The Family Ankhyehova: Cross-Cultural Blessings and Mixed Messages

Title:
The Family Ankhyehova: Cross-Cultural Blessings and Mixed Messages
Type: Oil
Dimensions: Width/Height (in inches) 60/48
Year: 2006

This painting is about Joseph’s family which includes his Egyptian wife, AsNUT, daughter of PTAHpeRA, priest of UN, and their two children, Menasha and Ephraim. This scene captures Joseph’s father, Jacob, blessing Menasha and Ephraim on his death bed. Jacob’s grandchildren who are half -Israelite and half -Egyptian, the biological and cultural products of two distinct cultures, exemplify cross- cultural fertilization, and to a certain extent, assimilation. This painting is in essence about Hebraic and Egyptian blessings, shared geometric symbolism and rituals, and the powerful subliminal influence which the colossal visual imagery of Ancient Egypt had on Israelite theology and culture. Joseph was re-named in Egyptian “Tsophnut pAnkh”. Ankh means life, and was always incorporated into a Pharaoh’s (or god’s or a very important person’s) name followed by the name of his god, e.g. Ankh -Atun, who worshipped Atun, Tut -(image of)-ankh- Amun, who worshipped Amun. Hence, Joseph who believed in Yehova could be called Ankh –Yehova, hence the name of this painting, the family Ankhyehova. But because Yehova was not in the Egyptian pantheon, he was called Tsopnut pAnkh. The more precise meaning of this name will be discussed below.

In the last chapters of the book of Genesis, when Joseph is summoned to his father’s death bed, he brings his two children along with him. Utilizing midrashic license, this painting portrays Joseph bringing along his wife together with his children thereby completing this family portrait. When Jacob hears that his son Joseph is coming, his strength is renewed and he sits up in bed with eager anticipation. In this painting Jacob is the central black and white figure sitting up in bed. To his left is his daughter- in- law, to his right is Joseph, and on his lap are his two grandchildren, Menasha and Ephraim.

Jacob is painted in black and white stripes. His body is bisected in the middle wherein on one half- side, a stripe, an eye’s pupil or an arm are colored black, and on its equivalent opposite half- side, they are colored white. The general black and white striped motif symbolizes the Talit (prayer shawl), and its linear visual similarity to Egyptian attire stripes. These stripes are juxtaposed next to Josephs’ striped Egyptian headdress.

The starkness of black and white also symbolizes Jacob’s imminent death (darkness) and his exiting into invisible emptiness (white light), much like a flickering light bulb about to burn out. Furthermore, he is visually bisected to demonstrate that one half of his body is the photographic negative of the other half i.e. his two halves are similar in shape but not in substance, and that he is flittering between this world and the next. It also symbolizes that within this individual flickers and alternates two starkly distinct personalities, Jacob and Israel. Throughout all of Tanach the People of Israel are alternatively referred to either as Jacob (pre-enlightened black) or Israel (post-enlightened white), and sometimes simultaneously as both Jacob and Israel even within the same sentence. On Jacob’s midline lapels, on one side is written Israel, and on the other side is written Jacob.

When Joseph brings his children to Jacob, Jacob says “Who are these (people)? These words are written underneath Jacob’s mouth. The narrative tells us that Jacob’s eyes are weak. He probably could see well enough to be genuinely surprised that these were Joseph’s children. They were most likely attired in an Egyptian manner. Typically, Egyptian children walked around naked save for neck, arm and leg circular band ornaments. In this painting they are modestly (inaccurately) dressed. Furthermore, all prepubescent Egyptian children, male and female, had side locks (Peyes), and frontal locks, as demonstrated in this painting. This all must have appeared strange to Jacob, and thus he asked “Who (whose) are these?”

After Joseph explains that they are his children, Jacob says, “Bring them here so that I may bless them”. Joseph upon escorting his children tries to strategically place his oldest son Menasha near his father’s right hand (for the superior first-born blessing) and his younger son, Ephraim, under his father’s left hand (for the inferior second born blessing).

However, Jacob to the presumed consternation of Joseph, reverses the birth order, crosses his hands and provides Ephraim the younger son, with the more powerful right handed blessing, and Menasha, the older son, with the weaker left handed blessing. Jacob’s explanation for his actions is that he prophetically predicts that Ephraim’s greatness will exceed Menasha’s.

Jacob’s birth order blessing reversal is notable for several reasons. Jacob is recapitulating and reliving the blessing reversal that his own father Isaac bestowed upon him and Esau. Despite the fact that his stolen blessing led to so much personal anguish and despair, he now somehow feels compelled to recreate and incite the same sibling rivalry upon his grandsons thereby providing psychological justification for his own life’s choices. Likewise, Jacob did the same thing when he recreated this severe homicidal sibling rivalry amongst his own sons, by preferring Joseph to Reuben (Jacob’s first-born), and to all his other children. Jacob’s reenactment of his own father’s blessings upon his children in fact led to Joseph’s brothers almost killing him, and then selling him into slavery, heaping anguish upon the entire family, especially upon Jacob. In the last days of Jacob’s life, he still doesn’t get it. He is “blind”, as scripture states, still not realizing that he and his blessings are the root cause of sibling rivalry and all the disastrous consequences that accompany it, and now he personally perpetuates it into the third generation.

Jacob is shown in this painting crossing and re-crossing his elongated malleable arms like a pretzel (strongly emphasizing the interference with the natural order), but ultimately his right hand rests on Ephraim, and his left hand on Menasha. Menasha and Ephraim are shown fighting each other, grasping on to each other’s arms, as well as to Jacob’s. The expected resentment of sibling rivalry has immediately become manifest after being incited by the unnatural birth-order blessing reversal. They are seen on their grandfather’s lap, playing ball. The ball is a typical Egyptian ball upon which is written in Hebrew “Bechor”, or “first-born”. Menasha is symbolically kicking the ball to Ephraim, who now claims the ball along with his newly transferred first-born status.

Jacob’s bed board, behind him, is adorned with vertical and horizontal twisting DNA helices, much like his arms, which are transmitting infinite codes of genes, blessings, knowledge and culture. These twisting strands are also homologous to the Egyptian hieroglyphics for twisted flax, a hieroglyphic symbol for infinity. The twisted double helix/flax is also the Greek mathematical symbol for infinity, probably derived from this hieroglyphic.

In the painting, Joseph’s hand is seen resting on Jacob’s hand, and AsNut’s hand is resting on top of Joseph’s hand. Are they trying to remove Jacob’s hand from Ephraim’s head or are they reinforcing Jacob’s hand confirming Ephraim’s favoritism? The Egyptian etymological root of the name EPHRiam, is nEPHRT, or “good looking” e.g. nEFRITiri. The hieroglyphic for this name is written on Ephraim’s red shorts. Egyptian couples who wanted to have a good looking child often called them by this name. Is it possible that Ephraim was the good looking, and hence preferred son, and that Jacob was getting the vibes that he was also his parents’ favorite and reinforced it? In this painting, Joseph who originally placed Menasha near his father’s right side in the Biblical narrative has now rotated his own body and his children’s bodies so that Ephraim is now on Jacob’s strategic right side, and Menasha is now on Jacob’s left side. Jacob’s multiple crossing arms now appear to be psychologically playing with Jacob’s head, filling Joseph and Asenut with anticipation and surprise trying to guess as to where his hands will land. These emotions are conveyed by their facial expressions.

The Hebrew derivation of Ephraim’s name as stated by Joseph is written on Ephraim’s left arm underneath Jacob’s twisted arms. As stated in scripture, Joseph called the name of his second son Ephraim “because God freed me (hEFRAni) in the country of my suffering”. Written on Ephraim’s lower arm in Hebrew is the sentence “Joshua BinN UN, servant of God”. Joshua was the direct descendant of Ephraim. The name “UN” is written in hieroglyphics, implying that the etymological derivation of Joshua’s family name NUN in fact refers to his ancestral town UN. This city was later renamed Heliopolis (city of the Sun). It is the city dedicated to Aton (King of gods) worship, and the city from whence AsNut, Joseph’s wife, Joshua’s ancestors hailed from. Perhaps Ephraim was Jacob’s favorite because he prophesied that Joshua, Moses’ successor stemmed from him.

It is interesting to note that both Moses and Joshua, Moses’ servant and successor who conquered the Land of Israel, had deep Egyptian roots. Moses was raised by Egyptian aristocracy, and Joshua descended from Ephraim, and hence from Egyptian priests, as well as from Joseph who was immersed in Egyptian culture, thereby providing Joshua with in depth Egyptian knowledge. It is possible that this shared Egyptian cultural background is the reason why Moses felt close to Joshua, and chose him as his political and military successor.

The name Menasha (MnSH) which is close to the name Moshe (MSH), with an N thrown in, in Egyptian could simply mean child. Written on Menasha’s shorts are the hieroglyphic symbols for “son (child) of a prince”. Written in Hebrew across Menasha’s elongated arm is the Hebrew linguistic origin of his name, given to him by Joseph. As stated in scripture, Joseph called the name of his first-born Menasha “because he made me forget (Nashani) my suffering, and my father’s house”.

The actual blessing which Jacob gave to both Menasha and Ephraim is written across Jacob’s black and white arms; “The angel which redeems me from all evil, shall bless the children, and call upon them my name, and the name of my fathers Abraham and Isaac, and they shall multiply greatly in the midst of the land”. He also further blesses them saying, “by you will Israel be blessed by saying May God make you like Ephraim and Menasha.”

To the left of Jacob is his daughter-in-law, who is blessing Jacob out of respect to Joseph and their children, ensuring that Jacob lives to complete his blessing. There is a subtle implication that she may be the “malach hagoel oti”, “the angel who redeems me” to whom Jacob refers to in his blessing. AsNut is portrayed with the Hathor (fertility goddess) headdress consisting of two bulls’ horns surrounding the disc of RA. The double plumes of royalty are situated above the sun disc. The feathered wings tied to her arms give her the look of an angel or of an Egyptian goddess such as Isis.

AsNut’s name provides remarkable historicity to some of the Egyptian gods worshipped whom God was jealous of during the time the Torah was written. Her full name as outlined in scripture is “AsNUT, daughter of PTAH, paRA, priest of UN. Her name incorporates the names of three deities: 1) NUT the sky goddess, 2) PTAH, the god of scripture (which is also incorporated into the name of phylacteries, more on that later), and 3) RA the main sun god. We are told she is from UN where her father practiced his priesthood, later renamed the Sun City (Heliopolis) dedicated to the god AMUN (UN is part of the name amUN). Having all of these names incorporated into her name in the Bible emphasizes that AsNut was very much a fully immersed product of her culture. It also provides remarkable historical verisimilitude to the story of Joseph. In the painting her name is written in Hebrew on her lower arm and in Hieroglyphics on her upper arm.

Within the royal plumes on Asnut’s headdress are painted the eyes of RA. On the left plume on the bottom written in hieroglyphics is the name of her father’s god, AMUN. On the right plume is written in ancient Hebrew AMEN. Incorporated in both Hebrew and Egyptian scripts for the name AMUN/AMEN are both languages’ symbols for water. I would submit that the word Amen uttered at the end of Hebrew blessings was in some way derived from the name of Amen/Amun which may have been uttered in Egyptian rituals, and was ultimately either translated, transliterated or transformed into the Hebrew Amen, meaning truth, as well as forming the root of the Hebrew word Emunah, meaning faith.

Emanating from the disc of RA, aimed at Jacob, are streams of Lotuses, which commonly denote blessings from gods to kings in Egyptian pyramid paintings.

If we look at AsNut’s headdress, two Egyptian/Hebrew congruities should be pointed out. The plumes are shaped very similarly to the tablets upon which the Ten Commandments are presumed to be written upon. This shape was considered a symbol of royalty. The two horns which are actually the horns of Hathor (the bull goddess of fertility) inspired the imagery for the golden calf, as well as the horns on the four corners of the tabernacle/temple altar. Furthermore, having two symmetric mirror-image geometric shapes on either side of the disc of RA , seems to have influenced the concept of the cherubim, which also have two symmetric, mirror image forms (the cherubim)surrounding an empty invisible disc-like space from whence the voice of god emanates. In this painting, the disc of RA appears as the mouth of a face with mystical yellow spirals from whence the voice and speech of lotus blessings emanate. This is quite similar, of course not identical, to the cherubim surrounding the mouth/voice of God. Asnut’s plume/tablets are chanting bilingually “Amen, Amen” to all the blessings given by herself, Jacob, and by Joseph.

Joseph, situated to the right of Jacob in this painting is dressed royally wearing his striped Pharoic head dress. It is striped just like his father Jacob’s prayer shawl. Joseph is wearing both head and arm phylacteries (Tefillin). The head phylacteries in the Torah are called Thothaptah. This is an obscure word, which has no parallels in the Hebrew language, and is most likely a combination of two separate Egyptian deities; 1) Thoth, the god who created the world with speech, and 2) PTAH- the god of scriptures, science and architecture. Put these two names together and they spell ThothPTAH. The name “Egypt” incidentally is the Greek transliterated name for “eh-ka-PTAH’, “monument to the spirit of PTAH”. Eventually the west came to know the entire region as EGYPT. Likewise the city of Memphis (MemPTAH) refers to the city of the god PTAH.

Naming the head Tefillin “ThothPtah”, does not mean the Israelites incorporated these deities into their theology, but it does mean that these names were linguistically transformed and secularized into the regional lingua franca to connote the general concepts of creation/scripture. Thus to describe a prayer box filled with scriptures, it would be appropriate to define it as some form of PTAH (scripture) box. It should also be noted that the pyramid drawings of PTAH illustrate him as a mummy- like figure, wearing a skullcap, holding a staff with djed, which is an Egyptian column portrayed with one vertical line, and three crossing horizontal lines. Each lower horizontal line diminishes in length going down the staff. PTAH is shown holding this djed staff in between two hands. The ancient letter “samach” is drawn identically to this djed, and in fact the word “samach” means “support”. Hence, the Egyptian symbol for a “support djed” must be the origin of the ancient Hebrew letter “samach”.

To take this borrowed symbolism further, if we were to linguistically translate the visual pyramid painting of PTAH into ancient Hebrew letters incorporating PTAH’s two hands (hand in Hebrew is “yad” , the pictographic basis for the letter “yud, Y”) holding onto his staff ( a snaky staff , the pictographic basis for the Hebrew letter nun , N), and the djed on top of the staff ( a support column , the pictographic basis for the letter samach, S) , that would spell in ancient Hebrew “Samach, Yud, Nun, Yud” i.e. “SYNY” i.e. “Sinai”. The Egyptian translation of this visual imagery is “PTAH, god of scripture”. The Hebrew transliteration of this symbolism in the context of obtaining divinely inscribed scriptures atop a holy mountain is “mountain of divinely written scripture”. Hence we deduce the true origin of the meaning of “Mount Sinai”, the mountain where “divine scripture” (PTAH) is written. Thus, the image of PTAH, when transliterated into ancient Hebrew, no longer refers to the deity PTAH but to his transliterated “scriptural” essence. The Egyptian and Hebrew concepts are therefore similar but their theology is different.

The visual similarity between the Pharoic Uraeus, a scorpion, situated on the Pharaoh’s forehead in-between his eyes, similarly must have visually influenced the forehead placement of Tefillin (“bane einecha”, “in between your eyes”). The uraeus was a divine symbol of Pharoic and Egyptian protection by the scorpion, as well as the power of Pharaoh and Egypt to overpower its enemies like the scorpion. Essentially it was a very visible amulet. Likewise the thothaptah head phylacteries filled with Holy Scriptures and God’s holy name serves as a powerful amulet protecting one from enemies.

If we look at the Tefillin arm wraps, they are visually highly similar to the multiple arm bracelets adorning Egyptians. In this painting compare Joseph’s arm Tefillin visual patterns to Asnut’s arm bracelets. The concept is the same; the number of rings is different. Likewise, in the painting there are seven similar Tefillin-like arm rings on Menasha’s and Ephraim’s arms. The skirt belts that both Joseph and Asenut are wearing are visually similar to Hasisic Gartel belts, but any Egyptian influence in this case is rather specious.

In the painting Joseph is wearing a heart amulet chain around his neck. This was usually placed around the Prime Vizier’s neck, as seen in pyramid paintings, and connotes his vital importance to the protection of the state. When Pharaoh anoints Joseph Prime Vizier in the biblical narrative, he places a gold chain around Joseph’s neck. This heart amulet is most likely the chain referred to. The Bible also comments that Pharaoh placed a ring on Joseph’s hand. Because there are no finger rings seen on pyramid paintings, the Bible is most likely referring to a ring /bracelet placed on his hand/arm. Does this refer to the description of hand Tefillin, “a symbol on your hand” which is actually placed on one’s arm? The answer is unknown. It should also be noted that the heart amulet that Joseph is wearing is anatomically very accurate retaining parts of the superior vena cava and the pulmonary artery. This anatomical knowledge could only have been obtained by Egyptian embalmers.

Written below Joseph’s heart amulet on his chest belt is his new Egyptian name written from right to left in Hieroglyphics; “Tsophnut pAnkh”. The word ankh means life. “P” is a determinative which means “The”. “P ankh” means “the life”. What does “Tsophnut” mean? I submit there are two possibilities” 1) it is the phonetic egyptification of the name Joseph .Both names share the common phoneme “OSPH”. Compare jOSePH to tSOPH nut. Thus it would be similar to anglicizing the Hebrew name Yonatan to Jonathan. 2) “Tsophnut” is the goddess of rain or moisture, and as an isolated word means spit or moisture. It is possible that Joseph was called Tsophnut Pankh, “the moisture of life” because it was rain/moisture (Nile) which determined the seven years of plenty or famine which he predicted in Pharaoh’s dream. Again, note the historic accuracy that Joseph’s Egyptian name conveys with the commonly used words and symbols for life and moisture. Reading these recognizably ancient Egyptian words and names, in the Bible, provides a chilling sense of historic immediacy. Painted on Joseph’s head phylactery are the hieroglyphic symbols for Thoth and PTAH (ThothPTAH).

Now draw your attention to the raised arms above Josephs’ headdress. These raised arms are found atop the heads of sculpted Pharaoh’s inside their tombs. They symbolize the inner Ka, the spirit, and also ward off evil, similar to the Arabic Hamse (meaning five in Arabic for five fingers) amulet. The Hamse, a raised hand, was later adopted by modern Israelis as an amulet. The idea is that the raised arms/hands are warning “evil, stop right there, and come no further”, like a red light. The raised arms were also drawn hieroglyphically on pyramid walls connoting the word Ka i.e. spirit. This symbol is the ideographic precursor of the ancient Hebrew letter “Hey”, which ultimately was transformed into the Greek letter epsilon, and ultimately the English letter E. It is now understandable why God changed Abram’s and Sarai’s names to Abraham and Sarah, respectively, by adding the letter “Hey” to their names. He injected them both with his holy spirit/Ka (Hebrew letter H).

The hands in this Egyptian Ka symbol are always presented with all their fingers directly apposed to each other. In this painting the fingers are separated in the manner of a Hebrew priestly Kohanic blessing with separation between the thumb and index fingers, and between the third and fourth digits. I submit that the Hebrew priestly blessing using outwardly raised arms must have been inspired by the Egyptian raised Ka arms. Painted above the priestly blessing fingers in this painting are multicolored emanating blessing rays which are divided into a series of triangular configurations as a result of the way the fingers are separated. Thus, in this painting, Joseph is also blessing everyone via his raised blessing Ka/Kohen hands. Is the word Kohen (spirit man) phonetically derived from the word Ka (spirit)? One of Joseph’s Ka hands is of course wearing arm Tefillin.

Written immediately below the emanating Ka/Cohen blessing rays in ancient Hebrew are the words of the priestly blessing; “ May God bless you and keep you, may he shine his face upon you and grace you , may he lift his face in your direction, and grant you peace”. It should be noted that this blessing written in ancient Hebrew was excavated and found in an amulet from roughly 700B.C. and remains the earliest extant example of biblical ancient Hebrew.

Let us now focus on a comparative geometric analysis between the pyramids and the approximated priestly hands. Pyramids have four triangular walls. Many have wondered about the symbolism behind the pyramids. It is postulated that they represent either the original mounds of earth from whence man was born (and therefore where man will return), or they represent triangular rays of sun light (sun worship was very big in ancient Egypt). I submit that the real symbolic key explaining the meaning of the pyramids can be found in the ancient Sumerian scripts which preceded or were contemporary to the development of Egyptian hieroglyphics.

The ancient Sumerian symbol for a woman is a triangle with a bisecting line in the center, clearly referencing a woman’s external genitalia. In pyramid paintings, the sky goddess Nut is portrayed giving birth to the sun in the morning by expelling the sun from her triangularly patched genitalia. After the sun crosses the sky, at sunset, Nut swallows it. Thus the act of interring (entombing/enwombing) mummified Pharaohs in pyramids symbolizes the dead re-entering the original cosmic source of their creation. They are returning through Nut’s, or the earths, or the cosmos’ triangular (pyramidal) female door, into the cosmic womb. Once they are inside this womb, they go on a journey which re-expels them i.e. re-births them into the other side, the after-life where they shall live forever and ever. Likewise in the ancient Hebrew alphabet, the letter for door, “Delet” is “Dalad”, a triangle. This letter most likely was derived from Sumerian and also symbolizes the door to a woman. It was later transliterated into the Greek letter Delta, and the English letter D.

Thus the seductive Egyptian landscape like its sexually charged heavens is riddled and permeated with huge sky-penetrating phallic obelisks, and spectacular female triangular pyramids, eroticizing the earth below and the heavens above. This is in line with the Egyptian religious emphasis on fertility, and the cohabitation of a plethora gods and goddesses conceiving yet more gods and goddesses. Traditional Judaism is relatively devoid of these concepts until the advent of Cabbalism which reintroduces divine eroticism.

Back to the Kohanic/Ka blessing hands in the painting; in between the parted thumb and forefinger of each hand, a triangle is formed. In between the parted third and fourth digits of the left and right hands another two triangles are formed. In the painting, if you look at the rays emanating from between the thumb and forefinger, they form the sides of yet another triangle. This convergent triangle is painted yellow. When the two hands come together in priestly benediction (not shown in this painting), a triangle will be formed between left and right thumbs and forefingers. You can see this if you try it with your own hands. Imaginary blessing rays extending from the left and right middle fingers form the base of the triangles formed between the spread third and fourth fingers, and simultaneously form the sides of yet another triangle, opposite the triangle formed by the thumbs and index fingers. If we then draw an imaginary line from the left to right fourth fingers, this will form the base of that triangle. If we take an aerial view of the approximated priests’ hands, taking the above into consideration, we would see the geometric configuration of a four sided three-dimensional triangle i.e. a pyramid with the tips of the third left and right fingers forming its apex.

Is the pyramidal geometric form created by apposition of the Kohanic priestly hands influenced by the geometry of the pyramids seen in the background of this painting? It is hard to say what subliminal import such colossal imagery had on the imagination of the early Hebrews. My suspicion is that it was not slight. . Another parallelism of the opposed priestly hands is that left and right hands are mirror images of each other, like the cherubim, and when they come together, the triangular space between thumbs and forefingers forms the mouth of god, mimicking the space in between the cherubim from whence god’s voice emanates. Because no one can look at the face of God and live, no one is allowed look at the priest’s blessing hands which carry the voice (auditory image) of God.

Joseph and his family in this painting are sitting on the banks of the Nile. We see blossoming lotus flowers in the front, and palm trees in the background. Crocodiles are languidly swimming in the Nile. Blessings in the form of clouds are sailing down in triangular patterns consistent with the pyramidal theme. The sun is shining brightly. Joseph and his wife appear anxious that all the blessings are appropriate, and that they will be answered. Written on a cloud to the right of the priestly Ka/Kohen blessing hands in ancient Hebrew are the words “Ein Sof”, meaning without end, infinity, God. Written on the left on a cloud are the hieroglyphic symbols meaning “forever and ever”, and the Yiddish word “Eybeck” meaning eternity. Hence infinity (GOD) is inscribed in the heavens in the three near forgotten languages of ancient Hebrew, ancient Egyptian, and alas Yiddish.

Summary of Egyptian/ Hebrew homologues: 1) Egyptian god AMUN/ Hebrew blessing confirmation AMEN 2) Tsophnut (Egyptian goddess)/ Tsophnut, part of Joseph’s Egyptian name. 3) ANKH, Egyptian symbol of life/ ANKH Joseph’s Egyptian last name.4) Joseph’s wife’s name AsNut daughter of PTAH peRA priest of UN/Egyptian gods Nut, PTAH, RA, AMUN’s city of UN. 5) Uraeus between pharaoh’s eyes/ Thoth and PTAH phylacteries between Hebrew eyes, 6) Egyptian stripes/Talit stripes. 7) Egyptian arm ringlets/ Hebrew arm phylactery ringlets, 8) Twisted flax/eternity/DNA/infinity, 9) Egyptian side locks/ Jewish peyes. 10)Egyptian Pyramid / Hebrew pyramid formed by apposing priestly hands, 11) Raised Egyptian Ka hands/raised Hebrew Kohanic blessing hands, 12)Egyptian Hathor horns with Ra disc at center/ eygel horns, altar horns, and opposed cherubim with God’s voice in center, 13) Egyptian name nEFRitie/Hebrew name EPHriam and 14) Egyptian Royal headdress plumes/ Hebrew ten commandment tablets.