Tekhenu/Tkhn originated in ancient Africa as tall monoliths that were architecturally structured to rise from a square base, all four sides tapering upwards towards the pyramidion at the very top. The first tkhn reportedly came into being during Kemet’s Old Kingdom Period [c2613-2181BCE],¹ a time when two of the greatest architectural Wonders and Mysteries ever – the Giza Pyramids and the Great Sphinx – were also erected. All were deliberately designed and installed to connect earth organically to heavenly powers, with associated mythologies, proverbs, etc. that would guide true seekers/initiates into ascending degrees of revelation about the Great Mysteries of the Universe such as death, resurrection, eternal life, & good versus evil.

One of the key mythologies connected to the Tkhn which is still in play today is that of archetypal protagonists Ausar & Auset, versus jealous antagonist Set who usurped their heaven-on-earth throne (symbolized in Auset’s characteristic crown) through the murder and scattering of Ausar’s 14 dismembered body parts. Tkhns symbolize the 14^th piece of Auset’s mutilated husband that she’s unable to find and mummify from her necessary search-&-recovery quest. Auset then receives divine intervention to posthumously conceive Heru – Ausar’s avenging son who, after several attempts, eventually defeats Set [god of chaos, the desert, storms, disease, violence and foreign oppressors], and restores heaven-on-earth.

Egyptologists generally regard Tkhn as funerary monuments²… as architectural “relics” from what Europe wants/needs to regard as an ancient “past” in Africa which was overcome/superseded allegedly by the Greco-Roman takeover and global reset into a Eurocentric space-time matrix, currently @ “2022” Gregorian-time. Humanity is spiraling through a literally-viral Greek alphabet-soup as the health-necessities of social-distancing enter a 3^rd chaotic year! Corona is Latin for “crown” – which was regarded in Kmt as the 7th chakra/seat/throne of consciousness. Omicron – the 15^th letter of the Greek alphabet – is its latest variant.

Perhaps this is the self-reveal of the archetypal antagonist Set whom history has witnessed pirating Tkhns [representing Ausar] away from humanity’s Motherland, and scattering these renamed “Oveliskos/Obeliscos/Obelisks” abroad. Heavenly bodies were similarly renamed for Greco-Roman god/desses and True North cloaked under the darkness of Set’s megalomaniacal predation of humanity’s Africa-centered throne. Thus the derived narrative of a homosocial Greco-Roman “cradle-of-civilization” took shape. Yet, True North revealed itself to enslaved Africans in America seeking passage to freedom on the Underground Railroad.

An ancient Kemetic proverb says: What reveals itself to me ceases to be mysterious for me alone. If I unveil it to anyone else, he hears mere words which betray the living sense: profanation, but never revelation…

PROFANATION ~ Roman Emperors were fascinated by Tkhns as symbols of African Divinity. Perhaps, beset by envy like Set, they were unable to see beyond their own veil, and acted from a profane regard of that which was in fact Divine. And so “Set” resorted to thievery, making Rome the largest repository of stolen tkhns (among other African treasures). As noted in A World of Obelisks, of the 21 ancient obelisks still standing, Egypt itself can claim fewer than 5. Rome boasts 13, all snatched from the Land of the Pharaohs in Roman times, and the rest are spread from Istanbul to New York City.

Luxor | Cairo | Istanbul | Rome | Paris | London | New York

One of the most iconic symbols of America as a global political super-power is a marble & granite replica of the monolithic Tkhn, honoring American slaveholder-since-age-11-turned-first-president – Founding Father, George Washington. An original Tkhn monolith built for Pharaoh Tuthmosis III [1504-1450BCE] at the Temple of the Sun in Heliopolis, was transported from Alexandria, where it had been moved, to its current location in New York’s Central Park. At its installation in January 1881, U.S. Secretary of State William Maxwell Evarts wondered aloud:

“Who indeed can tell what our nation will do if any perversity is possible of realization; and yet this obelisk may ask us, ‘Can you expect to flourish forever? Can you expect wealth to accumulate and man not decay? Can you think that the soft folds of luxury are to wrap themselves closer and closer around this nation and the pith and vigor of its manhood know no decay? Can it creep over you and yet the nation know no decrepitude?’ These are questions that may be answered in the time of the obelisk but not in ours“…

…2 disparate space-time frequencies?! Evarts’ “time of the obelisk” is organically PRESENT, thus revealing the “decrepitude” of Gregorian space-time as a synthetic [A.I.] Euro-linear construct! The companion to this 70-foot high, 193-ton monolith in New York had already been installed at Victoria Embankment in London, England in September 1878, a mere 6 years prior to Europe’s racist Berlin Conference in 1884. At a height of 69-feet, Africa’s stolen Tkhn in England reportedly weighs in at 187 tons. Both are incorrectly referred to as Cleopatra’s Needle, when they should be attributed to Tuthmosis III. Tuthmosis [biblical “Moses”?] is a Eurocentric version of the Kemetic name Dhwty-Ms, meaning “Born of the god Djehuti” [Gr. Thoth], a name that was variously rendered – “Djhutmose, Thothmose…” etc. – and used by various 18th Dynasty figures in Khmt.

Pharaoh Tuthmosis III for whom both Tkhn were built notably referred to Kmt’s Goddess Seshat as She of Seven Points in direct reference to her characteristic crown. Among her several attributes, Seshat was highly revered in Kmt as Goddess of Architects and Builders… Foremost of the per-Ankh… Reckoner of Time… and Opener of Heaven’s Door. Another timeless Kemetic proverb states: Men need images. Lacking them they invent idols. Better then to found the images on realities that lead the True Seeker to the source. Seshat’s 7-pointed crown is reflected on that assigned to the Statue of Liberty, a French installation unveiled in 1886 to commemorate the end of slavery in America, but whose features nonetheless idolize a classic Greco-Roman god-phenotype. Even the words of The New Colossus [poem by Emma Lazarus], hearken back to Seshat as Opener of Heaven’s Door…

…profanation, but never revelation… France itself claims several stolen African treasures, including the 74-foot, 227-ton Tkhn monolith of Pharaoh Ramses II [reigned 1304-1237BCE], which was installed at the Place de la Concorde in Paris during the 1830s. And in present-day Egypt, plans are underway to build Oblisco in the country’s new administrative capital, an army-controlled development in the desert east of Cairo with a completion date set to 2030. Oblisco will be a one-kilometer/.62 mile-tall multi-purpose skyscraper modeled on the ancient Tkhn. As Seshat [Goddess of Architects & Builders] might concur, at such a height, the Italian-named Oblisco would be the world’s tallest monument to male dominance in its Freudian and most profane sense. 

REVELATION ~ The True Seeker is She [Auset] who sees Set & Heru. Proverbs from Kmt advise: A woman’s heart is her own Ntr… If you search for the laws of harmony, you will find knowledge… Knowledge is consciousness of reality. Reality is the sum of the laws that govern nature and of the causes from which they flow.

It’s important to recognize how the profane has historically played out against Africa-centered consciousness and treasure – spiritual, cultural, natural, and human – in the construction of Euro-patriarchal capitals & derivative, self-entitled narratives. Good vs. evil archetypes that are in play in a global theater still caught in the throes of Set’s chaos can be understood through the sacred Mythology and Mystery surrounding the T(kh)n. This Mystery runs deeper with the hieroglyphic spelling of the word T(kh)n. Djehuti, Creator-God of hieroglyphic writing would spell T(kh)n in the identical way as ‘musician with instrument’ or ‘to beat a drum.’ Perhaps the Mystery of Ausar, Auset, & Heru lies in the Tkhn being not so much a profane architectural wonder of a bygone era, but moreso a very present one of musical communication and one’s True North. The laws of harmony and those that govern nature are a language known to Ascended Masters such as Djehuti himself & an initiated class of Drummers/Musicians to whom these sacred African Mysteries are revealed ❤ ❤ ❤  

1. Brian A Curran et al., Obelisk: A History (Cambridge, MA: Burndy Library, 2009), 31

2. Susan Sorek, The Emperor’s Needles: Egyptian Obelisks and Rome (Bristol: Bristol Phoenix Pr, United Kingdom, 2009), 11