Figure 57. The Henu Gesture

The ancient Egyptians recognized that breath is a fundamental attribute of life, and that nature, the gods, and humans depend upon this mechanism in varying forms to exist. But the concept of breathing out or expelling body fluids to infuse life into the inanimate is a concept shared by countless cultures throughout time. Indigenous peoples use an artistic technique that involves chewing the natural materials that produce colors for their rock or sand paintings; in the process they exhale or spit the paint upon the images they draw. They consider these acts to be simulations of the spiritual creation of the universe, and anthropologists believe that this technique has been used from time immemorial-from Neanderthal cave dwellers to Australian Aborigines in the present. In these acts of creating art, the artist becomes both creator and the creation. For the Egyptians, this approach was a fundamental part of the process in giving life, extending it, and renewing it for the recipient. The Book of Breathings fulfills this, and marks the transition to a new life with a full restoration of one's physical and conscious faculties on integrating with cosmic life.

Taiti "Swathed One," the ceremonial image of Asar Figure 51-Taiti: The Name of Asar Awaiting New Life

Observance

Inscriptions from the island of Philae at the southern frontier of Egypt disclose the sacred tradition of Asar's sanctuary on the neighboring island of Biga, where the holy shrine of Asar existed for thousands of years. Called Iat Senmut (the Abaton of the Greeks), the shrine received offerings every ten days, at the shifting of the dekanal asterisms in the sky that marked the changing weeks of the year. Here, priests from Iat Uabet, Auset's temple on Philae (to the east), journeyed to reenact the visitation of the goddess to the tomb of her fallen husband. The legend at Philae describes 365 altars surrounding the island of Biga, upon which daily offerings of milk and bread were placed. The most solemn conduct was required, and even music was forbidden.

A votive offering to Taiti is made in this ceremony, consisting of water, natron, and incense. Legend also mentions the use of the erdi tchau, a flint sceptre whose name means 'breath giver." Dramatis Personae

An important role in rites of transformation is that of the Iunmutef, the "pillar of his mother," or representative son of Auset who serves as high priest in the mystical act of restoring his father's sovereignty and the powers of the gods in the temple. As Heru, he protects the "throne of Egypt" (the true meaning of Auset's name) and actively wields the transformative forces of his predecessor in the sacred places-temple and tomb. He 'bolds steady" the mummy in funerary ceremonies and accompanies the goddess on her important missions for the sake of the fallen god in temple rites. He wears the spotted leopard skin and the sidelock of youth; his role is equivalent to the Setem priest who provides the ritual offerings.

The divine scribe Djehuti provides the recitations and directs the actions of the ritual, just as he endowed the goddess with the divine words that gave breath to her husband at his revival. The ancient rubric states that this role may be assumed by the Kher Heb.

An individual known as Taiti, the "swathed one," embodies the ceremonial image of Asar. He also represents all present who may be recipients of the lifegiving infusion of the ritual. This role may be assumed by the Hem Ka, whose patron is Asar.

Nebt-Het stands at the head of the bier while Auset's station is at the feet of Taiti. Much of their work takes place in the metaphysical dimension, as they ritually emulate the passage of divine breath from their stations to the inert form of the swathed one.

Hekau

Djehuti This commences the Book of Breathings, Made by Auset for her brother Asar: To give your soul life, to give your body life, To restore all of your members anew, That you may reach the horizon of your father the Sun. That you may ascend to the sky in the orb of the Moon,