African Goddess Seshat was referred to as Sefket-Abwy – meaning “she of seven points” – by Pharaoh Tuthmosis III (1479-1425 BCE). She wears a signature seven-pointed crown which has led to speculation about the hidden Africa-centered significance of the crown which adorns Lady Liberty’s head and her symbolism as a whole. Standing tall with words of welcome on Manhattan’s Liberty Island in New York, the statue itself is said to have been brought as a gift from France in 1886 to strengthen democracy and bilateral alliances following US Civil War gains and the end of slavery. The initiative was launched by abolitionist and Chair of the French Anti-Slavery Society, Édouard de Laboulaye. Frédéric Auguste Bartholdi was the sculptor.

A proverb from Ipet Resyt (“the southern sanctuary” built for God/dess consorts Amun/Mut) says: “Lacking images, people invent idols… Better to found images on realities that lead the true seeker to the source.”

Seshat is the African goddess who represents the consciousness of an order likely superior to the 3D matrix of knowledge that was installed and is currently governed by a patriarchal elite. Represented in Kemetic mythology by Set [god of the desert, storms, disorder, violence, chaos, & foreign oppressors] who destroyed Heavenly order when he usurped Kemet’s throne after murdering and dismembering King Ausar – this trauma-based matrix is now said to be in its death-spiral. Humanity has experienced this matrix as slavery, colonialism, racism, apartheid, misogyny, pedophilia, thievery, rape, & the false controlling narratives of white patriarchy. Alternatively, Set represents the dysfunctional shadow poles of the Masculine versus a potential, fully incarnate Divine King, Warrior, Magician, & Lover. Seshat’s crown is one of several potent African symbols of Divine Feminine power which speak to how, when, and where She, as Ma’at, enters to help re-pair, anchor, & balance Divine Order from her own sovereign, fully incarnate truth – complementary to that of the Divine Masculine.

Seshat ~ Point #1… “SCRIVENER” is the meaning of Seshat’s name. Sesh, meaning ‘writing’ was a communication technique using hieroglyphs (Greek, meaning ‘holy writing’) which, according to Kemetic legend, were created by god Djehuti. Djehuti passed the skill on to select scribes (typically men) to aid, he believed, in the development of wisdom. The god Amun-Re disagreed with this premise, saying that written documents would weaken people’s memories and ancestral wisdom that was organically passed down through generations, nature and oral tradition. As a proverb from IpetResyt advises: ‘Images are nearer reality than cold definitions.’ Hieroglyphs, the oldest and more pictographic form of writing, over time evolved into Hieratic and then Demotic scripts as scribes worked to simplify the writing process itself. Each efficiency-upgrade in writing as a communication technology meant an increased abstraction (hence “alienation”) from the organic world, as Re might have feared. This trend has continued up to the highly abstract western alphabet of the present-day, which has been characterized as ‘aggressive’ by communication scholars such as Marshall McLuhan. Goddess Seshat stands at the crossroads of this communication debate vis-à-vis Divine Order…

Seshat ~ Point #2… “RECKONER OF TIME/YEARS” – God Djehuti, whom Goddess Seshat appears to mirror in her attributes, is credited with creating the ancient Egyptian calendar which forms the basis of the ancestral 13-month calendar used in the Horn of Africa where the current year is “2012.” The Gregorian calendar (after Pope Gregory XIII) – a reformed Julian calendar (after Julius Caesar) – forms the basis of the main western calendar where the current year is “2020.” Seshat’s lunar-based time-reckoning and recording skills were used in service to royal and religious leadership and concerns such as life-spans, length of reign, appropriate scheduling of ceremonies and rituals… some of which she and Djehuti would record on the sacred ished – the Tree of Life at Heliopolis – which was said to hold eternal knowledge of the Divine Plan. Goddess Seshat stands at the crossroads of competing space-time frequencies and a Divine Age of Aquaria schedule…

Seshat ~ Point #3… “MISTRESS OF THE HOUSE OF BOOKS” – Among Seshat’s duties was her role in the temple Library of the Gods which housed the works of Khemet’s foremost scribe and alkhemist, Djehuti. She was Djehuti’s personal librarian and keeper of his spells (called hekau) and writings. Djehuti’s canon of writings includes the Emerald Tablets and 42 Books of Knowledge on all matters connecting the heavens and the earthly realm, with a forewarning about the fall of Khemet to outsiders – represented in mythology by Ausar’s murderer Set. After pieces of Ausar’s body were retrieved, reassembled and mummified by his widow Auset, it’s said that Seshat helped cast Djehuti’s resurrection spell for Ausar’s missing 14^th piece which enabled the posthumous conception of Heru. This event was appropriated and translated in later biblical accounts as the Immaculate Conception of Jesus. The ‘t(kh)n’ hieroglyph for obelisk – architectural symbol of Ausar’s resurrection – is the identical word and spelling for ‘to beat a drum’ or ‘musician,’ which connects organically to African oral traditions… our collective Akashic Record or Book of Life. 

Seshat ~ Point #4… “FOREMOST OF THE PER-ANKH” was the prestigious title bestowed upon Seshat and god Khnum – ram-headed potter and guardian of the Nile River source. ‘Per-Ankh’ were ‘houses of life’ attached to temples where libraries were housed and where knowledge, considered sacred, was attained. Given her proximity to Djehuti, of whom it was said that without his words the gods themselves would not exist, Seshat’s footprints can be traced through those of the ‘Shulamite’ in the biblical Song of Songs. (Shul, Yiddish for “school/synagogue” is related to shule/scuola in German; schola in Latin; and skholḗ in Greek – all meaning “school”). The term ‘Shulamite’ as emphasized in this particular book suggests that the “black and comely” female protagonist is highly educated. How different biblical Revelation would be with Seshat as the ascended True Seeker & Genesis recalibrated to the Song of Songs!

Seshat ~ Point #5… “GODDESS OF ARCHITECTS & BUILDERS” – Though there were no temples built for the worship of goddess Seshat, she is paid homage for her prominent role in the foundation of major Khemetic temples in Heliopolis, Edfu, Abydos, Dendera and elsewhere. The temple of Horus in Edfu (c.237BC) has the inscription: “I take the measuring cord in the company of Seshat. I observe the progressive movement of the stars. My eye is now fixed upon Meskhetiu. The god of time-keeping stands by me, in front of the merkhet. Then, I have established the four corners of the temple.” Meshketiu, the ‘Big Dipper/Plough’ of the constellation Ursa Major, was known as ‘the Drinking Gourd’ by Africans who followed the North Star to escape slavery on the Underground Railroad. The merkhet was the instrument that oriented the harmonious alignment of temple foundations with the heavens, according to principles of sacred geometry… 

“Art thou not aware that Egypt is the image of heaven, or rather, that it is the projection below of the order of things above? If the truth must be told, this land is indeed the temple of the world.” [Djehuti aka ‘Thoth’]

Seshat ~ Point #6…  “PANTHER GODDESS” – Besides her signature 7-pointed crown, Seshat’s dress is made of panther skin which can denote royalty status within the Nile Valley reflection on earth of the Milky Way, particularly at the source of the sacred African river in the BaNtu kingdoms of Buganda, Ankole, Busoga, Toro, Bunyoro, etc. There’s a sacred totemic relationship each of these Kings has with the panther, who is known in Buganda as Mayanja. Karamojong and Acholi warriors also wear panther skins as part of their regalia. In Khemet – “the gift of the Nile” – sem priests wore leopard skin garments in similar fashion to priests in Zimbabwe, southern Africa. King Tut’Ankh’Amun – the last of his royal family to rule during the end of Khemet’s 18th dynasty (c.1334 – 1325 BCE) – is famously depicted traveling through the afterlife on the back of a black panther.

Seshat ~ Point #7…  “OPENER OF HEAVEN’S DOOR” – The mystery of Seshat is bound up with Africa and within the cultural codes of her 7-pointed crown… panther totems… sacred architecture… t(kh)n-ology… proverbial wisdom… the Nile Valley as ‘Temple of the World’… Ancestral vs. Gregorian timelines… ‘entry’- vs. ‘exit’-portals…

The mystery of Seshat is key to how we navigate the spaces between worlds in our ascension journey… decode the Song of Songs through Her dance… ‘Follow the Drinking Gourd’ via Her merkhet… exit Set’s 3D matrix of the elite’s false controlling-narratives through Akashic self-revelation… collapse slavery, colonialism & apartheid’s karmic cycles… and enter sentient Mother Earth’s true Ma’atrix to the Age of Aquaria / Age of Miracles / Golden Age / Heaven / Zion… return to UbuNtu…

As proverbs from Ipet Resyt state: “If the Master teaches what is error, the disciple’s submission is slavery. If he teaches truth, this submission is ennoblement… The kingdom of heaven is within you. Whosoever shall know Herself shall find it.”  ❤ ❤ ❤