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This book reveals the ancient Egyptian knowledge of
harmonic proportion, sacred geometry, and number mysticism, as manifested in
their texts, temples, tombs, art, hieroglyphs, etc, throughout their known
history. It shows how the Egyptians designed their buildings to generate cosmic
energy, and the mystical application of numbers in Egyptian works.
1. For Your Eyes/Ears Only
2. Ma-at, The Queen of Harmony
3. Ra, The One Joined Together
4. Tehuti, The Divine Deliverance
5. Seshat, The Enumerator
6. The Two Parts, Setting the Tone
7. The Generative Square Roots
8. Triangles, The Building Blocks
9. The Hieroglyphic Mysticism
10. Harmonic Proportion of Human Figuration
11. Seshat, The Builder
12. Temple, The Divine Energy Generator
13. Harmonic
Analysis of Ancient Egyptian Works
Let Energy Flow
In order to maintain the unity of the temple, its components must be connected so that the cosmic energy can flow through unimpeded.
The unity of the components of the temple must be like the components of the human body. The walls of a temple consist of blocks and corners, and such components (blocks) must be connected together in a way that allows the flow of divine energy, just like the parts of the human being. It is incorrect to merely think that a connection between two components/parts is only to ensure the structural stability of the part(s) and the whole building.
We can take clues from the human body (the house of the soul) when reviewing the Egyptian temple (the house of cosmic soul/energy/neter). The human body is connected with muscles, ...etc., but veins and nerves are not interrupted at the bone joints of the skeleton. The living ancient Egyptian temple was designed likewise. Bas-reliefs of all sizes, as well as the hieroglyphic symbols, span two adjoining blocks with total perfection.
The intent is very clear - to bridge over the joint between adjacent blocks (next to each other, or on top of each other).
The blocks themselves were joined together in some type of
nerve/energy system. A continuation of energy flow required special interlocking
patterns. The practice of joining blocks together prevailed in every Egyptian
temple throughout the known history of ancient Egypt. Here are a few examples of
joining applications:…
In the preface, Gadalla states that Johann Wolfgang van Goethe (1749-1832) described architecture as "frozen music." In ancient Egypt, architecture was animated visual music and definitely not frozen. Egyptian architecture and art followed the principles of harmonic dynamic designs that equally presents the relationship between form and function. In his book, harmony applies to both sound (music) and form (architecture). Gadalla showcases this Egyptian harmony even in the book's cover, which illustrates a symmetrical design of two blind harpists with their hands on the strings on the backdrop of a temple. This serves as a representation of the biological relationship between sound and form.
