Breath of Life

/Breath of Life
Breath of Life2017-05-05T17:34:05+00:00

Breath of Life

by Willem Witteveen

Image 1. Pharaoh Amenemhet III – 12th dynasty (1840-1800 BCE)

For the ancient Egyptians, a person’s life was composed of five distinct aspects: the physical body (Khat), the shadow (Shuyet), the name (Ren), the physical part of the soul (Ba) and the spiritual part of the soul (Ka).
The Egyptian concept of life and death is not always clear and sometimes two more aspects are added: the heart (Ib) and the fully united soul, consisting of the fusion of the Ka and the Ba after a person’s death (Akh).
All of these aspects had to be preserved after death and were only applicable to important individuals who could afford to be mummified such as important officials, priests and members of the royal family.

The body had to be kept in good condition to function as a ‘new body’ in another world in which all of the above-mentioned aspects could be reunited. When a body dies, all aspects are separated. Therefore, to keep the physical body in good condition, it was mummified.

The shadow is directly linked to the body or image, which represents the deceased and is therefore always present. According to the ancient Egyptians, the shadow contains everything that a person represents, and murals or statues of a deceased person were also referred to as shadows. Those without shadow do not exist and therefore some pharaohs had a so-called ‘shadow box’ in their tomb in which part of their shadow was stored.

Image 2. Soul aspects: Ba – Ka – Akh

The name of the deceased was an important aspect that was given at birth and should always be displayed on murals and statues of the person concerned.
Everything was put in place to protect and maintain the name through writings and cartouches. The ‘Book of Breathings’ as a derivative of the Egyptian Book of the Dead was an important means to ensure the survival of a person’s name. Removing a name from a temple, tomb or image, as happened many times by the subsequent pharaoh, was a terrible event for the deceased. There are countless examples in ancient Egyptian temples and monuments where the pharaoh’s names were removed by their successors, so they could easily own a temple without building a new one. Therefore, the name of a pharaoh was often repeated and displayed in as many places as possible to ensure that the name continued to be read and spoken. In today’s funeral rituals, the deceased’s name is the only aspect of a person that continues to exist through a tombstone or plaquette. In our modern society, the other aspects are of no significance.

The Egyptian concept of life and death is very complicated and therefore there are several interpretations of the Ba, Ka and Akh aspects

The Ba and the Ka are the two main aspects of a person’s soul. The Ba is the physical part of the soul that was displayed as a bird with the head of a human being, and as such was able to travel as a soul between heaven and earth. The Ba is thus the only aspect of the deceased which can move freely. In order to be able to move and survive in the afterlife, the Ba needed food which was realised by offerings to the deceased. The Ba often swirled among relatives and friends in the physical world, and was the only ‘connection’ between the real world and the afterlife in which they were able to assume different forms. In fact, the Ba was the moving part of the deceased’s soul, while the Ka represented the life force and the spiritual part of the soul administered at birth as the first breath of life. Only during the day the Ba was allowed to leave the tomb to be among the living while the Ka remained in the tomb.

Image 3. Ram-headed creator god Khnum at his potter’s wheel

The Ba and the Ka formed the soul during a person’s earthly life and were separated after death. In the afterlife, the soul of the deceased was formed by the reunification of the Ba and the Ka, and was called the enlightened soul or Akh. The Ba and the Ka were united to resuscitate or alleviate the soul. A soul is enlightened or freed when the Ba reunites with the Ka and an enlightened soul made the deceased become part of the starry sky (Akh-Akh) together with all the other deceased, gods and birds. The ancient Egyptians believed that the Akh was still able to influence events on earth through illnesses, emotions, guilt and nightmares. The hieroglyph of the Akh is a crested ibis (image 2).

Image 4. The undamaged Ka-statue of pharaoh Auibre Hor


Actually, the Ka or spiritual part of the soul, symbolizes the life force of a person and was created at birth as the first breath of life by Khnum, a creator god from Egyptian mythology (image 3). The ancient Egyptians believed that Khnum was creating a child’s body on his potter’s wheel before it was inserted into the womb of the mother. Of great importance is that the Ka was associated with the first breath of life during childbirth. In essence, the Ka is the double or replica of the deceased, and therefore a statue that accurately represents the deceased is also called a Ka-statue in which the life force of the person in question can survive. When someone dies, the Ka leaves the body and remains in the deceased’s tomb and became the extension of one’s life. This extension of one’s life was thus represented as its double or Ka-statue in which the deceased’s life force continued to last as long as the statue remained in good condition.
The Ka is represented by two raised arms at an angle of 93 degrees which symbolize the life force of a human body and sometimes these raised arms are part of the Ka-statue. The famous wooden statue of pharaoh Auibre Hor from the thirteenth dynasty is a fine example of a Ka-statue in a perfect condition and is located in the Egyptian Museum in Cairo (image 4). In fact, a Ka-statue in perfect condition is a ‘living statue’ in which the life force of the deceased is still present. Such a statue is a remarkably powerful statue.

The first and last Breath of Life is the greatest secret of all and the only and shortest connection to our soul

Image 5. ‘Adapted’ wall relief



The Egyptian concept of life and death is very complicated and therefore there are several interpretations of the Ba, Ka and Akh aspects. It is a fact that the Ka statues are the so-called doubles or shadows of the deceased and that the Ka forms an important internal part of these statues and murals. For the successive pharaoh, it was therefore vital that these statues and murals could not exert any negative effect in the world of the living. Especially the world of the ruling pharaoh. The statues themselves were allowed to remain undamaged, only the Ka inside the statues had to be made harmless by ensuring that the Ka could no longer breathe and would die. Since the human nose is the main external respiratory organ, it was carefully removed to prevent the statue from ‘breathing.’

Image 6. ‘Adapted’ Ka-statue

The removed nose as a symbol of the breath of life made the statue or mural harmless and made it impossible for a former ruler (pharaoh, priest or official) to exert any influence on the living. In fact, Ka means nothing but breath and removal of the nose was the only option to ensure that the Ka and the Ba could not reunite in the afterlife. There will be no resuscitation of the Akh and the influence of the deceased on the living is reduced to zero. A thus violated Ka-statue is therefore harmless. For this reason, the noses of the vast majority of ancient Egyptian statues, murals and wall reliefs have been removed intentionally. The first and last Breath of Life is the greatest secret of all and the only and shortest connection to our soul.

In ancient times, one believed that nasal breathing was ‘breathing into the soul’ in order to increase one’s Universal Life Force or Prana; the ‘shadows’ of individuals did not constitute an exception

the harmony of sound

The values of the diameter of the Moon of 2,160 English statute miles and of the Sun of 864,000 statute miles are linked to musicology. The number 216 corresponds to 216 hertz as an octave of the natural attune of 432 hertz instead of 440 hertz, which is now regarded as the standard frequency of sound on which all tuning forks and musical instruments are tuned. Mid twentieth century, the 440-hertz frequency was internationally accepted as the standard musical, but unnatural keynote A. The more natural 432-hertz frequency complies with the harmonics of the universe and better suits human nature. When the A is equal to 432 hertz, then the musical note E is equal to 324 hertz with its ‘Great Octave’ being 81 hertz, the lowest E-tone playable on a musical instrument, and the fifth harmonic of the ‘Golden Frequency of Giza’ of 16.2 hertz. The relationship between the Sun, Earth and Moon is based on the number 432 as a harmonious and universal constant. ‘Musica Universalis.’

The number 432 is a significant universal constant and the natural harmonic frequency of 432 hertz seems the only right choice as the standard frequency. All in perfect harmony with the universe and numerically related to the number 9, the ‘number of creation.’ All digits of these universal numbers always add up to 9 as if the number 9 is a means of control for the correctness of the specific number. This applies to all other frequencies when the natural standard frequency is 432 hertz instead of 440 hertz. The 432-hertz frequency is only 8 hertz down in frequency but a clear measurable difference in harmony, both audible and visible. The most precise musical instrument ever created is the original antique Stradivarius violin, designed to resonate at a frequency of 432 hertz, similar to all ancient Egyptian and ancient Greek instruments.

de harmonie van klank

De diameter van de Maan van 2160 Engelse ‘statuut mijl’ en de diameter van de Zon van 864.000 mijl zijn direct gekoppeld aan de muziekwetenschap. Het getal 216 komt overeen met de 216 hertz-frequentie als een octaaf van de natuurlijke frequentie van 432 hertz in plaats van 440 hertz, die nog steeds beschouwd wordt als de standaard frequentie waarop alle stemvorken en muziekinstrumenten zijn gestemd. Halverwege de twintigste eeuw werd de 440 hertz frequentie internationaal aanvaard als de standaard muziek- of kamertoon A. De meer natuurlijke frequentie van 432 hertz is echter gebaseerd op de harmonie van het universum en past veel beter bij de menselijke natuur. Als de A gelijk zou zijn aan 432 hertz, dan zou de bijbehorende muziektoon E gelijk zijn aan 324 hertz waarvan het zogenaamde ‘Groot Octaaf’ dan weer gelijk is aan 81 hertz, de laagste E-toon die door een muziekinstrument kan worden gespeeld en is tegelijkertijd de ‘vijfde harmonische’ van de ‘Gulden Frequentie van Gizeh’ van 16.2 hertz. Het verband tussen de Zon, Aarde en de Maan berust op het getal 432 als harmonische en universele constante. ‘Musica Universalis.’

Het getal 432 is een significante universele constante en de natuurlijke harmonische frequentie van 432 hertz is daarom de enige juiste keuze voor de te gebruiken standaard frequentie in de muziek. In perfecte harmonie met het universum en numeriek opgeteld gelijk aan het cijfer 9, een belangrijk scheppingsgetal. Alle afzonderlijke cijfers van deze universele getallen zijn opgeteld altijd gelijk aan 9 alsof het cijfer 9 een controlemiddel is voor de juistheid van het betreffende getal. Dit geldt voor alle frequenties als de natuurlijke standaardfrequentie gelijk is aan 432 hertz in plaats van 440 hertz. De 432 hertz-frequentie is maar 8 hertz lager in toon en toch is er een duidelijk verschil, zowel hoorbaar als zichtbaar via zijn waterklankbeeld. Het meest nauwkeurige muziekinstrument ooit gemaakt is de originele Stradivarius viool die is ontworpen om te resoneren op een frequentie van 432 hertz, net als alle Oud-Egyptische en Oud-Griekse instrumenten.