[anuvaad lambit hai]
[Devanaagaree mein upalabdh hai: मिस्री-ज्ञान-केंद्र.भारत]

 

埃及形而上学图像/脚本

 

古埃及人的图形系统通常被称为“象形文字”，它包含大量的图形符号。象形文字这个词的意思是“神圣的文字”（希罗斯 =神圣， 甘油苯酚 = 印象深刻）。直到公元 400 年左右，埃及寺庙一直使用象形文字。

每张图片都相当于一千个单词，并且同时代表了各个层面的功能或原理，从该功能最简单、最明显的物理表现到最抽象和形而上学的表现。这种符号语言在所呈现的符号中代表了丰富的物理、生理、心理和精神思想。

埃及象形文字的隐喻和象征概念得到了所有早期作家的一致认可，如普鲁塔克、狄奥多罗斯、克莱门特等。

• 普鲁塔克在他关于伊希斯和奥西里斯的论文中，是我们理解埃及宗教思想最具启发性的资料之一，在多处提到了象形文字及其隐喻和寓言意义。在他的 道德，卷。 V，普鲁塔克指出：

“这 宝贝 是来到这个世界的象征 老人 背离它的象征，并通过 鹰 他们通过 鱼 hatred, and by the 河马 无耻。”

普鲁塔克像他那个时代的所有古典作家一样，强调形而上学意图作为象形文字写作的唯一原则，象形文字是神圣思想和神圣知识的图形表达。

普鲁塔克列出了许多在不同时期访问过埃及的杰出希腊人。其中，他提到了毕达哥拉斯，通过对所谓的毕达哥拉斯戒律和“埃及人的象征和神秘教义”中使用的寓言方法的比较，强调和说明了毕达哥拉斯对“埃及人的象征和神秘教义”的钦佩和依赖。被称为象形文字的文字'。

• Chairemon lived in Alexandria before he went to Rome, where he was the tutor of Nero from 49 CE onward. Chairemon described 19 hieroglyphic signs in his books, followed by an explanation of the allegorical significance of each.
• 西西里岛的狄奥多罗斯在他的 第一册，指出：

“Their—the Egyptians’—writing does not express the intended concept by means of syllables joined one to another, but by means of the significance of the objects that have been copied, and by its figurative meaning that has been impressed upon the memory by practice. For instance they draw the picture of a hawk, a crocodile … and the like. Now the hawk signifies to them everything which happens swiftly, since this animal is practically the swiftest of winged creatures. And the concept portrayed is then transferred, by the appropriate metaphorical transfer, to all swift things and to everything to which 迅速 is appropriate, very much as if they had been named. And the 鳄鱼是一切邪恶的象征.”

• 大约公元 200 年，亚历山大的克莱门特 (Clement of Alexandria) 描述了象形文字。同时明确提到了象形文字的隐喻和寓言性质，并且他的例子以与早期作家相同的象征方式进行了阐述。
• 最好的描述来自普罗提诺，他在 九角家族 [卷。五-六]：

“埃及的智者，无论是通过科学还是与生俱来的知识, and when they wished to signify something wisely, did not use the forms of letters which follow the order of words and propositions and imitate sounds and the enunciations of philosophical statements, but by drawing images and inscribing in their temples one particular image of each particular thing, they manifested the non-discursiveness of the intelligible world, that is, that every image is a kind of knowledge and wisdom and is a subject of statements, all together in one, and not discourse or deliberation. But [only] afterwards [others] discovered, starting from it in its concentrated unity, a representation in something else, already unfolded and speaking it discursively and giving the reasons why things are like this, so that, because what has come into existence is so beautifully disposed, if anyone knows how to admire it he expresses his admiration of how this wisdom, which does not itself possess the reasons why substance is as it is, gives them to the things which are made according to it.”

埃及象形文字似乎是埃及祭司“发明”的不必要的负担，目的是向他人保守秘密。事实是，无论从哪方面来看，这种看法都与事实相去甚远。将会展开的解释表明，埃及象形文字中的图画图像的概念是世界各地所有人类与宇宙神圣力量之间的共同点。

[An excerpt from The Egyptian Hieroglyph Metaphysical Language by Moustafa Gadalla]