching young people about balance. The young Nephew mentioned in the Hopi Creation Story faces the dog (under the scales) and is helping with this teaching.

The hawk-headed figure that represents the present 4th world is on the top level on the right side. Left of the hawk figure are the students who have already been trained, their guardians and the Hopi twins. Blessings of food and seeds are located to the right of the hawk-headed figure. All figures on the top level are carrying their planting sticks for the journey into this, the fourth world. The Creators, bottom left, are watching as the training continues and a figure I call the Destroyer, on the bottom right, is also watching. One figure is keeping score of who is trained and who is not. In my mind the mural is about the Creators teaching the new initiates, who are traveling from the third world into the fourth world, about the Earth’s delicate balance and if they do not learn this important lesson, the Destroyer is waiting.

The Egyptologist explanation for Figure 3: The Weighing of the Heart (Spell 308). The deceased and his wife stand in the middle (I did not know the deceased could stand) to the left of the Nephew. Anubis measures the weight of the heart of the deceased against a feather, the symbol of Maat (“Things as they ought to be”). The god Thoth records the proceedings, while the monster Ammit (“Swallower of the Dead”) waits at right to devour the heart if it is found wanting. Above sit twelve gods as witnesses. From The Book of the Dead of Ani.

Some say that the feather in this depiction could represent the spiritual world after death. One thing I have learned from the Hopi is to look at each mural or painting as factual representations of what was happening at that time. I do not believe these two figures represent spiritual beings, but real people looking at the training that was performed at that time.

Feathers are used by the Hopi to communicate with the Creator; they call them prayer feathers or pahos. The Creator told the Hopi they could use feathers to carry their prayers aloft to him and that is why many native American tribes use feathers in their ceremonies.

The translation for the feather called Maat by Egyptologists is: truth, balance, law, order, morality and justice. My definition would be that the feather represents the amount of weight that was needed to stabilize the planet after the polar ice caps melted (in the past). It is not the size of the object that matters, but the weight of the object that equals what is out of balance. It could be the weight of a feather.

 Figure 4

Figure 4 Explanation: Based on the Hopi Creation Story: The Negative side of the universal language, meaning infertile, non-productive, against creation, I will not fix, is shown in figure 4. It shows the Creator at a different angle indicating he will not create when at this angle. The snake that is behind him forms a right angle and indicates that he is at the end of his path in this, the fourth world.

1. Shows the Creator looking at eight upside down earths. He promised to fix seven, not eight.

2. Shows the Creator on top of seven complete universes that he promised and the five unused constellations that he did not use.

3. Shows that the Creator has already bent over backwards four times to balance the planet. He will not bend over for eight, only seven. On the lower level, the figure holding the serpent is Ophiushus, the 13th constellation, who brings a new path for us to follow as we cross the galactic equator, December 21, 2012. The next figure has two sides (representing mankind) and the last figure shows us rolling over.

4. The Scarab beetle is rotating the planet above him. According to the Hopi Creation Story, this is an indication of a rotation of the earth’s poles, or the earth will roll over at this angle.

5. To the far right, the Creator gives life, seeds, and blessings to His Nephew and Spider-Woman for their journey into the fifth world to come.

This is how Egyptologists describe the mural: Highly symbolic scenes from the third corridor of the tomb of Ramesses IX include representations from an otherwise unknown book of the netherworld along with enigmatic cryptographic inscriptions.

Figure 42

Figure 42 Explanation: 

The reference to Figure 42 (in figure 4 and above) concerns the second line of this illustration and is an illustration that I use in my book, The Book of Truth, A New Perspective on the Hopi Creation Story. It refers to the Creator’s plan of six constellations on one side of the galactic equator in space, and six constellations on the other side of this same division. The snakes form the boundaries and show the direction the earth is rotating through the constellations. Each figure has his arms raised and is praising the Creator. The Creator is up on top, ready to create at this point in time. Whenever I see 12 items on the murals of Egypt I think of the 12 constellations. I am not sure what the symbols in the middle of the circle represent.

The Egyptologist description of Figure 42:  The name of Ramesses III is enclosed within a representation of the sun’s endless circuit, linguistically and symbolically fusing the name of the king with the solar deity.

 Figure 5

From National Geographic Magazine, September, 1998, Pg. 13

Figure 5 Explanation: Based on the Hopi Creation Story, I believe Figure 5 represents the Creator’s Nephew, the one the Creator left here on Earth to help
us on our way in this, the fourth world or time. It illustrates what is located in the Valley of the Kings in an underground chamber called KV-5.

There are many excellent examples of the positive side of the universal language and the figures of six and one. If by some chance a chamber located where the male figure’s head would be, this might prove my theory and the truth behind the universal language.

Thomas O. Mills
Author of The Book of Truth A New Perspective of the Hopi Creation Story and Stonehenge, If This Was East