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#ancient civilization
rainbow-scarab · 9 months
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Hallownest Symbols, the Ancient Civilization, and the Pale King
Sooo. Since I made my post on Hallownest symbols I've had some new insights.
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The Hallownest symbol, with its lined oval and three sets of wings, predates the kingdom as it was under the Pale King and White Lady. It can be found on arcane eggs.
Lemm, on arcane eggs: This civilisation may claim itself the first, but something else did exist within this place before Hallownest. Each egg offers a narrow glimpse into that forgotten age.
It's not just the arcane eggs though. The symbol can also be found in the Abyss, on the lighthouse. Sorta.
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You see, the lighthouse isn't just one structure--it's two. It's an older, crumbling structure....and then the new shiny construction that the Pale King added on top.
And looking at the older structure, the platforms themselves have the Hallownest symbol on it. Oval with wings.
Another detail I've noticed in the Abyss is that this structure isn't the only one. It can be seen in the background around the void sea:
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Just, further cementing the thought that the old crumbling building beneath the shiny new top is not a construction under the Pale King, but instead something quite ancient. Just one of many buildings, a conveniently tall structure for the Pale King to repurpose into a lighthouse.
So what does this mean?
Various sources in the game point to the Pale King having portrayed himself as the creator of Hallownest. Lemm, in his quote above. And some more examples:
Lore tablet in King's Pass: Higher beings, these words are for you alone. Beyond this point you enter the land of King and Creator. Step across this threshold and obey our laws. Bear witness to the last and only civilisation, the eternal Kingdom. Hallownest
Hunter's Journal, on wingmoulds: The bugs of Hallownest believed that their King created this world and everything in it. For what purpose, I wonder? Were his subjects companions, or toys, or children? Such a mind seems unknowable.
The developer notes in the game also indicate that the Pale King wanted to get rid of other gods:
The moth tribe were (perhaps) descended from Radiance. However, the King convinced them somehow to seal Radiance away. I guess so he could rule Hallownest with his singular vision, as a monarch/god with no other gods.
The dev notes are not canon and it's clear that they were never intended to be seen by others. But I think there's something to be said at least for him attempting a "singular vision". Uniting Hallownest under one rule, portraying himself as creator, creating a certain order. Some more quotes:
Bardoon: For quiet retreat did I climb up here, away from spitting creatures. Ormmph... Yes. High up. Away from simple minds, lost to light. Theirs is a different kind of unity. Rejection of the Wyrm's attempt at order.
Mask Maker, reacting to Ghost having King's Brand: No bug has ever laid claim to this whole. Even the beasts knew their limits and bound their realm at Nest's edge. It is the ancient caste that made attempt at such vast rule. Hallownest's ruin reflects well those fared attempts.
I believe Mask Maker is referring to the Ancient Civilization having attempted to rule over all of Hallownest. There's a possibility they're referring to Hallownest under the Pale King, as "ancient" does not necessarily mean what fans call the Ancient Civilization (and indeed most instances of the word "ancient" refer to Hallownest under the Pale King). But "attempts" being in the plural, I think Mask Maker intends to draw a parallel here between the two civilizations.
Speaking of King's Brand...
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I believe now this is the best symbol of the Pale King we have. His original symbol.
As I noted in my first post on Hallownest symbols, the Hallownest seal seems the most associated with the Pale King when it has the crown on it. And the few actual depictions of him, in statues, idols, and shrines, all have his crown, but lack wings. Save for the glowing silhouette of him in Ogrim's dream battle, there are no depictions of him with wings. He may lack wings entirely, or have some form of artificial wings.
In fact, I find it quite interesting how you can pick up monarch wings as an item.
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They are described by the game as being made of "ethereal matter". The game manual calls them "wings of a monarchfly". It's possible that the Pale King had such wings as seen here, not part of his original body, but made somehow.
And, just to look at the symbols again...
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If one were to superimpose the old Hallownest Seal from the time of the Ancient Civilization on top of the King's Brand, you'd get the current Hallownest Seal. Oval Bug body, wings, crown, and tail.
So, what I'm thinking, the impression that I'm getting....
The Pale King came to Hallownest. He saw all the evidence of the Ancient Civilization, which had already fallen. He took on bug form (which may have happened before or after he saw the symbol and other evidence of the ancient civ, but I have to wonder if witnessing Hallownest's history and symbols influenced even this decision to become small). He, for reasons beyond the purpose of this post, decided he wanted to rule Hallownest as king and "creator" (which again may or may not have been part of his decision to be reborn).
He established his kingdom. He took on aspects of preexisting Hallownest, essentially claiming the legacy of the Ancient Civilization as his own. He took on bug form, and gave himself wings, to match this old image, as if it was always about him.
He established his palace in the Ancient Basin. He had access to the Abyss, mostly closed off from the rest of the populace. He studied the void. But the bugs of the Ancient Civilization had a different attitude about void, as indicated by Lemm in the Hunter's Journal entry on the void idol:
Inspired or mad, those ancient bugs. They devoted their worship to no lord, or power, or strength, but to the very darkness itself.
The Pale King instead was worshipped as a god by his people. He instead treated the void as something to control. He studied it. He tested it. He created void constructs to guard his palace. He used it, to stake the future of his entire kingdom on.
I could go on and on about this. And I intend to. But this is as far as I will go in this post, meant to be an update to my last post on symbols. But, I already have a long post I put together months ago, didn't post, and just have to update with new thoughts. So hopefully, I'll be expanding on all the implications here for Hallownest history soon enough.
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George Lawrence Bulleid (British 1858 - 1933) The young artist, 1893
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asiasaint · 6 months
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Ancient human female skeletons dated more than 2,000 years old from the "Dvaravati Empire, Si Thep city" (located in Thailand) were unearthed along with her personal possessions and a companion dog. "Dvaravati Empire" was the Mother of all civilisation (with influences from India) in mainland southeast Asia that thrived in Central Thailand from the 6th to the 10th centuries (pre-Angkor wat). "Si Thep" was officially added to UNESCO's world heritage list on September 19, 2023, more than one hundred years since it was discovered.
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father-of-the-void · 5 months
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Mythology has been described by Robert Graves as "the study of whatever religious or heroic legends are so foreign to a student's experience that he cannot believe them to be true. Hence the English adjective 'mythical,' meaning 'incredible.'
This strikes me as quite an accurate description of what most scholars who study myth think they are doing and also of their fundamental attitude towards their subject matter - i.e. that myths are 'incredible' fictions composed in the ancient world either "to answer the sort of awkward questions that children ask" or "to justify an existing social system and account for traditional rites and customs." In consequence, most published analyses of myth all the way back to Sir James Frazer tend to focus on its social, economic and psychological functions. There have been a very few notable exceptions, but as a rule those foolish enough to suggest that myths might in any way provide us with factual historical data have been ridiculed, abused and in some cases effectively excommunicated by their peers.
— Graham Hancock, Underworld: The Mysterious Origins of Civilization
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wolfkice · 10 months
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Hollow Knight - Ancient Civilization - Temple of the Black Egg
'Did you visit that temple? A strange building I've heard, though I'd never dare the journey myself.' '你去過那個聖殿嗎? 我聽說那是座奇怪的建築,雖然我自己從來不敢冒險去那兒。'
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o-kurwa · 2 years
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appleseedmachine · 2 years
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haciaelmar · 10 months
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through mayan terraces | Leica M6 | Rollei IR 400 | 2019
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teeter-beetle · 27 days
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The Scorpion & the Frog
source: Myths and Magic of Mezal Taroc
read our book! Frogiverse.com/Padhopper
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blueheartbookclub · 2 months
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"Unveiling the Mysteries: E. A. Wallis Budge's 'Egyptian Magic'—A Scholarly Odyssey into Ancient Mysticism"
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"Egyptian Magic" by E. A. Wallis Budge serves as a captivating portal to the mystical world of ancient Egypt, where the realms of magic, religion, and spirituality seamlessly intertwined. Published in [year], this seminal work by Budge, a renowned Egyptologist, offers readers a comprehensive exploration of the magical practices and beliefs that permeated the daily lives of the ancient Egyptians. The title itself hints at the enigmatic allure that beckons readers into a realm where the boundaries between the mundane and the supernatural blur.
Budge, known for his extensive scholarship on Egyptology, brings to life the magical traditions of ancient Egypt with meticulous detail. The title "Egyptian Magic" acts as a prelude to a journey through the spells, rituals, and incantations that were integral to the spiritual landscape of this ancient civilization. Budge's prose, though rooted in academic rigor, retains a sense of wonder that makes the subject accessible to both scholars and enthusiasts alike.
One of the strengths of "Egyptian Magic" lies in Budge's ability to contextualize magical practices within the broader religious and cultural framework of ancient Egypt. Each chapter unfolds like a chapter in the Book of the Dead, revealing the layers of meaning behind the magical spells and their significance in the Egyptian worldview. The title becomes a guide through this esoteric terrain, inviting readers to decipher the symbols and incantations that held profound meaning for the practitioners of ancient Egyptian magic.
Budge delves into the different categories of magical practices, from healing spells to protective amulets, showcasing the diverse ways in which magic permeated every facet of Egyptian life. The title "Egyptian Magic" encapsulates this multifaceted exploration, promising readers a glimpse into the rituals that sought to harness cosmic forces and commune with the divine. Budge's meticulous research and translations transport readers back in time, allowing them to witness the rituals and ceremonies that were once an integral part of the Egyptian magical tradition.
The inclusion of hieroglyphic illustrations and translations of magical texts further enhances the immersive experience of "Egyptian Magic." Budge's expertise in deciphering ancient Egyptian scripts provides readers with a firsthand encounter with the original magical incantations. The title serves as a doorway to an ancient scriptorium, where the secrets of Egyptian magic are inscribed in symbols that continue to captivate and mystify.
Beyond the academic discourse, Budge's work touches upon the spiritual dimensions of ancient Egyptian magic. The title becomes a metaphorical key, unlocking the mystical teachings that guided the Egyptian magicians in their quest for spiritual enlightenment. Budge sheds light on the deep connection between magic and the afterlife, where spells and charms were believed to secure a favorable passage through the realm of the dead.
In conclusion, "Egyptian Magic" by E. A. Wallis Budge stands as a magnum opus that unravels the complexities of an ancient civilization's magical traditions. The title invites readers into a world where the mystical and the mundane coalesce, where words held the power to shape destinies and unlock the gates to the divine. Budge's meticulous scholarship, coupled with the evocative title, ensures that "Egyptian Magic" remains a timeless exploration of the enchantments that once echoed through the sacred temples and burial chambers of ancient Egypt.
"Egyptian Magic" by E. A. Wallis Budge is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.
Number of pages: 196
Language: English
Rating: 10/10                                           
Link of the book!
Review By: King's Cat
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meluhha · 1 year
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ancient vegetarianism of Egypt - the only evidence of vegetarianism before ~700 BCE
The tomb inscriptions and other sources that mention vegetarianism among Egyptians date from various periods throughout ancient Egyptian history. Old Kingdom’s (c. 2686-2181 BCE) King Weneg venerated Goddess Ma’at and both are associated with vegetarianism. 
One example is the tomb of Hesi, a high-ranking official from the 3rd Dynasty (around 2686-2613 BCE). The inscriptions in his tomb mention that he abstained from meat, stating that he "never ate meat or fish in his life" and that he "did not cause suffering to animals."
Another example is the tomb of Kaaper, a priest from the 5th Dynasty (around 2494-2345 BCE). In his tomb, there is an inscription that says, "I was a vegetarian who did not eat the flesh of animals or birds," suggesting that he abstained from meat.
There are inscriptions and paintings from tombs and temples during Fifth and Sixth Dynasties (c. 2494–2181 BCE) that depict individuals engaging in vegetarianism or avoiding certain types of meat. The Old Kingdom tomb depicts Ti at Saqqara and his family enjoying a vegetarian meal of lotus flowers, which suggests that they may have abstained from meat. Other examples include tomb inscriptions from the Middle Kingdom (circa 2055-1650 BCE), such as the tomb of Ameny at Beni Hasan, which features scenes of vegetarian meals and animal husbandry but no scenes of animal sacrifice. 
In the Coffin Texts, which date back to the Middle Kingdom (c. 2055–1650 BCE), there are references to a mythical island called "The Field of Offerings," where there is no need for animal sacrifice because the inhabitants subsist on bread, beer, and vegetables. 
Another example comes from the "Satire of the Trades," a text from the Middle Kingdom (2055-1650 BCE) that describes various professions and their shortcomings. In this text, the priests are described as being lazy and gluttonous, but also as avoiding the consumption of certain types of meat, such as pig and fish.
 In the Papyrus Insinger, a text from the 18th dynasty (1550-1295 BCE), there is a story about a group of priests who refuse to eat fish because it was considered to be a sacred animal. 
"Let your Ka (life force) be content with bread, and your heart with beer. Do not eat fish in it (the temple), for it is a sacred animal." - Papyrus Insigner 22.6-7
One of the most famous examples of vegetarianism among Egyptian priests comes from the New Kingdom period (c. 1550-1070 BCE), during which the cult of Ptah became particularly prominent. Several tombs from this period contain inscriptions that suggest that priests of Ptah were required to abstain from certain kinds of meat, such as beef and pork. Some of these inscriptions also suggest that the priests may have been required to fast from meat for extended periods of time. 
Some scholars have suggested that certain religious and cultural practices from ancient Egypt may have had vegetarian or semi-vegetarian components, even if they were not explicitly described as such. One example of this is the role of the goddess Isis in Egyptian mythology. According to some ancient texts, Isis was sometimes referred to as a "vegetarian goddess," and her followers were encouraged to abstain from certain kinds of meat, such as beef and pork. Some scholars have suggested that this practice may have been linked to the belief that consuming certain animals was seen as impure or ritually polluting.
^ did not verify actual references for all this though! #chatgpt
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fungal-wasted · 2 years
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(Rumble incoming) I imagine the Shade Lord being a neutral being, caring only for its kin and those it respects.
Consider- in the ancient civilization that worshipped the darkness, they managed to utilize it to create soul magic- healing, building, combat. With it, they secured their position of power and rule.
But the VOID was more than just power. It absorbed the life force and knowledge of the bugs who took a portion of it and when they were laid to rest, that portion returned to the source, adding the bug's contributions to its vast ocean.
Throughout the generations, the civilization knew how to negotiate, how to trade, how to execute its rules and justice, learning it through the VOID's memories and past mistakes.
And the Shade Lord was the manifestation of those memories- the shared conscious and memories of all the bugs who lived, fought and died in service of the Darkness and its citizens. It whispered in the ears of its children to guide them through the ages, but in the end, they left the final choice to them.
In its own way, the Shade Lord was fair, if not kind, to those it considered allies. Cruel to enemies, surely. There are many stories of VOID consuming everything it set its Tendrils upon.
But when calm, it helped its subjects flourish and grow, in both light and darkness.
Feel free to add if you have any ideas.
i have nothing to add, but these ideas seem really cool to share!
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Ancient Egyptians held cats in the highest esteem.
The penalties of injuring a cat were severe and killing a cat led to capital punishment.
They worshipped a cat goddess, half woman and half feline, whom they called Bastet.
When the cat dies, it is the duty of the owners to give them proper burial along with rituals. They shave their head, eyebrows or beard to show their grief.
They even conduct after life rituals for their cat in order to gain blessings from Goddess Bastet.
Cat was embalmed with a sculpted wooden mask and then placed in the family tomb or pet cemetery (premises of Temple of Goddess Bastet) with tiny mummies of mice.
The state maintained the cats in the temple of Goddess Bastet. Head priest of the temple was in charge of maintenance of cats in temple premises.
The state also took charge of burial and rituals of stray cats.
The whole kingdom loved and respected cats. Their owners loved and treated them as their own child throughout Egyptian Civilization.
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Henryk Siemiradzki [Polish. 1843 - 1902] Conversation by the spring, c.19th century
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ido100 · 2 years
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Construction of VOID
An idea that was inspired by @sophi-s ‘s story, Tales of Hallownest, as to how the Lord of Shades came to be. Any ideas and Criticisms are Welcome. Enjoy!
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Nothingness and division. For most of its existence, that was all the VOID knew.
In the nothingness, the bleak and empty state of existence, Darkness ruled over the dull caverns. It was so from the dawn of time and possibly even beforehand. It didn’t care for it to be this way. It couldn't. VOID had no Mind, no Will, no Voice. At an unknown time, division came forth. 
A strange, yet not unwelcomed, presence appears. Descending the Basin, the presence became more and more apparent, more and more... divided.
When the foreigners, full of life and warmth, Minds, Wills, and Voices, tried to contact the liquid darkness, for the first time in its existence, VOID felt the thing to accompany it throughout the eons.
Hostility.
Almost immediately, the VOID lashed out, creating long and thick Tendrils that snapped and whipped in any direction, with no clear purpose or Will, only feeling disdain for those who dared to interrupt the dark silence of its existence.
VOID felt the Tendrils impact various surfaces, though it couldn't truly distinguish them from one another; cold and hard, warm and soft, thin and snapping. It didn’t care; VOID simply wanted the intruders AWAY.
An unexpected thing happened when a heavy, warm form fell into the Abyssal Sea. The object lashed out as it drowned, but in fear and terror, unlike the-
Wait. VOID halted the rage and hostility in its being. What is this? A Voice called out, with no clear indication or answer. It sounded deep, raspy almost.
How do I know these words? Why can I think now? VOID asked itself, baffled and almost amazed at this new sensation, not noticing the rest of the intruders fleeing to the shore and up the caverns, even as liquid darkness slowly ceased writhing.
Words, sounds, memories, and emotions, were flowing from the corpse of the fool to the entirety of the Abyssal Sea. Of banishment from the bug's settlement for forbidden arts and a long, excruciating journey to a safe haven.
Treking through cliffs of loud whistles. Decension to the caverns of green creatures, territorial claw bearers and acidic lakes. 
Escaping warriors and defenders of Leaf and Root, grieving over those who tried to fend off the hostile bugs. Descending to caves and caverns in which all color is reduced, feeling the pull on a mysterious presence even more below, at the bottom of this world.
But never a moment's rest. Always escaping, running, cowering in fear.
This fear was disgusting; it drawn those bugs to a corner from which they could not escape but even more so, it was all too familiar to the hostility VOID felt, but hiding underneath it.
As the Abyssal Sea finished absorbing the bug who became its first stepping stone into consciousness, VOID made its first- and only- eternal promise to itself. 
They will never be afraid ever again.
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