The Book of the Dead was an Egyptian funerary text, a liturgy of writings and spells that Egyptians would have commissioned and buried with them after death. Different scenes are often delineated by curtains or veils that the deceased can pass through after completing certain tasks or tests. The scene depicted is one of the most commonly shown in Egyptian Books of the Dead, also known as the “Weighing of the Heart” ceremony. This ritual shows Anubis weighing the heart of the deceased on a set of scales against the (ostrich) feather of Maat or truth. Here Joseph is also pictured with a coin, the deceased often paying a tribute or token to Anubis as he escorts them through the underworld. I grew up listening to my father talk about Hugh Nibley and the many parallels between Egyptian funerary rites and temple rituals, and it fascinated me to no end. The scene is full of symbols regarding Joseph’s life, his establishing of the Church, and the ultimate need for a Savior.
The mortar and pestle are symbols of the pharmacy trade, or in this case the Great Physician. Other Christocentric symbols included in the composition are the set of scales, standing square in a cross shape (Christ as our true judge), and the large, rough stone. The Masonic G lends a triangular composition and draws the parallels between Masons and The Church of Jesus Christ of Latter-day Saint. It is also a reference to “Gazelem” which has interpretations relating to Joseph Smith and Seer Stones. The lotus blossom bowl is a symbol of resurrection and rebirth. The delft hippo is part of a reference to the “Destroyer,” a three in one animal consisting of the head of a Crocodile, the body of a Lion, and the end of a Hippo. If the deceased did not pass the test, it was there to consume their soul and prevent them from progressing.
The keys are indicative of the priesthood which overlays or even subdues the rabbit or hare. The Hare is a symbol of The Trickster, or in this case the follies or fallibility of man. Joseph was specifically charged with being a trickster or a fraud and did in fact have a mischievous personality. I appreciate Adam Miller’s thoughts on human prophets: “While it is scary to think that God works through weak, partial, and limited mortals like us, the only thing scarier would be thinking that he doesn’t…”
My work is heavily influenced by scholars like Richard Bushman, Laurel Thatcher Ulrich, and Terryl Givens, and I appreciate their academic rigor in presenting Church history.
Joseph Smith was an endlessly complex human being who sought to reimagine institutions and establish the Kingdom of God by restoring the Gospel of Jesus Christ after a long period of apostasy. His legacy has been endlessly debated and every decision scrutinized by scholars and apologetics inside and outside the faith. Despite all this, each member seeking admission into the Church of Jesus Christ of Latter-day Saints must weigh for themselves whether or not Joseph was indeed a prophet of God. I thought this Egyptian ritual was an apropos scene with which to play out this conflict.
Megan Knobloch Geilman is an artist, freelance graphic designer, and stay-at-home mom. She grew up in San Diego and studied art at the California College of Arts and Brigham Young University. The series she is working on has been four years in the process, creating staged scenes that use art historical reference and symbolic objects. The rest of the series can be viewed at http://www.worksoftranslation.com or on Instagram @worksoftranslation.