Luxor Temple

The author: Professor Yasser Metwally

http://yassermetwally.com

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The name Luxor represents both the present-day metropolis that was ancient Thebes, and the temple on the eastern bank which adjoins the town. "Luxor" derives from the Arabic al-uksur, meaning "fortifications". That name in addition was adapted from the Latin castrum which referred to the Roman fort built around the temple in the later third century AD. The temple of Luxor has, since its inception, always been a sacred site. After Egypt’s pagan period, a Christian church and monastery was located here, and after that, a mosque (13th century Mosque of Abu el-Haggag) was built that continues to be used today.

Figure 1. Luxor Temple (Click to enlarge figure)

In ancient Egypt the temple area now known as Luxor was called Ipt rsyt, the "southern sanctuary", referring to the holy of holies at the temple’s southern end, wherein the principal god, Amun "preeminent in his sanctuary", dwelt. His name was later shortened to Amenemope. This Amun was a fertility god, and his statue was modeled on that of the similarly Min of Coptos. He also has strong connections to both Karnak and West Thebes.

Known in ancient times as "the private sanctuary (Opet) of the south," the temple proper is located south of Karnak. The present temple is built on a rise that has never been excavated and which may conceal the original foundations. The early building may rest on a no longer visible older structure dating back to the 12th Dynasty. However, since neither the cult nor any part of the temple appears to predate the early 18th Dynasty; the few Middle Kingdom fragments found here more probably came from elsewhere and were transported to Luxor after the original buildings were dismantled.

Figure 2. Luxor Temple (Click to enlarge figure)

The earliest reference to the temple comes from a pair of stelae left at Maasara quarry, in the hills east of Memphis, inscribed in regnal year 22 of the reign of Ahmose, c. 1550 BC. The text records the extraction of limestone for a number of temples including the "Mansion of Amun in the Southern Sanctuary." But structural evidence appears at Luxor only during the co-rule of Hatshepsut and Tuthmosis III c 1500 BC. These elements are now built into the triple shrine erected by Ramesses II, c 1280 BC, the most substantial remnant of Luxor temple’s Tuthmosid phase. The shrine was erected inside the first court, in the northwest corner, and reused elements from the original chapel dedicated by Hatshepsut and Tuthmosis III.. This small building had been the last of six barque stations built along the road that brought Amun and his entourage from Karnak to Luxor every year during the Opet Festival..

We also know that Amenhotep IV (Akhenaten) built a sanctuary to the sun next to the Luxor Temple that was later destroyed by Horemheb.

The temple we see today was built essentially by two kings, Amenhotep III, (the inner part), and Ramesses II, (the outer part). The overall length of the temple between the pylon and rear wall measures about 189.89 by 55.17 meters (623 by 181 feet).

Figure 3. Luxor Temple (Click to enlarge figure)

The original function of the temple of Luxor, apparently dedicated to the Theban Triad of Amun, Mut and their son Khonsu, appears uncertain. However, recent hypotheses suggest that the temple of Luxor, a collection of irregularly developed structures begun during the reign of Amenhotep III and then expanded, particularly by Ramesses II, and still further enlarged in later years, should be considered a sanctuary dedicated to the celebration of the royal ka.

Hence, Luxor Temple was the power base of the living divine king, and the foremost national shrine of the king’s cult. This doctrine of divine kingship separated the Egyptians from their neighbors in Mesopotamia and from the later medieval "divine selection and right of kings" of Europe.

Figure 4. Luxor Temple (Click to enlarge figure)

• Plan of Luxor Temple

Kingship was believed to be ordained by the gods at the beginning of time in accordance with ma’at., the well-ordered state, truth, justice, cosmic order. The reigning king was also the physical son of the Creator sun-god. This divine conception and birth was recorded on the walls of Luxor Temple, at Deir el-Bahari, and other royal cult temples throughout Egypt. The king was also an incarnation of the dynastic god Horus, and when deceased, the king was identified with the father of Horus, Osiris. This living king was thus a unique entity, the living incarnation of deity, divinely chosen intermediary, who could act as priest for the entire nation, reciting the prayers, dedicating the sacrifices.

Figure 5. Luxor Temple (Click to enlarge figure)

A road was built in the 18th Dynasty to link Karnak to the north with Luxor to the south. Although the position of this road must have coincided with the avenue seen in front of Luxor temple today, the latter, along with the sphinxes flanking it, date to the reign of Nectanebo I in the 30th Dynasty. However, we believe that Nectanebo I only refurbished the road and lined it with new sphinxes. The mudbrick ruins on either side of the road are all that remains of the town of Luxor during the later and post-Dynastic periods.

There was a girdle wall built around the temple that consisted of independent massifs of sun-dried brick abutting at their ends, built of courses set on a triple system that ran concave horizontal concave.

Figure 6. Luxor Temple (Click to enlarge figure)

The gate through which one would pass from the avenue to the esplanade in front of the temple was constructed after the Dynastic period, for the brick wall around this courtyard is contemporary with the Roman fort built around the temple at the beginning of the 4th century AD. Substantial remains of the walls, gates, and pillared stone avenues, can be seen east and west of the temple. Buildings used in this transformation and which no longer exist in whole include a chapel dedicated to Hathor that was erected during the 25th dynasty reign of Taharqa and a colonnade of Shabaka, later dismantled. A modest mudbrick shrine dedicated to Serapis during Hadrian’s reign and which still contains a statue of Isis survives at the court’s northwest corner.

Two red granite obelisks originally stood in front of the first pylon at the rear of the forecourt, but only one, more than 25 meters (75 feet) high, now remains. The other was removed to Paris where it now stands in the center of the Place de la Concorde. These obelisks were not of the same height, and they were not on the ame alignment, probably to make up in perspective for this difference in height.

Six colossal statues of Ramesses II, two of them seated, flanked the entrance, though today only the two seated ones have survived. The one to the east was known as "Ruler of the Two Lands".

Figure 7. Luxor Temple (Click to enlarge figure)

Although Amenhotep III built the temple proper, it is fronted by a 24 meter high pylon of Ramesses II. The pylon and the courtyard beyond, also built by Ramesses II, is oddly out of alignment with the axis established by the other pre-existent buildings. This non-alignment may have resulted from consideration for the small shrine built during the reigns of Tuthmosis III and Hatshepsut. Some scholars also think that the alignment may have been made so that the pylon would be on the same axis as the processional way leading to the Karnak Temple. Reliefs and texts on the outside of the first pylon relate the story, in sunk reliefs, of the battle of Qadesh against the Hittites. Other later kings, particularly those of the Nubian Dynasty, also recorded their military victories on these walls (Shabaka on the inner pylon walls). The pylon towers once supported four enormous cedar-wood flag masts from which pennants streamed.

Within the pylon is the Peristyle Courtyard of Ramesses II, a "feast court"  (wsekhet khefet-her, "The Temple of Ramesses Meriamon united with eternity"), which is surrounded by two rows of  papyrus bud columns with cylindrical shafts on all of its sides. It is not square, but rather in the form of a parallelogram, measuring 57 by 50.9 meters (187 by 167 feet). It is here, in the northeast corner, that an ancient church was located, on the ruins of which the more modern mosque was built. Also here is the shrine of Tuthmosis III and Hatshepsut, which originally consisted of three contiguous deep shrines for the barques of Amun, Mut and Khonsu, preceded by a porch with four columns. This structure was rebuilt at the same location by Ramesses II using elements from the earlier sanctuary. It was embodied in the courtyard portico, abutting on the inner face of the northwestern tower of the pylon. It was necessary for the columns nearest the shrine to be engaged in its walls resulting in a quite unusual type of column. On the outside walls of this court are depictions related to Ramesses II’s campaigns against the Hittites in Syria.

Colossal granite statues of Ramesses II representing him striding with a diminutive Queen Nefertari were placed between the columns of the southern part of the Peristyle Courtyard. The colossus to the west was "Re’-of-the-Rulers", a name borne by other statues at Abu Simbel and the Ramesseum.

Amenhotep III built the temple proper, at the south end of the site in three phases, including the colonnade, the big second courtyard and the hypostyle hall. The processional colonnade of Amenhotep III runs for some 100 meters with seven papyrus columns on either side standing 19 meters high (62 ft 3 in). Two seated double statues of Amun and Mut are on the south side.

Here, the figure of Amenhotep III alternates with those of his successors on door-jambs and columns. Carving of the scenes and inscriptions on the walls behind the columns had barely been started when the king died and then the upheavals of the Amarna period hold. Work came to a stop at Luxor during the reign of Akhenaten, but afterwards Tutankhamun finished most of the interior carving. He died before the work was finished, and therefore Ay completed the decorations. However, Horemheb usurped these decorations so that Tutankhamun’s name shows up only inte4rmittently under that of Horemheb. The few scenes still left in paint at the south end of the hall were finally completed in relief a few years later by Seti I. These scenes depict the Festival of Opet. Those on the west wall show a procession of barques from Karnak to Luxor, those on the east wall show the reverse journey. It is here that inscriptions mention the six way stations for the barque between Karnak and Luxor, each possibly having a repository chapel (men wahet, "way station"). This hall predates that of Karnak, and served as its architectural prototype.

Beyond the colonnade is the Great Sun Court of Amenhotep III’s temple, which measure about 45.11 by 56.08 meters (148 by 184 feet. The sun court is almost identical to the court in front of the inner part of Amenhotep III’s funerary temple in West Thebes. Both are slightly wider at the front then at the rear. This would have enhanced the depth of the perspective of the court by an optical illusion and added to its impact. It received decoration from the time of Amenhotep himself to that of Alexander the Great. The side walls retain some of their original coloring. It was here in Luxor that in 1989 workers found a deep pit containing a large quantity of statuary, buried probably in the 4th century AD during the installation of a cult of the deified Roman emperor. The cache, similar to one found in Karnak in 1903, included statues of gods, goddesses, queens, kings and kings as gods, as well as triads of divinities and royal groupings. The most amazing statue in this cache was a larger than life sized statue of Amenhotep III, carved from red-gold quartzite.

At the back of the Great Sun Court, at its southern end, a hypostyle hall is blended in almost imperceptibly. It is described as a hall of appearance (wsekhet kha’it). It consists of four rows of eight bundle papyrus columns that once supported a now non-existent roof. Through the center of these columns runs an aisle. On the walls of this chamber Amenhotep III is depicted before the gods of Thebes ceding the temple above a plinth of figures personifying the Egyptian nomes.

This hypostyle hall leads to a smaller eight columned hall or portico which originally opened into the inner temple, but which was transformed by the Roman legion stationed at Luxor into a chapel dedicated to the imperial cult. At that time, the columns were removed. It contained the standards of the legion, and its south doorway was blocked with an apse painted with figures Emperor Diocletian, c 284-305 BC, and his three coregents, There is also a stairway in the chamber, and it is flanked by chapels dedicated to Mut and Khonsu.

In turn, this hall leads to two square halls, each originally having four columns, following one behind the other. To the east of the first of these halls is  the "birth room", so called because of its decorative sequence. It is dedicated to the theogamy or marriage of Amun with Queen Mutemuya, the mother of Amenhotep III, represented in low-relief scenes similar in subject to those of Hatshepsut’s temple at Deir el-Bahari. This was the "divine marriage" that was celebrated between the god and the queen, or "God’s wife", during the Opet Festival. On the west wall is depicted the divine conception and birth of Amenhotep III, along with his subsequent presentation to the gods and nurturing, as well as the determination of the future king’s realm. These scenes affirm the overall theme of renewed royal and divine vitality celebrated in the festival. The mound on which this area of the temple stood was also held to be the very site of the birth of Amun so that the theme of birth was clearly one shared by temple and festival alike.

To the west of this first, four columned halls was a series of niches.

The second four columned hall originally built by Amenhotep III no longer contains its columns, though the column bases may in fact still be seen. This was a barque chapel that was later converted into a shrine built by Alexander the Great and dedicated to the ithy-phallic Amun. Its scenes represent Alexander, dressed as a pharaoh, entering, receiving the two crowns, and offering rites. To either side of this small chamber were side chambers with three columns and an outer series of four contiguous cells.

When Amenhotep III built this section of the temple, the remaining part of it at the rear, was accessible through a side doorway in the east wall of the rear hall. Later, a central doorway was opened behind the stand for the barque in the barque shrine, in the axis of the temple plan, where there was once a gigantic false door that symbolically connected the two sections. This arrangement of two separate sanctuaries, the one in front made accessible to the people and the one to the rear reserved only for the priests, is one of the characteristics of this temple The chambers beyond the barque shrine, originally separated form the front part, formed a sort of temple within the temple, apparently with special mythic significance related to its particular version of Amun.

Above the lintel of the doorway connecting the barque shrine with the rear of the temple, concealed by removable slabs and accessible by holds cut in the wall, was a small chamber probably for oracular pronouncements.

Directly behind the barque shrine (south) are the innermost chambers of the Amenhotep III temple. The first of these chambers is a broad "hall of the offering table" (wsekhet hetep), with twelve columns, which actually proceeds the the shrine of the statue. The twelve columns possibly symbolize the hours of the day since depictions of the sun-god’s day and evening barques appear on the room’s opposing east and west walls (and in fact, the chamber is often referred to as the "Hall of Hours").

The twelve column broad hall is flanked by two small rooms, the eastern one being in fact a smaller "hall of the offering-table".

Beyond the twelve columned broad hall, in the central location, is the original sanctuary or "holy of holies", containing the base of the block which once supported the god’s image. The seated statue of Amun was of colossal proportions, placed on a socle abutting on the rearmost columns, like the socles of thrones in temple palaces. There were two lateral balustrades. This is represented in low relief in two scenes flanking the entrance doorway to the rear shrine.

About this room are other chambers that form the suite of private or intimately secluded chambers which gave the temple its name of Opet or "harem". Here, we find niches that contained the statues of other divinities. These innermost parts of the temple stood on a low mound which was thought by the ancient Egyptians to be either the original site of creation, the mound which rose from the primeval waters, or at least symbolic of that place. Hence, the roles of the chief gods Amun and Re and the concepts of creation and cyclic solar renewal were here particularly intertwined.

The outer surfaces of the eastern walls of the inner temple area can be seen to contain many blocks apparently randomly decorated with unrelated images. This area represents a practice wall where the ancient masons and sculptors learned the skills of temple decoration. These surfaces were then plastered over, only to be revealed again in the course of centuries as the underlying stone became exposed.

Summary

• Luxor Temple with Avenue of Sphinxes

Most of the Luxor Temple dates to the New Kingdom period of Egyptian history.  Ramses II built the pylon (the large wall in the background), two obelisks (only one remains today), and six statues of himself.  The sphinxes along the “Avenue of Sphinxes” were built by Nectanebo I, and replaced the ram-headed sphinxes built by Amenhotep III.  The avenue stretched from the Luxor Temple to the Karnak Temple for a distance of 2 miles.

• Obelisks

The Luxor Temple is easily identified from the front because it has only one obelisk, but as stated above Rameses II originally erected two obelisks at its entrance. The other obelisk was given to King Louis V in 1874 in exchange for a clock that no longer works, and now stands in the Concorde Square in Paris. The obelisk that remained was also included in the deal, but it turned out to be too much trouble to move it.

   Feast of Opet Panel

The Luxor Temple was the site of the Festival of Opet which is beautifully depicted on the western wall of the court.  In this feast, the god Amon (or Amon-Re) comes from the Karnak Temple to visit his wife in the Temple of Luxor. In the Old Kingdom period this festival lasted 14 days, and by the New Kingdom the feast lasted 22-23 days. These reliefs are depicted like cartoons today – block by block. Pictured here are acrobats that performed at the festival.

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References:

1. Art of Ancient Egypt, Robins, Gay, 1997 , Harvard University Press
   ISBN 0-674-00376-4
2. Atlas of Ancient Egypt , Baines, John; Malek, Jaromir , 1980 , Les Livres De France , None Stated
3. Complete Temples of Ancient Egypt, The , Wilkinson, Richard H. , 2000 , Thames and Hudson, Ltd , ISBN 0-500-05100-3
4. Dictionary of Ancient Egypt, The , Shaw, Ian; Nicholson, Paul
   1995 , Harry N. Abrams, Inc., Publishers , ISBN 0-8109-3225-3
5. Egypt in Late Antiquity , Bagnall, Roger S.
   1993 , Princeton University Press , ISBN 0-691-1096-x
6. History of Ancient Egypt, A , Grimal, Nicolas , 1988 , Blackwell , None Stated
7. Oxford History of Ancient Egypt, Shaw, Ian , 2000 , Oxford University Press , ISBN 0-19-815034-2 , Sacred Sites of Ancient Egypt

The temple of Karnak

The author: Professor Yasser Metwally

http://yassermetwally.com

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In ancient Egypt, the power of the god Amun of Thebes gradually increased during the early New Kingdom, and after the short persecution led by Akhenaten, it rose to its apex. In the reign of Ramesses III, more than two thirds of the property owned by the temples belonged to Amun, evidenced by the stupendous buildings at Karnak. Although badly ruined, no site in Egypt is more impressive than Karnak. It is the largest temple complex ever built by man, and represents the combined achievement of many generations of ancient builders. The Temple of Karnak is actually three main temples, smaller enclosed temples, and several outer temples located about three kilometers north of Luxor, Egypt situated on 100 ha (247 acres) of land. Karnak is actually the sites modern name. Its ancient name was Ipet-isut, meaning "The Most Select (or Sacred) of Places".

This vast complex was built and enlarged over a thirteen hundred year period. The three main temples of Mut, Montu and Amun are enclosed by enormous brick walls. The Open Air Museum is located to the north of the first courtyard, across from the Sacred Lake. The main complex, The Temple of Amun, is situated in the center of the entire complex. The Temple of Monthu is to the north of the Temple of Amun, and next to it, on the inside of the enclosure wall is the Temple of Ptah, while the Temple of Mut is to the south. There is also the small Temple dedicated to Khonsu, and next to it, an even smaller Temple of Opet. Actually, there are a number of smaller temples and chapels spread about Karnak, such as the Temple of Osiris Hek-Djet (Heqadjet), which is actually inside the enclosure wall of the Temple of Amun.

Video 1. The temple of Karnak

In the Great Temple of Amun, the Second Pylon of Karnak was built by Ramesses II. The Ptolemies did some extensive repairing and some new building on the center section. Curiously enough, they left the columns and the facade of the First Pylon unfinished and left the mud-brick ramp where it was at. The reason for the work being left unfinished is not clear.

The Hypostyle Hall is found after passing through the Second Pylon. The hall is considered to be one of the world’s greatest architectural masterpieces. Construction began during Ramesses I’s reign. He was the king who founded the Nineteenth Dynasty and was king for only one year. The work continued under Seti I (1306 – 1290 BC). Seti I also built the Temple of Abydos and many other temples. The hall was completed by Seti I’s son, Ramesses II. The effects that are produced inside the hall are much different than they were originally. The huge architraves are not above the capitals that tower above. Toward the center of the hall several architraves and windows that have stone latticework still remain. 

Video 2. The temple of Karnak

This small area can give one an idea of the builders’ intent for the lighting effects. Some imagination is required here to appreciate what it must have looked like. The walls, ceilings and columns are painted with the natural earth tones. The light that was allowed in originally kept most of the hall in shadows. The hall ceiling was 82 feet high and was supported by 12 papyrus columns. The columns are made of sandstone and set in two rows of six. Each row is flanked on either side by 7 rows of columns that are 42 feet (12.8m) high. Each row has 9 columns, however the inner rows have 7 columns. The reliefs throughout the hall contain symbolism of Creation. The reliefs in the northern half are from the time period of Seti I and are obviously better done than those done by his son Ramesses II, which are in the southern half. Ramesses II’s reliefs are cut much deeper than those of Seti’s. This gives a much more dramatic light and shadow effect.

The outer walls of the Hypostyle Hall are covered with scenes of battle. Again, Seti I is to the north and Ramesses II is to the south. The scenes have long since lost their color that was painted and the outlines of the scenes have been blurred by the centuries of wind and sun. It is unsure whether the scenes of battle are based on historical fact or of ritual significance. It is thought that when the battle details are very precise, real events are most likely involved. Seti’s battles take place in Lebanon, southern Palestine and Syria. The southern walls of Ramesses II  have hieroglyphic texts which actually record details of the Hittite king and Ramesses II signing a peace treaty in the twenty-first year of Ramesses reign. This is the first evidence found for a formal diplomatic agreement and is certainly historical.

The Transverse Hall lies beyond the rear wall of the Hypostyle Hall. The wall is mostly ruined. With the Transverse Hall is a partially reconstructed Third Pylon of Amenhotep (Amenophis) III. The Transverse Hall has remains of the earliest sections of the Karnak complex that are still in existence.

Leaving the hypostyle hall through the third pylon you come to a narrow court where there once stood several obelisks. One of the obelisks was erected by Tuthmosis I (1504 – 1492 BC) who was the father of Hatshepsut. This obelisk stands 70 feet (21.3m) tall and weighs about 143 tons. During the centuries between Tuthmosis I and Ramesses VI, the kings of the time did more than their share of destroying and dismantling. This obelisk was never touched. The original inscription was left in its place. However, two kings did add their inscription on either side of the  original. Beyond this obelisk is the only remaining Obelisk of Hatshepsut (1473-1458 BC). It is 97 feet (29.6m) high and weighs approximately 320 tons. Besides the Lateran obelisk in Rome, this is the tallest standing obelisk. The one in Rome is 101 feet (30.7m) high. Hatshepsut was a woman who dared to challenge the tradition of male kingship. She died from undisclosed causes after imposing her will for a time. After her death, her name and memory suffered attempted systematic obliteration. The inscription on the obelisk says, "O ye people who see this monument in years to come and speak of that which I have made, beware lest you say, ‘I know not why it was done’. I did it because I wished to make a gift for my father Amun, and to gild them with electrum." 

Tuthmosis III (1479-1425 BC) was Hatshepsut’s successor. When he came to power, he built a high wall around her obelisk. This wall hid the lower two-thirds but left the upper towering above. It has been thought that this was an easier and cheaper way of destroying her memory than actually tearing it down and removing it. If Tuthmosis III had really wanted to destroy the obelisk, he would have certainly torn it down and removed it. Perhaps that was another reason  for his building the wall. The top of the obelisk was visible for 50 miles (80 km). The pink granite for the obelisk was quarried at Aswan, which is several hundred miles south of Karnak. The stone was moved several miles over to the river and shipped down to Thebes. The setting of the stone is shown on reliefs as the pharaoh raising it with a single rope tied to its upper extremity. This is most probably symbolic, but may have been done this way with several hundreds of people pulling together. To the south of the standing obelisk is its companion which has fallen. It was also made of a single block of granite but is broken now.
The Sixth Pylon, which was built by Tuthmosis III, leads into a Hall of Records in which the king recorded his tributes. Very little remains of this archive beyond two granite pillars. Just beyond these pillars lies the Holy of Holies or sanctuary. Originally it was the oldest part of the temple. The present sanctuary was built by the brother of Alexander the Great, Philip Arrhidaeus (323-316 BC) who was the King of Macedonia. The present sanctuary was built on the site of the earlier sanctuary built by Tuthmosis III. The present sanctuary contains blocks from the Tuthmosis sanctuary and still contain Tuthmosis’ inscriptions. The sanctuary is built in two sections. 

The Karnak Temples are open from 6:30 am until 5:30 pm in winter and from 6 am to 6 pm during summer. Admission is LE1 20 for foreigners, LE 10 for foreign students, LE 2 for Egyptians and LE 1 for Egyptian students. Visiting the open-air museum, to the left of the second pylon, costs an extra LE 10. The museum contains a collection of statuary that was found throughout the temple complex. The ticket has to be purchased at the main Karnak ticket kiosk.

Video 3. The temple of Karnak: Karnak Temple Luxor Egypt, with its famous hypostyle hall of 134 columns 23 meters tall, the temple of Amon is the largest columned temple in the world.

Karnak takes at least a half of a day just to walk around its many precincts and years to come to know it well. 

There is also a Sound and Light Show at Karnak.  The show starts with a historical introduction covering the birth of the great city of Thebes and erection of the Karnak temple. The show also narrates the glorious achievements of some great Pharaohs. The Spectators listen to a magnificent and poetic description of the artistic treasures and great legacy which the Karnak temple encloses.

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References

1. Complete Temples of Ancient Egypt, Wilkinson, Richard H,2000, Thames and Hudson, Ltd,  ISBN 0-500-05100-3
2. History of Egyptian Architecture, A (The Empire (the New Kingdom) From the Eighteenth Dynasty to the End of the Twentieth Dynasty 1580-1085 B.C., Badawy, Alexander, 1968,  University of California Press,  LCCC A5-4746
3. Luxor, Karnak and the Theban Temples, Siliotti, Alberto, 2002,  American University In Cairo Press, ISBN 977 424 641 1
4. Temples of Karnak,  de Lubicz, R. A. Schwaller, 1999,  Inner Tradition, ISBN 0-89281-712-7
5. Thebes in Egypt: A Guide to the Tombs and Temples of Ancient Luxor,  Strudwick, Nigel & Helen,  Cornell University Press, ISBN 0 8014 8616 5

Abu Simbel temple

The author: Professor Yasser Metwally

http://yassermetwally.com

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Perhaps after the Giza pyramids, or coincident with them, the great temple of Abu Simbel presents the most familiar image of ancient Egypt to the modern traveler and reader. When the conservation efforts to preserve the temple from the soon-to be built High Aswan Dam and its rising waters were begun in the 1960s, images of the colossal statues filled newspapers and books. The temples were dismantled and relocated in 1968 on the desert plateau, 200 feet above and 600 feet west of their original location.

Figure 1. Abu Simbel temple: An ancient earthquake damaged the statues. One is demolished from the waist up.  (Click to enlarge figure)

Abu Simbel lies south of Aswan on the western bank of the Nile, 180 miles south of the First Cataract in what was Nubia. The site was known as Meha in ancient times and was first documented in the 18th Dynasty, when Ay and Horemheb had rock-cut chapels hewn in the hills to the south.

Ramesses II, called "the Great," built seven rock-cut temples in Nubia. The rock-cut temple of Ramesses II on the west bank of the Nile at Abu Simbel is the greatest of these. This temple was not seen by Europeans until J.J. Burckhardt discovered them in 1813.

Video 1. Abu Simbel temple: Abu Simbel, in the heart of Nubian territory, almost on the borders of Sudan and about 300KM from Aswan, is the most beautiful and imposing construction of the greatest pharaoh in Egyptian history.

The temple, called Hwt Ramesses Meryamun, the "Temple of Ramesses, beloved of Amun," was begun fairly early in Ramesses’ long reign, commissioned some time after his fifth regnal year, but not completed until his 35th regnal year. The massive facade of the main temple is dominated by the four seated colossal statues of Ramesses. These familiar representations are of Ramesses II himself. Each statue, 67 feet high, is seated on a throne and wears the double crown of Upper and Lower Egypt. Each is taller than the famed Memnon Colossus at Thebes, and all are sculpted directly from the rock face. The thrones are decorated on their sides with Nile gods symbolically uniting Egypt.

Video 2. Animated slideshow of the Desert and River at Aswan and the Temples that were moved at Abu Simbel.

Burckhardt said of the first face on the left that it "was the most expressive, youthful countenance, approaching nearer to the Grecian model of beauty than that of any ancient Egyptian figure I have seen."

Figure 2. Abu Simbel temple (Click to enlarge figure)

Between the legs and on each of their sides stand smaller statues of members of the royal family. The smaller statues of relatives were probably, for the first southern colossus: Queen Nefretari by the left leg, the king’s mother, the great wife of Seti I, Muttuya by his right leg, and Prince Amenhirkhopshef in front. For the second southern colossus, Princess Bent’anta stood by the left leg, Princess Nebettawyby the left, and one unnamed female figure, probably that of a lesser royal wife named Esenofre.

The family statues at the first northern colossus were, Queen Nefretari, Princess Beketmut and Prince Riameses in front. For the second northern colossus, there were Princess Merytamun, Queen Muttuya and Princess Nofretari.  Beneath these giant sculptures are carved figures of bound captives.

The forecourt or terrace which fronted the temple contained two tanks for the ablutions of the priests. On the northern side of this terrace stood a small sun-chapel, and on the south, stood a chapel of the god Thoth. Above the entrance, a figure of the falcon-headed sun-god Ra is shown worshipped by flanking images of Ramesses. The rebus figure of Ra contains the prenomen of Ramesses II, or Userma’atre: the falcon headed god Ra has next to his right leg the glyph showing the head and neck of an animal, read User, and the goddess at his left leg is ma’at. At the top of the temple façade is a row of baboon statues in adoring attitudes, said to welcome the rising sun.

Video 3. "Abu Simbel" is considered the most impressive of the several buildings King Ramses II built. The Sun Temple has been sitting along the Niles banks since 1250 BC in southern Egypt.The central entrance leads into a large hall with massive pillars fronted by Osiris figures of the king. The temple was oriented so that the rays of the rising sun would light up the statues of the gods twice a year. The Solstices’ occurrence commemorates Ramses II’s ascension to the throne (22nd February )and his birthday (22nd October).When the temple was threatened by submersion,during the construction of the Aswan Dam,the UNESCO,in 1963,launched a world wide appeal.During the salvage operation,the temple was dismantled and raised over 60 meters up the sandstone cliff where it had been built more than 3,000 years before.

A stela at the southern end of the external terrace is called "the Marriage Stela," and is a copy of the record of one of Ramesses II’s diplomatic triumphs, his marriage to a daughter of the Hittite king Hattusilis III.

Within the temple a series of chambers becomes increasingly smaller as the floors of the rooms rise noticeably. This is a basic convention of temple design, as one moves into the temple deeper to the sanctuary which would contain the primeval mound of creation, rising out of the waters of Nun.

The first hall within the temple contains eight large statues of the king as Osiris, four on each side, which also serve as pillars to support the roof. The walls are decorated in relief with scenes showing the king in battle, including the great battle of Kadesh on the north, and Syrian, Libyan and Nubian wars on the south wall, and also presenting prisoners to the gods.

On the north entrance wall in this Hypostyle hall a scene shows Ramesses in the presence of Amun, to whom the king appealed during his battle at Kadesh against the Hittites.

Behind the first hall is a second smaller hall with ritual offering scenes. Here in one scene both Ramesses and Nefertari are depicted before the sacred barque of Amun, and in another, before the sacred barque of Ra-Horakhaty. Three doors lead from here into a vestibule, and then one reaches the sanctuary.

The sanctuary contains a small altar and in its rear niche are four statues. These cult images represent Ramesses II himself, and the three state gods of the New Kingdom, Ra-Horakhty of Heliopolis, Ptah of Memphis and Amun-Ra of Thebes. Before the statues rests a block upon which would have rested the sacred barque itself.

The axis of the temple is arranged so that on two days of the year, in February and October, the rising sun shoots its rays through the entrance and halls until it finally illuminates the sanctuary statues.

To the north of the main temple a smaller temple was built in honor of Ramesses’ great wife, Nefertari, and the goddess Hathor. This temple should not be confused with the beautiful Tomb to Nefertari in the Valley of Queens near Thebes.

As with Ramesses’ own temple, the cliff face was cut back to resemble sloping walls of a pylon. Six colossal standing figures 33 feet high four of Ramesses and two of Nefertari, were cut from the rock face, along with smaller figures of the royal family. An inscription over the entrance reads "Ramesses II, he has made a temple, excavated in the mountain, of eternal workmanship, for the chief queen Nefertari, beloved of Mu, in Nubia, forever and ever, Nefertari for whose sake the very sun does shine."

Inside, Nefertari’s temple has a single pillared hall, with carved Hathor heads atop the pillars. On the sides facing the center of the hypostyle; Ramesses is shown smiting his enemies and offering before various gods, while Nefertari is shown, graceful and slender, with hands raised. Three doors lead to a vestibule with ancillary rooms at either end.

Video 4. Inside Abu Simbel

The sanctuary is complete, though two spaces were left on its side walls for doors to rooms, which were never cut. The inner chamber contains a number of images interrelating the royal couple and the gods. On the rear wall, Hathor is depicted in high relief as a cow emerging from the western mountain, with the king standing beneath her chin. Nefertari is shown repeatedly participating in the divine rituals on an equal footing with the king. On the left wall, Nefertari is seen worshipping before Mut and Hathor, and on the right, Ramesses worships before images of his deified self and his wife.

Video 5. Inside Abu Simbel

When Greek mercenaries passed by in the 6th century BCE, sand already reached the knees of the statues. These ancient sight-see-ers left an inscription which reads "When King Psammetichus  came to Elephantine, this was written by those who sailed with Psammetichus the son of Theolces, and they came beyond Kerkis as far as the river permits."

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References

1. Cultural Atlas of Ancient Egypt by John Baines and Jaromir Malek
   Oxford Encyclopedia of Ancient Egypt
   Complete Temples of Ancient Egypt by Richard Wilkinson