The cosmic or world egg is the motif in which the universe emerges from an egg, which typically splits into two halves that become heaven and earth. It is among the most widely distributed cosmogonic images and is found on every inhabited continent.
Indian tradition supplies its most developed forms. The Rigveda's Hiranyagarbha, the golden womb or germ, arises in the beginning and becomes the one lord of creation (10.121). Later epic and Puranic material develops the Brahmanda, literally the egg of Brahma, as both the cosmogonic egg and, used in the plural, a term for world-systems, so that the image becomes a unit of cosmological measurement.
Chinese tradition has Pangu, who grows within an egg of chaos for eighteen thousand years, splits it so that the light and clear rises to become heaven and the heavy and turbid sinks to become earth, holds the two apart while they separate, and at his death becomes the features of the world. Orphic cosmogony in the Greek world has a silver egg from which Phanes emerges. Finnish tradition, in the Kalevala, has eggs laid on the knee of the water-mother, from whose fragments the earth, sky, sun and moon are formed. Egyptian material at Hermopolis has a cosmic egg, and Polynesian, Japanese, and various African and South American traditions have their own versions.
The image's appeal is not hard to account for. An egg is an ordinary, observable object from which a complete living creature emerges with nothing visibly added; it is closed, contains everything necessary, and divides cleanly into two halves. It therefore supplies precisely what a cosmogony requires: a way of describing how a differentiated world could come out of an undifferentiated unity without an external maker doing the work.
Its distribution has been used to argue both for diffusion from a common source and for universal patterns of thought. Neither has been established, and the argument from sheer availability, that anyone who has watched an egg hatch has the raw material for the myth, remains a serious explanation for at least part of the pattern.
The motif also carries beyond cosmogony into symbol and practice: the egg as an emblem of resurrection and new life in Christian Easter customs, whose seasonal association predates its Christian use and was absorbed into it; the egg in alchemical imagery as the vessel and the matter of transformation; and the "philosophers' egg" as a piece of alchemical apparatus named for the idea.