ETERNITY ACCORDING TO ANCIENT EGYPT.

Ancient Egyptian beliefs about the Afterlife endured for more than 3,000 years.
Grave goods were intended to provide the deceased with the spiritual and physical support needed for smooth passage to eternity.
Wrapped around the mummy's neck, beads helped restore breath through the symbolism of their colors. Blue, Green and Black called up Water and Sky, Vegetation, and Youth. White, Yellow and Red stood for Sun, Light, Fire and Blood.
A small human funerary figures named "Shabti" were placed in tombs among the grave goods intended to act as servants for the deceased that carried out the tasks required in the underworld. They were made of clay, wood, or stone; early ones were sometimes made from wax also. While shabtis manufactured for the rich were often miniature works of art, the great mass of cheaply ones were made from single molds with little detail.
It is thought that the term meant "follower" or "answerer" because the figurine "answered" for the deceased person and performed all the routine chores of daily life for its master in the afterlife that the gods had planned for them. Then, it was necessary for the owner's name and titles to be inscribed on the shabti, along with the phrase sending them to action, written in the hieratic script. Some of them wore wigs and jewelry like living people, but as workers in the Afterlife, they hold a hoe in their shoulders and a basket on their backs, implying they were intended to farm for the deceased.
The inscription often contained the 6th chapter of the Book of the Dead, translated as : "Illumine the Osiris (name of the deceased), whose word is truth. Hail "shabti" figure! If the Osiris (name of the deceased) be decreed to do any of the work which is to be done, let everything which stand in the way be removed from him -whether it be to plough the Fields, or to fill the channels with water, or to carry sand from East to West. The shabti figure replied,"I will do it, verily I am here when you call."
The figurine was believed to animate after the dead had been judged, and work for the dead person as a substitute labourer in the Field of Osiris.
Nebseni, the draughtsman in the The Temple of Ptah says, "Oh you shabti figure of the scribe Nebseni, son of the scribe Thena, and of the lady of the lady of the house Muthrestha, if I be called, or if I be judge to do any work whatever of the labors which are to be done in the Underworld -behold, for your opposition will there be aside -by a man in his turn, let the judgment fall upon you instead of upon me always, in the matter of sowing the Fields, of filling the water-courses with water, and of bringing the sands of the East to the West." The shabti answers, "I am here and will come wherever you bid me."
The High Priest of Ptah was referred to as the Greatest of the Masters of the Craftsmen. This title refers to Ptah as the patron god of the craftsmanship, metalworking, carpenters, shipbuilders, sculpture and architects. Ptah was known as the Creator god par excellence of the perceptible World. He was considered the artisan responsible for the fashion and maintenance of the Physical Universe. He fashioned and shaped the material World. From the Middle Kingdom onwards, Ptah was one of the five major Egyptian gods with Ra, Isis, Osiris, and Amun.
Ptah was the maker, out of the appropriate substance, of an order of spiritual entities that constantly opposed and thwart the human race, because they had all of them bounded to the rules of existence in the material world. The order resided in the lower world, of which Ptah was the prince, controlling the Valleys and Rivers and the changing from body to body that occurred in the World of the Dead.
Ptah is sometimes represented as a dwarf, naked and deformed, or in the guise of a man with green skin, contained in a shroud sticking to the skin, wearing the divine beard, and holding a scepter combining the 3 powerful symbols of ancient Egyptian religion: - the "Was" (Power) scepter, - the sign of Life, "Ankh," - the "Djed" (stability) pillar. This 3 combined symbols indicated the 3 creative powers of the god. His worship exceeded the borders of the country and was exported throughout the Eastern Mediterranean. Thanks to the Phoenicians, we find figurines of Ptah in Carthage, capital of an empire that dominated the Mediterranean Sea.
From the Old Kingdom, Ptah quickly absorbed the appearance of Sokar and Tatenen, ancient deities of the Memphis Region. His form of Sokar is found contained in its white shroud wearing the specific feathered crown of the Egyptian deity Osiris. It combined the Hedjet, the crown of Upper Egypt, with curly red ostrich feathers on each side of the crown for the Osiris cult. In this capacity, Ptah represented the god of the necropolis of Saqqara and other famous sites where the royal pyramids were built. Gradually Ptah formed with Osiris a new deity called Ptah-Sokar-Osiris. Statuettes representing the human form, half-human, half-hawk, or simply in its falcon form will be systematically placed in tombs to accompany and protect the dead on their journey to the West. His Tatenen form is represented by a young vigorous man wearing a crown with 2 tall plumes that surround the solar disk. He embodied the underground fire that rumbles and raises the earth. He was particularly revered by metalworkers and blacksmiths. In this form, Ptah was the master of ceremonies for "Heb Sed," a ceremony traditionally attested to the first 30 years of the Pharaoh's reign. The festival were held to rejuvenate the Pharaoh's strength and stamina while still sitting on the throne, celebrating the continued success of the Pharaoh.
The festival implied elaborated temple rituals and included processions, offerings, and such acts of devotion as the ceremonial raising of the "Djed" (stability), the base or sacrum of a bovine spine, representing strength, potency and duration of the Pharaoh's rule. The most lavish, judging by the surviving inscriptions, were those of Ram'Esses II and Amen'Hotep III.  The festival still was celebrated by the later-Libyan-era kings such as Shoshenq III, Shoshenq V, Osorkon I, who had his second festival in his 33rd year, and Osorkon II, who constructed a massive temple at Bubastis complete with a red granite Gateway decorated with scenes of this jubilee to commemorate his own festival.
Akh'Enaten made many changes to cult practices in order to remove the stranglehold on the country by the Priests of Amun-Ra, whom he saw in his own eyes as corrupt. His reformation began with his decision to celebrate his first Sed Festival in his 3rd year, to gain an advantage against the powerful temple, since a Sed Festival was a royal jubilee intended to reinforce the Pharaoh's supernatural powers and cult leadership. At the same time he also moved his capital away from the city that these Priests controlled.