十字架, 埃及, 救世主, cross, 耶稣

三教童

Was Horus "Crucified?"
荷露斯「被釘在十字架上？」

by D.M. Murdock/Acharya S



Excerpted from
摘自

Christ in Egypt: The Horus-Jesus Connection
基督在埃及：荷露斯—耶穌的關係





"Osiris, the Egyptian Saviour, was crucified in the heavens. To the Egyptian the cross was the symbol of immortality, an emblem of the Sun, and the god himself was crucified to the tree, which denoted his fructifying power.
「歐西裡斯，埃及人的救世主，在天上被釘十字架。對於埃及人，十字架是不朽的符號，太陽的象徵，神自己被釘在樹上，這表示他結出果實的力量。

"Horus was also crucified in the heavens. He was represented, like...Christ Jesus, with outstretched arms in the vault of heaven."
「荷露斯也在天上被釘十字架。他……像耶穌基督一樣，也被描繪成雙臂在天空的穹頂上伸開。」

Thomas W. Doane, Bible Myths and Their Parallels in Other Religions (484)
托馬斯·W·多恩，《聖經神話與其它宗教的相似性》（484）

In my book Christ in Egypt: The Horus-Jesus Connection, I delve deeply into various parallels between the Jewish godman Jesus Christ and the Egyptian gods Horus and Osiris. Along with the claim that Horus was born on "December 25th" or the winter solstice of a virgin called Mery comes the contention that he was "crucified between two thieves," as Jesus is depicted to have been in the New Testament. Although I included this motif in my book The Christ Conspiracy: The Greatest Story Ever Sold, this assertion does not originate with me but can be found in older sources, as highlighted in Christ in Egypt ("CIE"), which contains a 40-page chapter on the subject entitled "Was Horus 'Crucified?,'" with 120 footnotes citing primary sources as well as the works of respected Egyptologists and other scholars in relevant fields. This chapter in CIE also provides 18 images to illustrate the various points, such as the abundance of Pagan gods and goddesses in cruciform or cross shapes.
在我的書《基督在埃及：荷露斯—耶穌的關係》裡，我深入地研究了猶太神人耶穌基督與埃及神荷露斯和歐西裡斯之間的相似性。據稱荷露斯是在「12月25日」或冬至日由童貞女默利（Meri）所生，以及他在「兩個賊之間被釘十字架」，成為了焦點，就像新約描述的耶穌一樣。儘管我的書《基督共謀：永遠是最偉大的故事》裡面包括了這個主題，但這種主張不是源自於我，而是在更古老的資料裡可以找到，就像《基督在埃及》（」CIE」）裡突出的一樣，包括了一個40頁的章節，題目是「荷露斯『被釘在十字架上』？」，帶有120個引用原始資料的腳注，還有尊敬的埃及學者和其它相關領域學者的作品。CIE的這一章也提供了18個圖像來闡述不同的觀點，例如是在十字架形或十字形裡的眾多異教神和女神。

The list of sources cited in the chapter "Was Horus 'Crucified?'" includes: ancient Egyptian primary sources such as the Pyramid Texts, Coffin Texts, Book of the Dead and other artifacts; the writings of the ancient historians Herodotus and Plutarch, philosophers Plato and Philo, and the Egyptian priest Horapollo; the Bible; noncanonical early Christian writings such as the Epistle of Barnabas, Acts of John and Acts of Pilate; the writings of early Church fathers Justin Martyr, Tertullian and Minucius Felix; Gnostic writings; Coptic writings such as the Kebra Nagast; the Catholic Encyclopedia; the works of modern Egyptologists Drs. Erik Hornung, Raymond O. Faulkner, Jan Assman and Barbara S. Lesko; and the works of various theologians, historians and other professional scholars such as Pope Benedict XVI, Jean Doresse, Joseph Campbell, Dr. Roger Beck and Dr. Tryggve N.D. Mettinger.
「荷露斯『被釘在十字架上』」這一章引用的資料包括：古代埃及的原始資料，比如《金字塔文》，《棺文》，《死者之書》和其它史前古器物；古代歷史學家希羅多德和普魯塔克，哲學家柏拉圖和斐洛，還有埃及祭司赫拉波羅的作品；聖經；不在正典內的早期基督教作品，比如《巴拿巴書信》，《約翰行傳》和《彼拉多行傳》；早期教父殉道者游斯丁、特土良和米紐修斯·費裡克斯的作品；諾斯替派的作品；科普特語作品，比如《國王的光榮》；更高科學系教百科全書；現代埃及學者埃裡克·洪納，雷蒙·0·福克納，簡·阿斯曼和巴巴拉·S·裡克索；以及各種神學家，歷史學家和其它專業學者的作品，比如教宗本篤十六世，珍·多樂斯，約瑟夫·坎貝爾，羅格·貝克博士和泰吉·N·D·麥庭格。

Even with all of the scholarship put together in Christ in Egypt, there remains much confusion concerning this subject, because many people erroneously believe that the contention is that Horus or Osiris were killed via crucifixion, as allegedly happened to Jesus. In actuality, the most common myths concerning the deaths of Osiris and Horus are that the former was rent into pieces, while the latter was stung by a scorpion, after which both were resurrected. In this regard, the same Greek word used by historian Diodorus Siculus in the fir Kebra Nagast;st century BCE to describe Horus's resurrection—anastasis—is utilized by later biblical writers in the New Testament to depict Christ's resurrection (e.g., Mt 22:23).
即使把《基督在埃及》的所有學識加起來，對這個問題仍然有很多困惑，因為許多人都錯誤地認為荷露斯或歐西裡斯經由十字架被殺害是爭論的焦點，正如據稱發生在耶穌身上的那樣。事實上，關於歐西裡斯和荷露斯之死的最普遍神話，前者是被撕成碎片，而後者被一隻蠍子所傷，然後兩者都有復活。就此而言，公元前一世紀的歷史學家迪多魯士用了同樣的希臘單詞來形容荷露斯的復活——Kebra Nagast——被後來的聖經新約作者用來形容基督的復活。（例如，馬太，22：23）

666

基督教與教徒本就沒有羞恥的觀念
保羅不是說只要人信教撒謊又有何關係嗎

三教童

Ankh(生命之符，Key of Life,Key of the Nile)



The Ankh是古埃及的生命之符。也被叫做Ansata cross，是便鞋扣帶的形象表現。小寫的tau[希臘字母第十九字母(T, τ)]形十字的水平和垂直長條分別代表女性和男性的力量。結合了男性和女性符號（the cross and circle）的Ankhan暗示了繁殖和創造能力。頂上的圈也是地平線上之太陽的象徵，暗示輪迴與再生。
在關於再生（rebirth）的埃及文學作品中常常出現Ankh這個符號，這個符號也被埃及基督徒特別是諾斯替教派（gnostic）用來象徵基督耶穌的復活和神聖的婚姻。Ankh是後來的拉丁十字架形態的早期形式。



Gnostic Ankh

dior13dior13

抄襲不承認～～

beebeechan

這些我通通早你一步都看過了,
你自己慢慢讀罷.
不要以發現新大陸的心態來稟告.

三教童

ankh










生命之符

生命之符(符號：☥），又稱安卡，是埃及象形文字（又稱聖書體）的字母，代表詞語ʿnḫ，解作生命。部份古埃及的神祇手持生命之符的圈，或兩手各執生命之符，交叉雙手放於胸前。拉丁文稱此符作crux ansata，「有柄的十字」之意。
對古埃及學者來說，其形象有何含意仍是個謎。一些專家認為它是子宮形像，但此猜測未被普遍接受。Alan Gardiner推測它是便鞋扣帶的形像，其圈讓腳踝套入，因為便鞋扣帶的寫法也是ʿnḫ（但可能讀音不同）。

生命之符是埃及象形文字(又稱聖書體)的字母,解作生命。部份古埃及的神祇手持生命之符的圈,或兩手各執生命之符,交叉雙手放於胸前。拉丁文稱此符作ANKH,「有柄的十字」之意。

http://www.hudong.com/wiki/%E7%94%9F%E5%91%BD%E4%B9%8B%E7%AC%A6


http://baike.baidu.com/view/530788.htm

beebeechan

續
Horus and the Cross



In this regard, Osiris and Horus both were associated with and/or identified as a cross, such as the ankh, which, like the cross of Jesus, represents eternal life.

Horus and the Cross



三教童 發表於 2012/4/16 22:20

所以話你只管貼, 不管知, 一點也無批錯你.

古埃及象形字  ankh 不等同是十字架.
ankh 是代表生育, 給予生命的意思.

三教童

Osiris and the Djed Pillar


As a Platonic ideal, the cosmic cross/stauros precedes the Christian era by centuries; yet, the cross supposedly only gained significance with Jesus's alleged death upon it. In fact, the cross's purpose as bestower of salvation and eternal life already existed as a spiritual concept long before the common era, in Egypt for one. Indeed, Osiris's depiction on or as the djed pillar - surrounded by the two sisters or "the Merti" (Budge, 429), much like Christ on the cross with the three Marys at his feet (Jn 19:25)—served as "sin removal," as related in Christ in Egypt (351):



    "...the erection of the djed cross during the celebration also apparently took the place of human sacrifice, which was designed to propitiate the god or God in order to remove sins and bring about continuity of the community as a whole."

Archangel Michael holding djed crossThe correlation between Osiris's pillar and the cross of Jesus was obvious enough to the Egyptian Christians or Copts for them to depict Archangel Michael, for example, holding a "djed cross" in his right hand.



As further stated in CIE (365), in addition to pre-Christian texts depicting the "crucified man in space," we also possess various Egypto-Christian artifacts connecting Jesus with both Osiris and Horus, including Gnostic gems. As another example, in Ancient Christian Mage: Coptic Texts of Ritual Power, Drs. Marvin W. Meyer and Richard Smith report on a crucifix in the Coptic Museum in Old Cairo "with the crucified figure of Jesus together with a falcon (Horus)." This artifact demonstrates that identifying Horus with the crucified Jesus occurred even in antiquity.

As revealed in my books Christ in Egypt and Suns of God, there is much more to the subject of Pagan gods and goddesses on a cross or in cruciform, serving as crucifixes. The images and descriptions of deities in cruciform include Osiris, Isis and Horus, and the answer to the question of whether or not Horus was ever associated with the cross and depicted on a cross or in cruciform must be a resounding yes. If other gods were shown on a cross or in cruciform, or associated otherwise with a sacred cross, then Christ's depiction on a cross is not unique. If the Pagan personified savior-cross existed first, the whole notion of Christ's redeeming power through the cross becomes derivative. Rather than representing "history," it is more probable that Christ's "crucifixion" constitutes a mythical motif created in order to associate him with the already revered cross and image of a divine figure in cruciform. We must therefore conclude that the figure of Christ on a cross or in the shape of a cross is a johnny-come-lately in the world of religious iconography, and the story of the crucifixion appears more likely a contrivance based on this important imagery, as well as on Jewish "messianic prophecies" or blueprints, instead of an improbable "historical" tale. Indeed, the crucifixion reveals itself to be another pre-Christian mythical motif with a largely astrotheological meaning.

Along with this interesting evidence concerning the profound importance of the sacred cross in pre-Christian religion, as well as its association and identification with Egyptian gods, we find another "Christian" motif in Egypt, with Horus represented on the cross at the vernal equinox between two "thieves" in a pre-Christian artifact. For much more information on this fascinating subject, see Christ in Egypt: The Horus-Jesus Connection.


http://www.stellarhousepublishing.com/washoruscrucified.html

beebeechan

怎麼總是貼貼貼, 三貼童耶?
無有一個是你自己的字囉.

三教童

Horus and the Cross



In this regard, Osiris and Horus both were associated with and/or identified as a cross, such as the ankh, which, like the cross of Jesus, represents eternal life. Horus with the ankh/cross raising OsirisHorus is identified with the cross in several ways, using the ankh, for instance, to raise Osiris from the dead. Providing an example of the Church fathers' contention about gods with arms outstretched making the sign of the cross or being in "crucial frame," i.e., cruciform, Egyptologist Dr. Erik Hornung discusses Horus as the hawk "whose wings span the sky" (CGAE, 124) and "the ancient god of the heavens, whose wings spread over the whole earth" (VK, 59). Winged goddess (Isis) on King Tut's sarcophagusWe find several other Egyptian gods and goddesses in this same cruciform pose, with arms and wings outstretched, including in tombs and on numerous coffins, serving as protection and assistance for a smooth passage into the afterlife, the same role as the cross on Christian coffins. Again, the early Christians considered figures with arms outstretched to be making the sign of the cross, and they compared Pagan gods in cruciform to Christ on the cross.






Horus with his arms outstretched making the sign of the crossHorus as the hawk with his wings or arms outstretched reflects his role as the sun god "crossing over" the sky, as depicted in various hymns and Coffin Texts. As I say in Christ in Egypt (342), the significance of asserting the sun god to be "crucified" is not that his myth is imitated exactly in the gospel story but that he was a revered pre-Christian god "on a cross" and that this particular motif was adopted by those who created the Christian myth specifically because it was a popular and venerated theme.

Moreover, in Christ in Egypt, I include an extensive discussion of a mysterious Egypto-Gnostic character named Horos, essentially the same name as "Horus" in Greek, although the two words are spelled slightly differently, the former with an omega and the latter with an omicron. Nevertheless, there is reason to suppose that the Gnostic figure of Horos and the Egyptian god Horus are at root one and the same. The Gnostic Horos not only is associated with but is also identified as "Stauros"—the Cross—again, the same Greek word used in the gospels to describe what Jesus was purportedly crucified upon. Indeed, in Christian writings Jesus is "often assimilated" to Horos-Stauros.

In describing the Gnostic character of Horos-Stauros, the Encyclopedia Britannica ("Valentinus") relates:

    "A figure entirely peculiar to Valentinian Gnosticism is that of Horos (the Limiter). The name is perhaps an echo of the Egyptian Horus. The peculiar task of Horos is to separate the fallen aeons from the upper world of aeons. At the same time he becomes...a kind of world-creative power.... He is also called, curiously enough, Stauros (cross), and we frequently meet with references to the figure of Stauros. But we must not be in too great a hurry to conjecture that this is a Christian figure. Speculations about the Stauros are older than Christianity, and a Platonic conception may have been at work here. Plato had already stated that the world-soul revealed itself in the form of the letter Chi (X); by which he meant that figure described in the heavens by the intersecting orbits of the sun and the planetary ecliptic. Since through this double orbit all the movements of the heavenly powers are determined, so all "becoming" and all life depend on it, and thus we can understand the statement that the world-soul appears in the form of an X, or a cross. The cross can also stand for the wondrous aeon on whom depends the ordering and life of the world, and thus Horos-Stauros appears here as the first redeemer of Sophia from her passions, and as the orderer of the creation of the world which now begins. This explanation of Horos, moreover, is not a mere conjecture, but one branch of the Valentinian school, the Marcosians, have expressedly so explained this figure.... Naturally, then, the figure of Horos-Stauros was often in later days assimilated to that of the Christian Redeemer. (EB, 854 [Emph. added])

Plato's world soul as cross impressed upon spaceHere we read that the name Horos is "perhaps an echo of the Egyptian Horus" and that "speculations about the Stauros are older than Christianity." We further learn that the ancient writer Plato (429-347 BCE) had described the "world-soul" in the shape of an X or cross and that this concept also represented the orbits of the sun and earth's ecliptic intersecting. Again, this Gnostic Horos-Stauros character with pre-Christian roots was so similar to the Christ figure that the two were frequently combined.



http://www.stellarhousepublishing.com/washoruscrucified.html

三教童

Was Horus "Crucified?"
荷露斯「被釘在十字架上？」

by D.M. Murdock/Acharya S



Excerpted from
摘自 ...
三教童 發表於 2012/4/16 02:43

已補圖片

beebeechan

"Horus was also crucified in the heavens. He was represented, like...Christ Jesus, with outstretched arms in the vault of heaven."
「荷露斯也在天上被釘十字架。他……像耶穌基督一樣，也被描繪成雙臂在天空的穹頂上伸開。」

這個說法只是在
Thomas W. Doane, Bible Myths and Their Parallels in Other Religions (484)
托馬斯·W·多恩，《聖經神話與其它宗教的相似性》（484）
和被 D.M.Murdock 在 Was Horus "Crucified?"
荷露斯「被釘在十字架上？」一書中再炒作.

在古埃及的原始資料，比如《金字塔文》，《棺文》，《死者之書》中, 埃及學者從未發現過有這樣的描述.


只因為不學無術的人看見古埃及象形文中神祗擺出這種姿勢,

便來一個聖經神話抄自其它宗教論, 實在也是想像豐富。

那麼，　佛教又是抄古埃及神話耶？

三教童

Sources
资料来源

"1000 Years of History," www.limassollink.com/history.php
"Herakles & Prometheus," www.theoi.com/Gallery/T21.4.html
Budge, Ernest Alfred Wallis, An Egyptian Hieroglyphic Dictionary, v. 1, Dover Publications, NY, 1978.
Campbell, Joseph, ed., The Mysteries: Papers from the Eranos Yearbooks, Bollingen Series XXX, Princeton University Press, 1979.
Catholic Encyclopedia, IV, ed. Charles George Herbermann, The Encyclopedia Press, 1913.
     --VII, ed. Charles George Herbermann, The Encyclopedia Press, 1913.
Corbelli, Judith A., The Art of Death in Graeco-Roman Egypt, Osprey Publishing, 2006.
Doane, Thomas, Bible Myths and Their Parallels in Other Religions, The Truth Seeker, 1882.
Encyclopedia Britannica, XXVII, The Encyclopedia Britannica Company, NY, 1910.
Faulkner, Raymond, The Egyptian Book of the Dead, Chronicle Books, San Francisco, 1998.
Felix, Minucius, Octavius, ed. Gilles Quispel, E.J. Brill, Leiden, 1973.
Hornung, Erik, Conceptions of God in Ancient Egypt, tr. John Baine, Cornell University Press, NY, 1982.
     --The Valley of the Kings: Horizon of Eternity, tr. David Warburton, Timken Publishers, NY, 1990.
Justin Martyr, The Apologies of, ed. Basil L. Gildersleeve, Harper & Brothers Publishers, NY, 1877.
Kamil, Jill, Christianity in the Land of the Pharaohs: The Coptic Orthodox Church, Routledge, 2002.
Lundy, John P., Monumental Christianity, or the Art and Symbolism of the Primitive Church, J.W. Bouton, NY, 1876.
Maitland, Charles, The Church in the Catacombs: A Description of the Primitive Church of Rome, Longman, Brown, Green and Longmans, London, 1846.
Meyer, Marvin W. and Smith, Richard, Ancient Christian Mage: Coptic Texts of Ritual Power, Princeton University Press, 1999.
Murdock, D.M., Christ in Egypt: The Horus-Jesus Connection, Stellar House Publishing, Seattle, 2009.
Osborn, Eric Francis, Justin Martyr, J.C.B. Mohr/Siebeck, Tubingen, 1973.
Plato, Timaeus and Critias, tr. Desmond Lee, Penguin Books, 1971.
Ratzinger, Joseph Cardinal, Introduction to Christianity, Ignatius Press, 2004.
Roberts, Alexander, Ante-Nicene Christian Library, XI, T&T Clark, Edinburgh, 1869.
     --Ante-Nicene Fathers, I, The Christian Literature Publishing Co., Buffalo, 1885.
     --Ante-Nicene Fathers, III, Charles Scribner's Sons, NY, 1903.
     --Ante-Nicene Fathers, IV, Charles Scribner's Sons, NY, 1926.
Seymour, William Wood, The Cross in Tradition, History and Art, G.P. Putnam's Sons, NY/London, 1898.
Sharpe, Samuel, Egyptian Antiquities in the British Museum, John Russell Smith, London, 1862.
Wilkinson, J. Gardner, The Manner and Customs of the Ancient Egyptians, I, John Murray, London, 1847.


Illustrations
插图

a. Tertullian
b. The Octavius of Minucius Felix
c. Justin Martyr
d. Cruciform prayer posture of deceased Christian in the catacombs. (Seymour, 433)
e. Hellenized Egyptian funerary stela from Kom Abu-Billo/Terenuthis, with Horus hawk. 3rd-4th cent. AD/CE (Kamil, 153; Corbelli, 39)
f. Human in cruciform with cross around neck from Cyprus, Chalcolithic period (3900-2500 BCE), www.limassollink.com/history.php
g. The Shari in Egypt wearing crosses, possibly Assyrians, c. 15th cent. BCE. (Wilkinson, I, 365, 375ff)
h. Crosses on the bottoms of ossuary-vases from the cemetery at Golasecca, Italy. (Seymour, 25)
i. Prometheus crucified using chains on a Greek vase, c. 350. BCE, www.theoi.com/Gallery/T21.4.html
j. Andromeda crucified using chains in a wall painting from Pompeii, c. 79 AD/CE, www.uwm.edu/Course/mythology/0800/underworld.htm
k. Early Christian crucifix from the catacombs, in a manuscript from the sixth century. (Seymour, 172)
l. Crucifixion scene from the Santa Sabina Church, Rome, 5th cent.
m. Prometheus bound to a wooden stake or stauros, i.e., a cross, on a Greek vase, c. late sixth to early seventh cents. BCE, www.theoi.com/Gallery/T21.5.html
n. Horus using Egyptian cross to raise Osiris. (Lundy, 403)
o. Winged goddess (Isis) in cruciform on King Tut's sarcophagus.
p. Horus with arms outstretched in vault of heaven, from Samuel Sharpe's Egyptian Antiquities in the British Museum (143). This image was originally on a papyrus and is here and in Christ in Egypt depicted upside down for purposes of more readily illustrating the point.
q. Plato's world soul forming a cross of the solar and planetary orbits and ecliptic.
r. Plato
s. Moses raising up the "brazen serpent" or snake made of bronze, shaped like a cross. (Seymour, 54)
t. Osiris as personified djed pillar holding the sun, surrounded by the two sisters Isis and Nephthys - called the Merti - found in the Egyptian Book of the Dead, Ani Papyrus, plate 1, c. 13th-15th cents. BCE.
u. Christ on the cross, surrounded by the three Marys, per John 19:25, www.knowjesuschrist.org/prayers.html.
v. Archangel Michael holding a djed cross in a Coptic painting, 18th cent. (Kamil, 156)

三教童

As a Platonic ideal, the cosmic cross/stauros precedes the Christian era by centuries; yet, the cross supposedly only gained significance with Jesus's alleged death upon it. In fact, the cross's purpose as bestower of salvation and eternal life already existed as a spiritual concept long before the common era, in Egypt for one. Indeed, Osiris's depiction on or as the djed pillar - surrounded by the two sisters or "the Merti" (Budge, 429), much like Christ on the cross with the three Marys at his feet (Jn 19:25)—served as "sin removal," as related in Christ in Egypt (351):
就跟柏拉圖的理念一樣，宇宙的十字架/十字結也是早於基督紀元數百年；但是，十字架可能只是一個象徵意義，耶穌據稱釘死在上面。事實上，十字架的目的是充當拯救與永生的贈予者，作為一個精神概念，在公歷紀元之前很久就已經存在，埃及文明是其中之一。事實上，歐西裡斯是被描繪成在節德柱上，或者本身就是節德柱——被兩姐妹，或者是「瑪提（Merti）」環繞著（Budge, 429），更加像是基督在十字架上，在他的腳下有三位馬利亞（約翰福音，19：25）——充當「罪的移除」，正如《基督在埃及》裡所述的那樣（351）：

"...the erection of the djed cross during the celebration also apparently took the place of human sacrifice, which was designed to propitiate the god or God in order to remove sins and bring about continuity of the community as a whole."
「……在慶典期間，節德柱十字架的勃起很顯然也是用來代替活人獻祭，目的是用來撫慰神或上帝，為了移除罪和把社群連成一體，形成一個整體。」

The correlation between Osiris's pillar and the cross of Jesus was obvious enough to the Egyptian Christians or Copts for them to depict Archangel Michael, for example, holding a "djed cross" in his right hand.
歐西裡斯的節德柱和耶穌十字架之間的相互關係是明顯的，是埃及基督徒或科普特人把它們描繪成天使長米迦勒，例如，他的右手持有一個「節德柱十字架」。

As further stated in CIE (365), in addition to pre-Christian texts depicting the "crucified man in space," we also possess various Egypto-Christian artifacts connecting Jesus with both Osiris and Horus, including Gnostic gems. As another example, in Ancient Christian Mage: Coptic Texts of Ritual Power, Drs. Marvin W. Meyer and Richard Smith report on a crucifix in the Coptic Museum in Old Cairo "with the crucified figure of Jesus together with a falcon (Horus)." This artifact demonstrates that identifying Horus with the crucified Jesus occurred even in antiquity.
正如CIE(365)進一步陳述的那樣，除了基督之前的文本描述「被釘十字架的人在半空中」以外，我們也擁有了各種埃及基督徒的史前古器物，是關於耶穌與歐西裡斯和荷露斯的關係的，包括諾斯替的精華。在《古代基督教魔法師：科普特文獻的儀式力量》裡，馬文·W·梅耶和理查德·史密斯對陳列在舊開羅科普特博物館的一個十字架作出了報告，說：「與被釘十字架的耶穌在一起的是一隻鷹（荷露斯）。」這個史前古器物證明了荷露斯與耶穌受難的一致性甚至出現在史前古器物裡。

As revealed in my books Christ in Egypt and Suns of God, there is much more to the subject of Pagan gods and goddesses on a cross or in cruciform, serving as crucifixes. The images and descriptions of deities in cruciform include Osiris, Isis and Horus, and the answer to the question of whether or not Horus was ever associated with the cross and depicted on a cross or in cruciform must be a resounding yes. If other gods were shown on a cross or in cruciform, or associated otherwise with a sacred cross, then Christ's depiction on a cross is not unique. If the Pagan personified savior-cross existed first, the whole notion of Christ's redeeming power through the cross becomes derivative. Rather than representing "history," it is more probable that Christ's "crucifixion" constitutes a mythical motif created in order to associate him with the already revered cross and image of a divine figure in cruciform. We must therefore conclude that the figure of Christ on a cross or in the shape of a cross is a johnny-come-lately in the world of religious iconography, and the story of the crucifixion appears more likely a contrivance based on this important imagery, as well as on Jewish "messianic prophecies" or blueprints, instead of an improbable "historical" tale. Indeed, the crucifixion reveals itself to be another pre-Christian mythical motif with a largely astrotheological meaning.
正如我的書《基督在埃及》和《太陽神》裡面所述，有更多的異教神和女神在一個十字架或十字形上的主題，是充當十字架。這些在十字架上的神靈肖像和描述包括歐西裡斯、伊希絲和荷露斯，這個問題的答案是，不管荷露斯是否與十字架有任何關係，但是把他描繪成是在一個十字架上或十字形上是必定無疑的。如果其它的神是在十字架上或在十字形裡面，或者是與一個神聖的十字架有密切關係，那麼基督在十字架上的圖像就不是獨一無二的。如果異教人格化的救世主—十字架首先存在，那麼基督教整個救贖概念就變成了衍生物。基督在「十字架上」更加有可能是構成一個神話主題，而不是代表「歷史」，創造這個主題的目的是為了把他與已經存在的十字架或神性人物在十字形裡的肖像發生聯繫。我們因此而推斷，這個基督在十字架上或在一個十字形裡的肖像在世界宗教肖像學裡必定是很晚才出現的，受難的故事也更加有可能是以這個重要的意象為基礎而發明出來的，猶太人的「彌賽亞先知」或者藍圖也是一樣，而不是一個不太可能的「歷史」故事。事實上，受難故事本身也揭示了另一個基督之前的神話主題，主要是占星學的意義。

Along with this interesting evidence concerning the profound importance of the sacred cross in pre-Christian religion, as well as its association and identification with Egyptian gods, we find another "Christian" motif in Egypt, with Horus represented on the cross at the vernal equinox between two "thieves" in a pre-Christian artifact. For much more information on this fascinating subject, see Christ in Egypt: The Horus-Jesus Connection.
基督以前的宗教神秘十字架的重要性，再加上這個有趣的證據，還有它與埃及神的關係與一致性，我們在埃及發現另一個「基督教」主題，在一個基督以前的史前古器物裡，是荷露斯被描繪成在春分點的十字架上，位於兩個「小偷」之間。關於這個迷人的主題的更多信息，請看基督在埃及：荷露斯—耶穌的關係。

三教童

Plato's World Soul and Just Man Crucified
柏拉圖的世界靈魂和公義的人被釘十字架

In his role as the sun crossing over the sky and as the apparent origin of the Horos-Stauros character, Horus has been compared to Plato's world-soul impressed upon a cross in the heavens, as found in the Timaeus (36bc). (Plato, 49) This Platonic figure in turn was commonly taken to be a "foreshadowing" of the Christ character and cross. As theologian Rev. Dr. Hugo Rahner states:
與柏拉圖的世界靈魂相比，荷露斯，作為橫跨天空的太陽，以及作為荷魯斯—十字結的起源，讓天空的十字架留下深刻的印象，就像在《蒂邁歐篇》（公元36年）裡發現的一樣。（柏拉圖，49）這個柏拉圖哲學的人物依次地為基督人物和十字架「埋下伏筆」。正如神學家雨果·拉納牧師所說：

"...Adapting an old Pythagorean notion, Plato had written in the Timaeus of the world soul revealed in the celestial X; to the early Christian this was a pagan imitation of the world-building crucified Logos who encompasses the cosmos and causes it to revolve around the mystery of the Cross." (Campbell, 372)
「……採用一個畢達哥拉斯學派的古老概念，柏拉圖寫了《蒂邁歐篇》，裡面提到世界靈魂以一個天上的X型顯示出來；對於早期的基督教，這是異教模仿被釘十字架的邏各斯（Logos），包含了宇宙，使得它圍繞神秘的十字架旋轉。

One of these early Christians who saw the Cross and Son of God revealed in

Plato's writing was Justin Martyr, who in his First Apology (60.1), in a section entitled "Plato's Doctrine of the Cross," remarked:
這些看到柏拉圖作品裡揭示十字架與神的兒子的早期基督徒中，其中之一是殉道者游斯丁，他在《第一辯解集》（60.1）關於十字架信條的段落裡是這樣寫道：

"And the physiological discussion concerning the Son of God in the Tim?us of Plato, where he says, 'He placed him crosswise in the universe," he borrowed in like manner from Moses...'" (Roberts, ANF, I, 183; Justin/Gildersleeve, 55)
「柏拉圖在《蒂邁歐篇》裡有關神的兒子的生理學解釋是這樣說道：『他把他放在宇宙的交叉點上』，同樣地，也是借鑒摩西……」（羅伯特，ANF，I，183；游斯丁/ Gildersleeve, 55)

Commenting on this interpretation, Dr. Eric Francis Osborn states, "The supremacy of divine love in creation leads Justin to attribute to Plato the concept of the cosmic cross." (Osborn, 51) Justin's remark about Moses being the originator of the cosmic cross comes from the early Church fathers' interpretation of Numbers 21:6-9, in which Moses is said to raise up a bronze serpent, asserted to be a "type of cross." In consideration of the debate as to Moses's historicity and when exactly the Old Testament texts were written down first, the contention that the biblical writers possessed these or other spiritual notions before other cultures is unfounded, particularly in view of the antiquity of the Egyptian civilization and the abundance of spiritual concepts there.
關於這種解釋，伊利克·弗朗西斯·奧斯本博士說：「在創世中，神聖之愛的這種至高無上導致游斯丁把柏拉圖的概念歸於宇宙的十字架。」（奧斯本，51）游斯丁評述，摩西是宇宙十字架的發起人是出自早期教父對《民數記》21：6—9的解釋，裡面的摩西據說是舉起了黃銅蛇，聲稱是「某種類型的十字架」。想到辯論摩西的歷史真實性和舊約最先確實是在什麼時候寫成的時候，辯論的論點是，在其它文化未建立之前，聖經作者是否對這些或其它的靈性概念著魔，尤其是要考慮一下埃及文明的古代遺物，那裡有豐富的靈性概念。

In any event, centuries before the common era Plato also discussed a "just man" who is "crucified" (Republic 361d), as related by Pope Benedict XVI (Cardinal Ratzinger):
不管怎樣，在公歷紀元之前幾個世紀，柏拉圖也討論過一個「公義的人」，他「被釘在十字架上」（理想國，361d），正如教宗本篤十六世（拉辛格主教）所述的那樣：

"...according to Plato the truly just man must be misunderstood and persecuted in this world; indeed, Plato goes so far as to write: 'They will say that our just man will be scourged, racked, fettered, will have his eyes burned out, and at last, after all manner of suffering will be crucified.' This passage, written four hundred years before Christ, is always bound to move a Christian deeply." (Ratzinger, 353)
「……根據柏拉圖，真正公義的人必定在這個世界上被誤解和迫害；事實上，柏拉圖竟然這樣寫道：『他們會說，我們公義的人會被鞭打、折磨、捆綁，他的眼睛會被燒燬，至少地，經歷了所有方式的受難以後，會被釘在十字架。』這個段落，在基督之前四百年就已經寫成，總會深深地感動一個基督徒。」（拉辛格，353）

The Pope uses the translation of Plato by Dr. A.D. Lindsay, who specifically renders the Greek as "crucified" in describing the fate of the "just man." This Platonic passage, in fact, much resembles that found at Isaiah 53:4-1 and, along with that OT "messianic prophecy," likely was used as a blueprint in the creation of the Christ character. Again, in Platonic philosophy, the "world soul" or "divine Son of God," as Justin interprets it, is impressed upon a cross in the vault of heaven, representing, as we have seen, the sun crossing over the ecliptic, which was likewise the role not only of Horus in transit across the sky but also of the Gnostic Horos-Stauros, another "cosmic cross."
教宗使用了A.D.琳賽博士的柏拉圖譯本，尤其是呈現出希臘語的「被釘十字架」是用來形容「公義的人」的命運。事實上，這個柏拉圖段落，與發現在《以賽亞書》53：4—1的更加相似，再加上聖經舊約的「彌賽亞先知」，很可能是作為藍圖，用來創造基督這個人物。此外，在柏拉圖的哲學裡，「世界靈魂」或者是「神的兒
子」，正如游斯丁解釋的，是用一個天空穹頂的十字架來表示，給人留下深刻印象，正如我們看到的那樣，那是太陽橫跨黃道帶，不僅類似於荷露斯跨越天空的角色，而且還是諾斯替派的荷魯斯—十字結，另一個「宇宙十字架」。

三教童

Testimony of the Church Fathers
教父的見證

It needs to be emphasized that the claim is not that Horus was a human being thrown to the ground and nailed to a piece of wood. In CIE, I discuss the etymology of the word "crucify," which comes from the Latin crucifigere, composed of cruci/crux and affigere/figere, meaning "cross" and "to fix/affix," respectively. Crucifigere and its English derivation "to crucify" mean "to fix to a cross," but not necessarily to throw down and nail to a piece of wood. What we are interested in, then, is whether or not pre-Christian gods and goddesses were depicted as fixed to a cross or in cruciform, appearing as a crucifix. This motif of a pre-Christian or non-Christian god or man on a cross or cross-shaped is expounded upon by the Church fathers Tertullian (c. 160-c. 200) and Minucius Felix (2nd-3rd cents.). In his Apology (16), Tertullian remarks:
需要強調的是，這不是說荷露斯是一個人，扔到地上，然後用釘子釘在一塊木頭上。在CIE，我討論了「釘在十字架上（crucify）」這個詞的詞源，那是來自拉丁語的crucifigere，是由cruci/crux 和affigere/figere組成，意思分別是「十字架」和「固定/粘上」，但不需要是扔到地上，並且用釘子釘在一塊木頭上。我們感興趣的是，基督以前的神和女神是不是被描繪成固定在一個十字架或十字形上，看上去像一個受難像。基督教以前，或者是非基督教的神或人在十字架或十字形上的主題，被教父特土良（公元160年—公元200年）和米紐修斯·費裡克斯（公元2至3世紀）解釋過。特土良在他的《辯解集》（16）這樣說道：



"We have shown before that your deities are derived from shapes modelled from the cross. But you also worship victories, for in your trophies the cross is the heart of the trophy. The camp religion of the Romans is all through a worship of the standards, a setting the standards above all gods. Well, as those images decking out the standards are ornaments of crosses. All those hangings of your standards and banners are robes of crosses." (Roberts, ANCL, 85)
「我們已經解釋過，你們的神是源自一個十字架的模型。但你們也崇尚勝利，因為在你們的戰利品裡，十字架是戰利品的中心。羅馬的宗教陣營裡，一直是敬拜一個標準，一個設立在眾神之上的標準。好，所有的肖像都源自十字架裝飾品的標準。你們那些標準的腳手架和橫幅都是十字架的長袍。（羅伯特，ANCL, 85)

The place where Tertullian had "shown before" his contentions about the Pagan gods being cross-shaped was in his work Ad Nationes (12), in a lengthy treatise which includes the following remarks:
特土良在他的作品《致萬民書》（12）裡，也向他的辯論對手「展示」處於十字架形的異教眾神，冗長的篇幅包括以下摘要：

"...The Heathens Themselves Made Much of Crosses in Sacred Things; Nay, Their Very Idols Were Formed on a Crucial [Crosslike] Frame.
「……異教本身把很多神聖的東西都放在十字架裡面；不，他們的真正偶像是固定在一個十字形[類似十字架]的框架上。」

"...your gods in their origin have proceeded from this hated cross... if you simply place a man with his arms and hands outstretched, you will make the general outline of a cross...." (Roberts, ANF, III, 122)
「……你們的神的起源都是出於這個可恨的十字架……如果你只是把一個人放上去，手和手臂伸開，你會發現這是普遍的十字架輪廓……」（羅伯特，ANF, III, 122）

In his Octavius (29), Minucius echoes the same sentiment:
米紐修斯·在他的《屋大維》（29）裡重複著同樣的話：



"...The Egyptians certainly choose out a man for themselves whom they may worship... Crosses, moreover, we neither worship nor wish for. You, indeed, who consecrate gods of wood, adore wooden crosses perhaps as parts of your gods. For your very standards, as well as your banners, and flags of your camp, what else are they but crosses gilded and adorned? Your victorious trophies not only imitate the appearance of a simple cross, but also that of a man affixed to it." (Roberts, ANF, IV, 191)
「……埃及人當然會選擇一個人來供他們崇拜……此外，我們既不崇拜，也不希求十字架。事實上，你們是把眾神獻祭到木頭上，崇拜木製的十字架也許是你們的神的一部分。因為你們的標準，與你們的橫幅和你們陣營的旗幟一樣，他們除了在十字架上鍍金和崇拜以外，還有些什麼呢？你們勝利的戰利品不僅是模仿一個樸素的十字架外表，而且還有一個人粘附在上面。」

In the same passage, Minucius states, "...crucis signum est, et cum homo porrectis manibus deum pura mente veneratur." (Felix, 66) To wit, "...the sign of the cross it is, also when a man stretching out his hands venerates God with a pure mind."
在同一個段落裡，米努修斯說：「……crucis signum est, et cum homo porrectis manibus deum pura mente venerator。」（菲力克斯，66）也就是說，「……十字架的標記，也是一個人用純潔的心意，伸開雙手去敬拜神的姿勢。」

In his First Apology Church father Justin Martyr (c. 150) writes:
教父殉道者游斯丁（C. 150）在他的《第一辯解集》裡寫道：

"Chapter 21. Analogies to the history of Christ.
「第21章，基督歷史性的類比。



"And when we say also that the Word, who is the first-birth of God, was produced without sexual union, and that He, Jesus Christ, our Teacher, was crucified and died, and rose again, and ascended into heaven, we propound nothing different from what you believe regarding those whom you esteem sons of Jupiter..." (Roberts, ANF, I, 170)
「當我們說道（Word）是神的頭生子，不經過性結合而產生。他，我們的導師，耶穌基督，被釘上十字架，然後死亡，再復活，升上天空的時候，我們提出，這與你們相信的朱庇特的兒子們沒有什麼不同……」（羅伯特，ANF, I, 170）

It is evident that the Church fathers did not perceive the configuration of Christ on the cross to be anything unusual. Indeed, they insisted that the Pagans likewise worshipped gods on crosses or in "crucial frame," as Tertullian styles it. With such surprising declarations from early Christian authorities, we are justified in asking which of the "sons of Jupiter," i.e., the Greek and Roman gods, was thus depicted as "crucified?" What we discover is that both the cross and a deity or man on a cross were common sacred motifs long before the Christian era. In reality, there were many depictions of Pagan gods and goddesses in cruciform or in cross shape, with arms outstretched, a motif considered by the Church fathers to represent the "sign of the cross," such as concerns Moses, for example, at Exodus 17:11. Regarding the repeated statements and reports about the reverential crosslike pose or "cruciform posture" by the Church fathers and elsewhere in Christendom, Rev. William W. Seymour remarks:
有證據表明，教父並沒有察覺到十字架上的基督的形態完全是很尋常的。事實上，他們堅持說異教敬拜的神類似於釘在十字架上或者是在「十字形框架」裡，正如特土良的風格那樣。從早期基督教權威起，運用如此令人吃驚的聲明，我們有正當的理由問哪些是「朱庇特的兒子」，也就是，希臘和羅馬的神，被描繪成「釘在十字架上」？我們發現，十字架和十字架上的神或人都是普遍的神聖主題，比基督紀元要早得多。事實上，有許多異教的神或女神是被描繪成在十字形或十字架的形狀裡，雙臂伸開，是一個被教父認為是代表「十字架標記」的主題，比如《出埃及記》17：11，是關於摩西。教父和基督教世界的其它地方再三地講述和傳達了這種虔誠的十字架姿勢或「十字形姿勢」。威廉·W·西摩牧師這樣評述：

"Examples of this posture in prayer are found in the Catacombs....
「這種禱告姿勢的例子在地下墓穴找得到……」



"We find that the ancient Egyptians used this posture in prayer, as is figured in the hieroglyphics on the obelisk before the Church of S. John Lateran at Rome. This also was the custom of the Romans... The Hebrews spread forth their hands before the Lord; in short, this posture in devotion we believe may be traced the world over..." (Seymour, 432-433)
「我們發現，古埃及人用這種姿勢禱告，就像羅馬拉特蘭的聖約翰教堂建立之前，方尖碑上象形文字的圖像那樣。這也是羅馬文化……希伯萊人在主面前伸開他們的手；總之，我們相信這個虔誠的姿勢在全世界都有蹤跡……」（西摩，432—433）



In reality, non-Christian gods were represented in cruciform centuries before Christ was portrayed likewise; in fact, the first depiction of Jesus on a cross in art did not occur until the fifth century AD/CE. As stated by the Catholic Encyclopedia ("Cross and the Crucifix"):
事實上，非基督教的神在基督之前數世紀就已經被描繪成是十字形或類似的圖案；事實上，首個繪畫耶穌在十字架上的藝術在公元5世紀才出現。正如《更高科學系教百科全書》（「十字架與苦像」）裡面說的：

"The sign of the cross, represented in its simplest form by a crossing of two lines at right angles, greatly antedates, in both the East and the West, the introduction of Christianity. It goes back to a very remote period of human civilization....

"...It is also...a symbol of the sun...and seems to denote its daily rotation.... Cruciform objects have been found in Assyria.
「……這也是太陽……一個太陽的符號……似乎是象徵它每日的運行……十字形物件已經在亞述發現。」

The statutes of Kings Asurnazirpal and Sansirauman, now in the British Museum, have cruciform jewels about the neck.... Cruciform earrings were found by Father Delattre in Punic tombs at Carthage.
「國王阿薩拿茲帕爾和薩西拉曼的雕像現在陳列在大英博物館，頸上有十字形的珠寶……德拉特神父在迦太基古墓裡發現十字形耳環。」



"Another symbol which has been connected with the cross is the ansated cross (ankh or crux ansata) of the ancient Egyptians.... From the earliest times also it appears among the hieroglyphic signs symbolic of life or of the living... perhaps it was originally, like the swastika, an astronomical sign. The ansated cross is found on many and various monuments of Egypt.... In later times the Egyptian Christians (Copts), attracted by its form, and perhaps by its symbolism, adopted it as the emblem of the cross...
「另一個與十字架相關的符號是古埃及的有柄十字架（十字生命章或結頭手枘）……從最早的時期開始，這弛出現在生命或生活的象形文字符號裡……也許它原先像「萬字符」似的，是一個天文學的標記。有柄十字架發現在埃及的許多不同的紀念碑……在較後期，埃及基督徒（科普特教徒），也許被它的形狀，它的象徵意義吸引了，採用它作為十字架的象徵……



"...In the proto-Etruscan cemetery of Golasecca every tomb has a vase with a cross engraved on it....
「……在格拉撒迦的原始伊特魯裡亞人墓地裡，每一個墓都有一個花瓶，上面刻著一個十字架……



"...On an ancient vase we see Prometheus bound to a beam which serves the purpose of a cross.... In the same way the rock to which Andromeda was fastened is called crux, or cross....
「……在一個古代花瓶裡，我們看見普羅米修斯被束縛在一束光線上，那束光作十字架之用……同樣地，在安德洛墨達（希臘神話中的埃塞俄比亞公主）被扣緊在一個十字形的東西上，或者叫做十字架……」



"...The Christian apologists, such as Tertullian (Apol., xvi; Ad. Nationes, xii) and Minucius Felix (Octavius, lx, xii, xxviii), felicitously replied to the pagan taunt by showing that their persecutors themselves adored cruciform objects. Such observations throw light on a peculiar fact of primitive Christian life, i.e. the almost total absence from Christian monuments of the period of persecutions of the plain, unadorned cross...
「……基督教護教論者，例如是特土良（Apol., xvi; Ad. Nationes, xii）和米紐修斯·費裡克斯（屋大維，lx, xii, xxviii），恰好是通過親自展示他們的迫害者來對十字形物件表示崇拜，從而對異教的嘲弄作出回應。這樣的言論事實上把原始基督徒生命的獨特真相闡明了，也就是，最初宗教迫害時期，樸素的十字架幾乎完全沒有在基督教遺跡裡出現……」



"...The early years of the fifth century are of the highest importance in this development, because it was then that the undisguised cross first appears.... But the fifth century marks the period when Christian art broke away from old fears, and, secure in its triumph, displayed before the world, now become Christian also, the sign of its redemption....
「……五世紀初是這種發展的最高峰時期，因為那時候無裝飾的十字架最先出現……但是，五世紀也是基督教藝術脫離舊有恐懼的標記，由於基督教取得勝利，它在世界面前公開是安全的，現在成為了基督徒，也是救贖的標記……」



"...The most ancient text we have relating to a carved cross dates from later than A.D. 362....
「……關於十字架雕刻的最古老文獻年代是晚於公元362年……」

"...Although in the fifth century the cross began to appear on public monuments, it was not for a century afterwards that the figure on the cross was shown; and not until the close of the fifth, or even the middle of the sixth century, did it appear without disguise...." (CE, IV, 517ff)
「……儘管在第五世紀，十字架開始在公眾紀念碑出現，但它不是一世紀後陳列的釘在十字架上的人；直到五世紀末，甚至六世紀中期，它也沒有加上任何裝飾……」（CE, IV, 517ff）