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Scarabs and Sun-Disks: Symbols of Ancient Egyptian Religion

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Hieroglyphs, pillars with eyes, hearts on scales…Egyptian mythology is brimming with religious imagery. Curatorial assistant Jake Gentry gives a brief overview of some of these symbols, in this tomb-multuous blog!

The polytheistic religion of ancient Egypt has long fascinated both professional Egyptologists and the history-loving hobbyist, even after the 2,000 years since ancient Egypt’s fall at the hands of the Romans. Further, ancient Egypt’s role as a cultural superpower during antiquity would lead to its enduring influence today. For example, in American culture, Egyptian influence can be seen in the Washington Monument (an Egyptian-style obelisk) in Washington, D.C., or the pyramid and all-seeing Eye of Providence on the American dollar bill. Lasting legacies and cultural diffusions have also led to some distortions of Egyptian myths, such as the western horror trope of the animated mummy– now considered one of Halloween’s staple monsters alongside Dracula-esque vampires and green-skinned Frankenstein’s monster(s). However, the symbols and iconography utilized in ancient Egyptian religion go far beyond just eyes and mummies. Let’s delve into a few of those together.

Table of Contents

Ankh: The Key of Life (☥)

Illustration of the ancient Egyptian ankh, a t-shaped symbol with a loop on top.
Illustration of an ankh from Susan Acker’s miniature book, Ra, the Sun God (BL2450.R2 A18), published in Mill Valley, California by Splendid Press & Paper Works in 1979.

One of the most prominent symbols in Egyptian mythology is the ankh, which is also called the key the life. Representing life force, the ankh is commonly depicted being carried by the gods, which showcases their life-giving power and role to Egypt and its people. Like the scarab, the ankh was often worn as an amulet for everyday and ceremonial use. One of the most irradicable icons of the Egyptians, the first usage of the ankh dates back to the First Dynasty (3100 BC– 2900 BC), approximately 5,000 years ago.

Fun Fact: 3100 BC was a big year for the ancient world– around this time, writing was invented in Mesopotamia and Egypt!


Illustration of a bird-headed man holding a black staff and t-shaped talisman. Atop his head rests a golden, disk-shaped sun encircled by a serpent.
Illustrated here is the ancient Egyptian, falcon-headed sun god, Ra. You will note that Ra also holds an ankh in one of his hands; in ancient Egypt, this was used as a visual motif to convey the life-giving power of the gods. In his other hand, Ra holds the was-scepter, and atop his head, he wears the sun disk. Encircling the disk is the symbol of an Egyptian cobra, the uraeus. From Susan Acker’s miniature book, Ra, the Sun God (BL2450.R2 A18), published in Mill Valley, California by Splendid Press & Paper Works in 1979.

The wedjat-eyes: The Eye of Horus and Eye of Ra

Often confused for the other and even conflated as one, the two wedjat eyes are two drastically different symbols; the right-facing Eye of Ra and the left-facing Eye of Horus. But before we get into the eyes themselves, let us first talk the goddess of the eyes, Wadjet (“the Green One”). Legends vary on Wadjet’s family, but at least one myth identifies her as a daughter of the supreme sun god Ra. Acting as Ra’s divine eye, Wadjet assisted him in locating the primordial gods Shu and Tefnut. Wadjet has a few various depictions, with her most notable form being a verdant cobra, commonly given large, colorful wings and a crown (Aldington and Ames 28). She can also appear as a lioness-headed goddess and a small, rearing cobra on the crown of gods and pharaohs (this form is the uraeus, another symbol we will get into later on). She is regarded as the patron of Lower Egypt, and alongside Nekhbet, a vulture goddess and patroness of Upper Egypt, forms the “Two Mistresses,” the guardians of a unified Egypt (Aldington and Ames 26-28). Said to be one of Ra’s most beloved children, Wadjet not only presided over Ra’s orders, but also defended him by spitting fire at his enemies in her serpent form (Aldington and Ames 12).

Illustration of a lion sitting on a decorated platform. Behind it, a cobra intertwines itself around the long stem of a lotus plant.
Illustration of Wadjet as an Egyptian cobra (Naja haje), entwined around a lotus stem beside a lion or sphinx associated with Osiris or Ra. Here, Wadjet is regarded as “Uatchet the Fiery,” which denotes her searing solar power, often interpreted as the harsh rays of the desert sun. The Eye of Ra, the right-facing wedjat-eye, came to embody this fierce side of her protective authority over Egypt. This illustration is from the Lilly Library’s facsimile of the Papyrus of Ani, a copy of The Book of the Dead housed in the British Museum. Our copy was published in London by the British Museum in 1890 (PJ1555 .A3 1890). The original Papyrus of Ani is dated to 1250 BCE, during the Nineteenth Dynasty of the New Kingdom of ancient Egypt.

Fun Fact: Wadjet wrapped around a lotus or papyrus stem is regarded as one of the earliest symbols of a serpent coiled around a staff, dating back to 3100 BC (or Predynastic-era Egypt). Similar symbols that came later, such as the Greek caduceus and Rod of Asclepius, could have been influenced by Wadjet’s iconography.

Illustration of two eye symbols over an Egyptian-style throne. A god holding a handful of grain sits on the throne, dressed in green.
Illustration of the two wedjat eyes, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. Between the eyes is the shen (“encircling”) ring, a symbol for eternity and eternal protection, which is also often associated with Horus (Ions 34).

The Eye of Ra, also known as the right wedjat-eye, is a symbol that often represents the destructive power of Ra, the sun god and ruler of the Egyptian pantheon. The severe heat of the sun was occasionally likened to divine arrows shot by Ra to slay evil beings. Further, the incendiary gaze of the Eye of Ra was regarded as one of the few countermeasures against Apep, the chaos-serpent and source of all evil in Egyptian mythology. However, like the Eye of Horus (the left wedjat-eye), the Eye of Ra was used in apotropaic or protective magic to ward off evil and was often worn as an amulet.

Fun fact: One of the variant representations of Horus is known as Horus the Elder or Haroeris. One of Haroeris’s titles was “Horus of Two Eyes” (Ions 37).

The more famous of wedjat eyes, the Eye of Horus is a symbol of protection, healing, and prosperity. While being associated with the all-seeing eye goddess Wadjet, the Eye of Horus has another mythical origin. In Egyptian mythology, Horus, son of Ra and god of protection, frequently comes into conflict with his uncle Set, a malevolent god of chaos, storms, and the desert. In one of their battles, Set tears out one of Horus’s eyes (Aldington and Ames 21). Thoth, the scribal god of knowledge, magic, and record-keeping, recovers the eye restores Horus’s vision. This reconstituted eye would become the Eye of Horus.

As a symbol of apotropaic or protective magic, the Eye was often worn as an amulet to ward off evil and chaos (interpreted as Set). Eyes of Horus can be found in the artwork of Egyptian sarcophagi and temples, ancient tattoos preserved through mummification, and even on the bows of ships– as Eyes of Horus were believed to not only guard the ship from harm, but give it sight on its voyage. 

Illustration of the Eye of Horus, an ancient Egyptian symbol composed of an eyeball with a curved element underneath the pupil.
Illustration of the left-facing Eye of Horus, from Ra, the Sun God (BL2450.R2 A18), published in Mill Valley, California by Splendid Press & Paper Works in 1979. After Thoth restores Horus’s eye, Horus offers the eye to his father Osiris, god of the dead and ruler of the Duat, the Egyptian afterlife. The Eye of Horus was said to have rejuvenated Osiris, who had been slain by Set. Thus, the eye came to be used in funerary and temple offerings. Harkening back to Thoth, who was additionally a moon god, the Eye could also embody the moon, with its waning and waxing phases mirroring the wounding and reconstituting journey of the Eye.

Uraeus: The Serpent and the Crown

Illustration of two Egyptian gods, Osiris and Isis, standing in a decorated shrine. Both gods wear ornate headdresses, and Isis embraces Osiris from behind.
Illustration of Osiris and Isis within a shrine, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. Osiris holds the was-scepter, crook, and flail, in his hands, and bears the uraeus on his crown. Osiris, as the reanimated god of the underworld, is usually depicted with green skin, as green was associated with rebirth in ancient Egypt. His white clothing (starting at his torso) represents mummification wrappings. Cobras, likely symbolizing Wadjet, watch over the gods from above.

Wadjet’s most common depiction is quite subtle, and you’ve likely seen her without even realizing it. In her serpent form, Wadjet manifests as the uraeus, a rearing Egyptian cobra on the crown of gods and pharaohs. The uraeus is a symbol of sovereignty and royal power, and conveyed authority over the land. In later tradition, drawing from Wadjet as the Eye of Ra, the uraeus was a divine weapon, and would defend gods and pharaohs by spitting fire at their enemies from their crowns. On rare occasions, Wadjet could be joined by fellow goddess Nekhebet on the crown of pharaohs to denote their dominion over a unified Egypt. More commonly, Nekhebet is depicted flying over him, carrying the shen ring, while only the uraeus adorns the crown (Aldington and Ames 28).

Crowns were highly symbolic in ancient Egypt. You will see two colors in the double crown of unified Egypt, or Pschent. The Pschent, which represented unity and the strength of Egypt, was composed of two crowns (Ions 38). The red crown of Lower Egypt (the Deshret) forms the bottom and large swirling curlicue, while the white crown of Upper Egypt (the Hedjet) forms the upper, rounded cone shape. Wadjet, as patroness of Lower Egypt, thus was associated with the Deshret, in like manner, so too was Nekhebet with the Hedjet (Aldington and Ames 28-29).

Illustration of human figures wrestling, with three Egyptian symbols displayed above them, a scarab beetle, a flying vulture, and the ankh, which resembles the letter "T."
Illustration of the scarab, ankh, and a vulture in flight, grasping a shen ring, which represents the vulture-goddess Nekhebet. From Akhenaton’s Hymn to Aton, published in San Francisco, California by Juniper Von Phitzer in 1995 (BL2450.A83 A44 1995).
Illustration of the Egyptian god Horus, who has the head of a falcon with the body of a man, holding the hand of a human man with long hair.
Illustration of Horus announcing the righteousness of Ani, from the The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. Here, Horus dons the double crown of Egypt, the Pschent. Interesting, neither the uraeus (Wadjet) or Nekhebet adorn his crown.

Aten: Akhenaten and his Problematic Solar Disk

Illustration of Egyptian goddesses with their hands raised in adoration to an ankh symbol that supports a red disk, which represents the sun.
Illustration of sun disk worship, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. Here, the goddess Isis and Nephthys kneel before the pillar of djed or Tat, a pillar-like symbol associated with the god, Osiris. On the pillar of djed is mounted an ankh, the symbol of life, which in turn supports the red sun-disk that would later become the solar god, Aten. Around them, three cynocephali (the dog-headed baboons), the openers of the eastern portals to the afterlife, raise their hands in devotion (The Book of the Dead).

Aten (“disk”) is an Egyptian god and symbol of the radiating solar disk, with emanating rays that end in human hands. Originally an aspect of Ra, the Egyptian sun god, the sun disk was regarded as Ra’s celestial abode of the sky. Aten was not deemed even a minor deity until the Twelfth Dynasty (1991–1802 BC), when “aten” appears as a divine name in the Story of Sinuhe. By the time of the New Kingdom, Aten is recognized as a lesser sun god, with Ra still regarded as the central solar deity (Wilkinson 236). In this time, Aten functioned as a god of war and defender of the pharaoh, as seen in a commemorative scarab issued by Thutmose IV (who reigned in 1401–1391 BC) (236). Thutmose’s son, Amenhotep III, inherited a reverence for Aten, and emboldened its worship during his reign by including the solar disk’s iconography in the many buildings and temples he issued. Amenhotep III also bore the title “Tjekhen-Aten,” meaning ‘radiance of Aten’ (236). However, Aten’s true time to shine would not come to pass until the reign of Amenhotep III’s son, Amenhotep IV, who renamed himself Akhenaten (meaning “Effective for the Aten”).

Illustration of a sun with radiating rays that end in human hands.
Illustration of Aten, from Carol Cunningham’s The Sun: An Alphabet (Z1033.M6 M681 no.196), published in Mill Valley, California by Sunflower Press in 1997.

Fun Fact(s): 2026 Aten is a near-Earth object (NEO) and S-type asteroid, designated by the symbol: . This asteroid was discovered in 1976 by Eleanor F. Helin, a prolific American astronomer and principal investigator of NASA’s Near-Earth Asteroid Tracking (NEAT) program (Eleanor Helin Exhibit). 2026 Aten, named after the Egyptian god Aten, belongs to a greater group of Aten asteroids. The probably most notable of the Aten asteroids is the infamous 99942 Apophis (named after the Egyptian chaos serpent Apep), an asteroid that, briefly, was thought to be on track with impacting Earth on Friday, April 13, 2029. Luckily, contemporary estimations have sense ruled out an impact of any kind, and this Aten asteroid will only fly by Earth (yay!).

New Kingdom pharaoh, Akhenaten, became a major disruptor of ancient Egyptian polytheism. During his reign, approximately 1350–1336 BC, he replaced the traditional polytheistic religion with the new, monotheistic religion of Atenism, which appointed Aten, the divine sun disk, as the supreme god of Egypt. Likely motivated by his father and grandfather’s reverence for solar worship, Akhenaten’s new religion was one of history’s first examples of monotheism. Akhenaten forbade the worship of any god but Aten and shuttered the state temples of all other gods. To further problematize Atenism, Akhenaten claimed only he and his wife, Nefertiti, served Aten directly, and he alone understood the god’s true ways– despite there being an entire cult dedicated to Aten (Wilkinson 236).

Unsurprisingly, Akhenaten’s religious upheaval and forceful abandonment of the other gods did not bode well, especially to the priesthoods of the other gods who he actively suppressed and undermined. After Akhenaten’s reign (and the brief rule of his relative, Smenkhkare), his son or grandson, Tutankhaten, inherited the throne of Egypt. Tutankhaten, returning to the ancestral city of Thebes, renamed himself Tutankhamun (meaning “the living image of Amun”) (Hamilton 40). Rebuking his father (or grandfather’s) religion, King Tut reinstated the cults of the other gods and reopened their temples, ushering in a new age of polytheism. Akhenaten, as well as his Aten-loving relatives, were struck from king-lists, meant to be lost from memory– the gravest of punishments in Egyptian society. Remembered as a heretic, Akhenaten is referred to in ancient records as “that criminal” or “the enemy” (Hamilton 40). In similar manner, Aten’s monuments were demolished, its temples deserted, and it was removed from the pantheon of gods (Hamilton 40).

The Was: Scepter of Power

Illustrated here is Horus, a sun and sky god in Egyptian mythology. You will recognize the T-shaped ankh in one of his hands. In his other hand, Horus holds the was-scepter, a black, straight staff topped with an animal head. The was (wꜣs, “power, dominion”), is a symbol of divine authority, and was utilized similarly to the ankh to showcase the might of the gods (Global Egyptian Museum). The was is also associated with Set, an Egyptian god of chaos and storms, and the Set animal, or sha. The Set animal, which appeared as a slender, black jackal-like creature with a forked tail, shared its likeness with the scepter.

Illustration of Horus, an Egyptian god with a falcon head and human body. Here, he is crowned and holds a pointed staff.
Horus, holding an ankh and was-scepter, from Carol Cunningham’s The Sun: An Alphabet (Z1033.M6 M681 no.196), published in Mill Valley, California by Sunflower Press in 1997.
Illustration of the jackal-headed god Anubis, tending to a mummy. Below him, a black jackal rests upon a block-shaped shrine.
Illustrations from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. In the above image, Anubis, god of funerary rites and protector of the dead, guards a mummy in a sepulchral chamber. In the lower image, Anubis or Wepwawet (“opener of the ways,” another jackal-headed funerary god), sits atop a shrine. The Set animal was likely associated with both Anubis and Wepwawet (The Book of the Dead).
Grammatical table of ancient Egyptian hieroglyphs, with corresponding numbers.
Grammatical table of ancient Egyptian hieroglyphs from Günther Roeder’s Short Egyptian Grammar (56), published in New Haven by Yale University Press in 1920. The Set animal, depicted as a dog-like character with a forked tail (Hieroglyph #66, located in the center of the page), was associated with the storm god Set, and thus was used to convey bad weather.

In Egyptian mythology, chaos is the greatest evil in the world, and Ma’at, the goddess of truth and balance, brought order to the world’s chaos. Thus, the was-scepter also symbolizes the divine power to control and defeat Set and the chaos he created. Anubis, the Egyptian god of funerals and mummification, was another jackal-god particularly linked with the was. With Anubis, the power of the scepter protected the well-being of the deceased, and its symbol often adorned sarcophagi (Global Egyptian Museum). Physical scepters were also placed in tombs for the deceased to use in the afterlife. Further, the likeness of the scepter was worn as an amulet, like the ankh, Eye of Horus, and djed-pillar.

Scarab: The Beloved Bug of Egypt

No bug had it better in ancient Egypt than Scarabaeus sacer or the sacred scarab (“ḫprr” in Egyptian). The scarab was linked with Khepri, the scarab-headed god of creation, rebirth, and the morning sun, as well as Ra, the sun god and ruler of the gods (The Book of the Dead). Scarab amulets were quite common in ancient Egypt, used in everyday wear and funerary ritual for protection, signs of reverence, and to bring good fortune. Scarab-shaped seals were also common, inscribed with the names of pharaohs, gods, and locations, as well as phrases for luck or good wishes (Britannica). The iconography of a divine scarab pushing the sun-disk across the sky mirrors scarab species like Scarabaeus sacer (which are dung beetles), who use their scooper-like heads and paddle-shaped antennae to roll manure into balls (Britannica). Unlike Khepri and the sun-disk, scarabs dig a hole to hide their dung balls, where they then feast upon them. They also craft special dung balls in which they lay their eggs. (Hmm, gross.)

Illustration of a winged scarab beetle holding a red disk between its forelegs.
Illustration of winged scarab holding the sun disk between its forelegs, from Carol Cunningham’s The Sun: An Alphabet (Z1033.M6 M681 no.196), published in Mill Valley, California by Sunflower Press in 1997.

Fun fact: Funerary scarabs, called heart scarabs, were often placed among the bandages or on the chest of mummies to quiet the heart during a spirit’s ceremony of judgement in the afterlife (Britannica).

A scarab-headed god rides on an ancient Egyptian-style boat. An Eye of Horus, a eyeball with a spiral underneath it, floats behind it.
Illustration of Ra-Khepri on the Mandjet, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890), published in London by the British Museum in 1890. At daybreak– the start of his solar journey– Ra is young and spry, and takes the form of Ra-Khepri, the scarab-headed god of the morning sun and rebirth (Hart 84). During this time, Ra-Khepri sails the solar barque of the morning and day, known as the Mandjet (Egyptian: mꜥnḏt), otherwise known as the Boat of Millions of Years (Hart 135). On and beside the Boat of Millions of Years are Eyes of Horus, which guard Khepri on his journey. As mentioned previously, the Eye of Horus on the boat’s bow is a protective measure to encourage safe voyage and provide eyesight to the vessel so it may see ahead.

Djed Pillar: The Spine of Osiris

Illustration of a seated god (Osiris) on a throne. Behind him stand the goddesses Isis and Nephthys, who appear as human women with ornate headdresses.
Illustration of Osiris on his throne in the Duat, or afterlife. Behind him stand the goddesses Isis, his wife, and her sister, Nephthys. In front of Osiris sprouts a lotus flower that bears the four sons of Horus, guardian spirits of the dead. From The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890).

The djed pillar is associated with Osiris, the god of the vegetation and, after his murder and resurrection, god of the dead. The djed pillar originates from the myth of Osiris’s death and reanimation. According to legend, Osiris, firstborn of Geb and Nut and grandson of Ra, succeeded Geb as divine king of Egypt, and wed Isis, a maternal goddess of magic, healing, and mourning. Together, Osiris and Isis had Horus, a sky god of kingship and protection. Osiris was a beloved ruler, which angered his brother Set, god of desert storms and chaos (Aldington and Ames 16). Set, envious of his brother’s power, imprisoned Osiris in a coffer and threw it into the Nile, where it was carried out to sea. Osiris’s drowned body would remain in the coffer, which would wash ashore in Byblos, at the base of a sacred tamarisk tree. Osiris’s divinity imbued the tree with great power, and it grew so rapidly that it completely enclosed the coffer within its trunk (Aldington and Ames 18). This tree would be found by Malcander, the king of Byblos, who fashioned its trunk into a support pillar for his palace.

Isis eventually heard of this tree, and traveled to Byblos, where she revealed herself to Malcander and his wife. The rulers presented Isis with the pillar, and she extracted the coffin and the body of Osiris. She consecrated the pillar with her tears, myrrh, and wrapped it in linen– and it became known as the djed pillar, meaning pillar of stability (Aldington and Ames 18). Isis spirited Osiris’s body back to Egypt, where she concealed it in the swamps of Per-Wadjet, known later by the ancient Greeks as Buto. However, tragedy would strike again when Set would stumble upon the coffin accidently while hunting (Aldington and Ames 19). Seeking to utterly destroy his brother’s remains this time, Set cut Osiris’s body into fourteen pieces, and scattered them throughout Egypt. Upon learning what Set had done, Nephthys, his wife, left him, and joined her sister Isis in searching for Osiris’s fragmented body. The gods Anubis, Thoth, and Horus would also assist in the search.

Illustration of a colorful column with a pair of eyes. Above it, a jackal-headed god sits.
Illustration of an anthropomorphized djed pillar and Anubus from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). Djed, which means “stability,” became so intrinsically associated with Osiris that the symbol came to represent him (Russmann 126). As a manifestation of Osiris, the djed was occasionally given a pair of eyes, which peer out from between the capitals (Russmann 126). Another Osirian characteristic given to djed pillars, not pictured here, is holding the crook and flail (another motif associated with Osiris, which represented pharaonic power and fertility). The eyes of a djed pillar are also identified as wedjat eyes, imbuing Osiris and his spine with divine protection (Hodel-Hoenes 222). Also in this illustration, the jackal-headed Duamutef, one of the four sons of Horus (protectors of the dead), sits above the djed.

After some time, they were able to locate all but one piece of Osiris (his genitalia, which was devoured by a Nile crab…yuck). Isis, using her magic, joined the fragments back together and preformed the first rites of embalmment in history, which reanimated Osiris and gave him eternal life (Aldington and Ames 18). Osiris, once reconstituted, decided to not return to the world of the living, but remain in the Duat as ruler of the dead.

A colorful pillar, with four crossbars lining its top.
Illustration of a djed pillar, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). On the morning of the sed-festival, the royal cult would ceremoniously erect a physical djed pillar, which represented Osiris’s victory of the villainous Set.

Like Osiris, the djed represents multiple things. Originally, it symbolized fertility of the land as the trunk of a conifer tree; thus, acting as a tree fetish. This interpretation of the symbol likely referenced Osiris’s coffer encased in a tree trunk. Later on, the djed became more structured, appeared as a tiered pillar with four capitals or crossbars at the top. Due to Osiris’s association with death, dismemberment, and resurrection, his myth became quite anatomical, which explains why the djed pillar also came to symbolize his spine– with the capitals representing the vertebrae of his backbone (Aldington and Ames 17). As a symbol, the djed represents stability, eternity, and “temporal endurance” (Hodel-Hoenes 222). The djed was often used as a funerary amulet for mummies, as it was said to reinforce the backbone of the deceased and assist in the soul’s resurrection (Hodel-Hoenes 222).

Tyet: The Knot of Isis

While the early usage of this symbol is unknown, it was likely linked with femineity, as similarly shaped hooped cloth knots were used during menstruation (Andrews 45). By the New Kingdom period, the tyet, also called the “Tat,” was definitively associated with Isis (The Met Museum). As divine magician and wife of Osiris, Isis’s magical prowess surpassed all other gods in Egyptian mythology. Representing a magic knot of cloth, the tyet embodies Isis’s role as magician, healer, and mourner (Aldington and Ames 18). Thus, the tyet is a symbol of magical power, life force, and protection, especially of the dead. As an amulet, the tyet was usually made of red substances, like carnelian, jasper, or red glass and glazed earthenware. According to Chapter 156 of the Book of the Dead, the tyet should be made of blood-red stone, like jasper, as it represented the blood of Isis (Andrews 44). As a funerary amulet, the tyet was used to adorn the dead, and was tied around the deceased’s neck or tucked within a mummy’s wrappings (usually over the upper torso) (Andrews 45). The tyet was an imperative amulet for the dead, and no mummies were intentionally interred without at least one placed within its wrappings. This was due to the belief that the tyet defended the body from desecration and the spirit from all harm in the afterlife (The Met Museum). Less commonly, tyet amulets could be made from green stone or glass, as green was associated with regeneration and Isis’s husband, Osiris, god of the dead.

A colorful column with four crossbars at its top beside a t-shaped knot.
Illustration of a tyet (right) beside a djed pillar (left), from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). In Egyptian mythology, Osiris, ruler of the dead, is inseparable from his sister-wife, the magician Isis. Their devotion and divine partnership extend even to their symbols, which are commonly depicted together. Here, the hieroglyphs for the tyet (the Knot of Isis) sits beside the djed (the Spine of Osiris). As symbols of life and death, both the tyet and djed were used in funerary rites. Isis offered the deceased spiritual protection and restoration, while Osiris provided stability and endurance. The above illustration, from Chapters 155-56 of the Book of the Dead, detail various prescribed amulets (Andrews 64-65).
Illustration of a group of people walking and carrying various objects. In the center, a group pulls a large, ornate box behind them. A jackal rests atop the chest.
Illustration of a funeral procession, in which servants pull a funeral shrine behind them, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). The shrine, topped with Anubis, is decorated with djed pillars and tyet knots, providing the deceased with the potent protection of both Isis and Osiris.

The tyet shares visual similarities with the ankh, another symbol of life. The two symbols only differ in their arms: the tyet’s arms curve downward, while the ankh’s stick straight out. Likewise, while the ankh represents life, the tyet represents welfare.

The ancient Egyptians associated knots with magic and witchcraft. It was believed that magic could be bound and stored in a knot and unleashed if the knot was unraveled (The Met Museum). Alongside the ankh and djed, the tyet could also be carved into heart scarabs, amulets placed on the chest of mummies which represented their heart (Andrews 57).

Fun Fact: Among the many amulets that adorned Tutankhamun’s mummy was a tyet knot made of red jasper!

Bonus Symbol(s): The Feather of Truth / Scales of Ma’at

Two goddess seated on thrones. They wear feathers on their heads and carry T-shaped ankhs and staffs in their hands.
Illustration of the twofold manifestation of Ma’at, goddess of justice, truth, and cosmic balance. Ma’at can be identified by the ostrich feather atop her head, which represents her Feather of Truth. In her hands, she holds ankhs and was-scepters. From The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890).

In ancient Egyptian mythology, the soul must first be judged before it can enter the afterlife. This is done through a ceremony known as the Weighing of the Heart, which is overseen by multiple gods, including Osiris, Anubis, and Thoth. To undertake the ceremony, a spirit journeys to the Hall of Ma’at, the goddess of truth and order, and weighs their heart against her Feather of Truth. If the heart balances with the feather, it is deemed worthy to enter the heavenly realm of Aaru, otherwise known as the Field of Reeds. If the heart is heavier than the feather, the soul is consumed by Ammit, the Devourer of the Dead, and doomed to eternal nonexistence. (Yikes!)

A snake deity with a serpent body and two human feet.
Illustration of Nehebkau, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). Nehebkau, delightfully depicted as a snake with stubby human legs, is one of the forty-two Assessors of Ma’at. The Assessors assist Osiris in the overall judgement of souls during the Weighing of the Heart ceremony. Essentially divine jurors, each Assessor presides over a single sin. Nehebkau’s resided over arrogance (Hart 33).
Illustration of a jackal-headed god, Anubis, weighing a human heart on a scale. A feather is on the other side of the scale. A strange, crocodile creature looks to Anubis, its toothy mouth agape.
Illustration of the Hall of Twofold Ma’at, from The Book of the Dead: Facsimile of the Papyrus of Ani in the British Museum (PJ1555 .A3 1890). In the upper section, Anubis weighs the heart of Ani (right) against the Feather of Truth (left) on Ma’at’s scales. The chimeric Ammit awaits hungrily beside him. In the lower panel, Thoth, the ibis-headed god of writing and knowledge, records the trial of Ani’s conscience. The Feather of Truth stands beside him.

About the Author

Jake H. Gentry is a 26-year-old gay author, artist, and graduate student. He received his Master of Library Science with a specialization in Rare Books and Manuscripts at Indiana University Bloomington, where he is now also pursuing his MA in Curatorship. He is a curatorial assistant at the Lilly Library. Born and raised in southern Appalachia, he now lives in Bloomington, Indiana, with his partner and his two cats, Poe and Jiji.

Micro-Mythologies Exhibition

Interested in world mythology and folklore? Come visit Micro-Mythologies, now on display in the Lilly Library Ball Room! Or read about the exhibition here. 

Micro-Mythologies: World Mythology Made Miniature is curated by Curatorial Assistant Jake Gentry, with counsel from Sarah McElroy Mitchell, Curator of Religious Collections. In addition, exhibition design was done by Jenny Mack and graphic design by David Orr. This exhibition will be open from March 23rd to December 18th, 2026.

Sources Cited and Consulted

Aldington, Richard and Delano Ames. Larousse Encyclopedia of Mythology. London: Batchworth Press, 1959, pp. 28-29. BL310 .G853 1959

Amin, Osama S. M. “Djed & Tyet.” World History Encyclopedia, https://www.worldhistory.org#organization, 18 July 2016, www.worldhistory.org/image/5341/djed–tyet/. 

Andrews, Carol. Amulets of Ancient Egypt. Internet Archive, University of Texas Press, 1 Jan. 1994, pp. 44-65. archive.org/details/amuletsofancient00andr/page/44/mode/2up?q=red%2Bjasper.

Egypt Museum. “Winged Scarab Pectoral of Tutankhamun.” Egypt Museum, 7 Aug. 2024, egypt-museum.com/winged-scarab-pectoral-of-tutankhamun/. 

Hamilton, Robert. Ancient Egypt. Internet Archive, Bath, UK : Paragon Pub., 1 Jan. 1970, archive.org/details/ancientegypt0000hami/page/40/mode/2up?q=heretic.

Hart, George. Routledge Dictionary of Egyptian Gods and Goddesses. Internet Archive, pp. 33-135, archive.org/details/RoutledgeDictionaryOfEgyptianGodsAndGoddesses/page/n43/mode/2up. Accessed 17 Mar. 2026.

Hodel-Hoenes, Sigrid. Life and Death in Ancient Egypt: Scenes from Private Tombs in New Kingdom Thebes. Trans. Warburton, David. Ithaca, N.Y.: Cornell University Press, 2000, p. 222. Retrieved 2026-03-17.

Ions, Veronica, et al. The World’s Mythology In Color. Secaucus, N.J.: Chartwell Books, 1987, pp. 34-38. BL311 .I54 1987

Palomar Observatory. “Searching the Sky for Dangerous Neighbors.” Eleanor Helin Exhibit, sites.astro.caltech.edu/palomar/visitor/visitorcenter/helinCommemorative/. Accessed 17 Mar. 2026.

Renouf, P. Le Page. The Book of the Dead: Facsimile of the Papyrus of Ani In the British Museum. London: The British Museum, 1890. PJ1555 .A3 1890

Roeder, Günther, Samuel A. B Mercer, and Vachel Lindsay. Short Egyptian Grammar. New Haven: Yale University Press, 1920, p. 56. PJ1135 .R5

Russmann, Edna R. Eternal Egypt: Masterworks of Ancient Art from the British Museum. Berkeley: Univ. of California Press. 2001, p. 126. ISBN 978-0-520-23086-6. Retrieved 2012-07-17.

Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt. Internet Archive, archive.org/details/TheCompleteGodsAndGoddessesOfAncientEgypt. Accessed 17 Mar. 2026.

“Dung Beetle.” Adaptations, Behavior & Diet, Britannica, www.britannica.com/animal/dung-beetle. Accessed 17 Mar. 2026. 

“Girdle Tie.” Knotting Technique, Ancient Jewelry & Adornment, Britannica, www.britannica.com/art/girdle-tie. Accessed 17 Mar. 2026. 

“Scarab.” Ancient Egyptian Symbol & Mythology, Britannica, www.britannica.com/topic/scarab. Accessed 17 Mar. 2026. 

“Tit Amulet.” New Kingdom – The Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/548207. Accessed 17 Mar. 2026. 

“Was-Sceptre.” The Global Egyptian Museum | Was-Sceptre, www.globalegyptianmuseum.org/glossary.aspx?id=397. Accessed 17 Mar. 2026.

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