Djeser-Djeseru (The Holy of Holies)

Deir el-Bahri

Deir el-Bahari is a complex of mortuary temples and tombs located on the west bank of the Nile, opposite the city of Luxor, Egypt. The first monument built at the site was the mortuary temple of Mentuhotep II of the Eleventh dynasty.  During the Eighteenth dynasty, Amenhotep I and Hatshepsut also built extensively at the site.

Tombs in the cliffs at Deir el -Bahari

The focal point of the Deir el-Bahari complex is the Djeser-Djeseru meaning "the Holy of Holies", the Mortuary Temple of Hatshepsut. It is a colonnaded structure, which was designed and implemented by Senemut, royal steward and architect of Hatshepsut (and believed by some to be her lover), to serve for her posthumous worship and to honor the glory of Amun.


The mortuary temple of Hatsheput


Hatsheput's Temple with Osirian columns

Djeser-Djeseru sits atop a series of colonnaded terraces, reached by long ramps that once were graced with gardens. It is built into a cliff face that rises sharply above it, and is largely considered to be one of the "incomparable monuments of ancient Egypt".  It is 97 feet (30 m) tall.

The unusual form of Hatshepsut's temple is explained by the choice of location, in the valley basin of Deir el-Bahari, surrounded by steep cliffs. It was here, in about 2050 BC, that Mentuhotep II, the founder of the Middle Kingdom, laid out his sloping, terrace-shaped mortuary temple. The pillared galleries at either side of the central ramp of the Djeser Djeseru correspond to the pillar positions on two successive levels of the Temple of Mentuhotep.

Today the terraces of Deir el-Bahari only convey a faint impression of the original intentions of Senenmut. Most of the statue ornaments are missing - the statues of Osiris in front of the pillars of the upper colonnade, the sphinx avenues in front of the court, and the standing, sitting, and kneeling figures of Hatshepsut; these were destroyed in a posthumous condemnation of this pharaoh. The architecture of the temple has been considerably altered as a result of misguided reconstruction in the early twentieth century A.D.


Hatshepsut's Temple showing the height of the cliffs behind

While Hatshepsut used Menuhotep’s temple as a model, the two structures are significantly different. Hatshepsut employed a lengthy colonnaded terrace that deviated from the centralized massing of Menuhotep’s model – an anomaly that may be caused by the decentralized location of her burial chamber.

The three layered terraces  are each articulated by a double colonnade of square piers, with the exception of the northwest corner of the central terrace, which employs Proto-Doric columns to house the chapel.


Lower level columns of Hatsheput's Temple

These terraces are connected by long ramps which were once surrounded by gardens. The layering of Hatshepsut’s temple corresponds with the classical Theban form, employing pylon, courts, hypostyle hall, sun court, chapel, and sanctuary.




The lower courtyard

The relief sculpture within Hatshepsut’s temple recites the tale of the divine birth of the pharaoh. The text and pictorial cycle also tell of an expedition to the Land of Punt, an exotic country on the Red Sea coast.


The Osirian statutes

On either side of the entrance to the sanctuary are painted pillars with images of Hathor as the capitals. Just under the roof is an image of Wadjet, displayed as a bilateral solar symbol, flanked by two other long serpents.  The temple includes an image of Hatshepsut depicted as  a male pharaoh giving offerings to Horus, and to their left, an animal skin wound around a tall staff that is a symbol of the god Osiris.


Hatsheput's  statue as the god Osiris

While the statues and ornamentation have since been stolen or destroyed, the temple once was home to two statues of Osiris, a long avenue lined by sphinxes, as well as many sculptures of pharaoh Hatshepsut in different attitudes – standing, sitting, or kneeling.

Detailed wall paintings in the Temple of Hatsheput

Ancient ruins in Deir el-Bahari

Abu Simbel

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.

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.



The baboons above the statues of Ramesses II

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.





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.

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."



Approaching the temple from the right side one
sees the young Ramesess II



Next the second and third statues appear







Finally one arrives infront of all four statues

An ancient earthquake damaged the statues. One is demolished from the waist up.





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.









Statues of family members by the legs of Ramesses II

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.





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.





The Temple of Nefertari and Hathor

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."



Ramesses II next to Hathor

 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.



Ramesses II



Hathor

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.

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."

Source: Tour Egypt

Philae Temple

The two plyons of Philae

The earliest building on the island of Philae was a small temple to Isis built in about 370 BC by Napktnebef Kheperkare (Nectanebo I). This was later expanded into a great Temple of Isis by a number of rulers, most notably Ptolemy II Philadelphius (285-246 BC) and Diocletian (284-305 AD).

Philae was one of the last outposts of Egyptian religion, surviving two centuries after the Roman Empire converted to Christianity. The sacred island attracted many Greek and Roman pilgrims, who came to pray for healing from the mysterious Egyptian goddess Isis.  Even after their defeat by Emperor Marcian in 451 AD, Nubian priests were permitted to make offerings to Isis on Philae.



The colonnades in the outer court

When the High Dam project threatened to engulf Philae completely, the temples were saved by a great international rescue operation sponsored by UNESCO, which took place between 1972 and 1980. The island of Philae was surrounded by a coffer dam and drained, while a new site was prepared on the neighbouring island of Agilka. The temples were broken up into sections and carefully numbered, then re-erected in the same relative positions on Agilka.







Approaching Philae Temple by boat

Two Coptic churches, a Coptic monastery, the ruins of a Temple of Augustus, and a large Roman city gate were left where they stood on the submerged island of Philae and not transferred to Agilka. It is hoped to recover them at a later date.



The Coptic Cross

The largest and most important temple on Philae is the great Temple of Isis, which is oriented south to north. It was entered on the south through the Hall of Nectanebo.
The first pylon is 150ft (45.5m) wide and 60ft (18m) high. It consists of two towers and a central doorway, which was decorated with reliefs by Nectanebo. On the front of the east tower is a huge figure of Ptolemy XII grasping a band of enemies by the hair and raising his club to smite them, with Isis, the falcon headed Horus of Edfu and Hathor on the left. Above are two reliefs of Ptolemy XII presenting the crowns of Upper and Lower Egypt to Horus and Nephthys (right) and offering incense to Isis and Harpocrates (left). There are similar reliefs on the west tower; at the foot are demotic and Greek inscriptions.



Ptolemy XII slaying his enemies



Isis and Horus

The second pylon is 105ft (32m) wide and 40ft (12m) high and covered in reliefs. Those on the central doorway are by Euergetes II. On the lower part of the east tower is a large figure of Ptolemy XII dedicating sacrificial animals to Horus and Hathor. Above are two small reliefs depicting the King presenting a garland to Horus and Nephthys (right) and offering incense to Osiris, Isis and Horus and pouring water on the altar (left). The natural granite at the foot of the tower has been smoothed to form a stela, with a six line inscription and reliefs relating to a grant of land made by Philometor in 157 BC. The west tower has similar reliefs, which have been deliberately defaced.



Isis and Horus on the  pylon



In front of the second pylon are the foundations of a small chapel. The second pylon can be climbed by a staircase on the north side of the west tower, from the top of which it is possible to cross the central doorway to the east tower. Within the central doorway are some very faded early Christian paintings.








 The Temple of Isis

Behind the second pylon is the Temple of Isis itself, which consists of a court, a vestibule, several antechambers and the inner sanctum where the sacred image of Isis was kept. The walls are covered with reliefs and inscriptions depicting various Ptolemies (Philadelphus, Euergetes II, etc.) and Roman Emperors (Augustus, Tiberius, and Antoninus Pius) making offerings or performing other ritual acts. They are very similar to the reliefs in other temples of the period, particularly those of Dendera and Edfu.



A relief of Isis feeding Horus

About 55 yards (50m) east of the Temple of Isis is the little Temple of Hathor, built by Philometor and Euergetes II in honor of Hathor-Aphrodite. The vestibule and the sanctuary (now destroyed) were later added by Augustus.



A relief of Bes

The columns of the vestibule are decorated with reliefs of flute-players and harpists, Bes with a tambourine, Bes dancing and playing a harp, monkeys playing the lyre, priests bearing an antelope, and other charming scenes. On the screens between the columns, Augustus is shown making offerings to personifications of Hathor. The best-preserved part of the structure is the main temple chamber, on the front of which are two plant columns linked to the walls by screens.

Southeast of the Temple of Hathor on the riverbank is perhaps the most attractive building on the island, The Kiosk of Trajan. It dates from the Roman Imperial period, but was left unfinished: the capitals of the plant columns were intended to be surmounted by sisterly capitals.










The Kiosk of Trajan