Luxor - West Bank
The New Kingdom Mortuary Temple

Abandonment of the pyramid complex did not mean that the essential elements of a funerary cult could not be neglected. Pyramids of the Old and Middle Kingdoms marked the place of the kings' internment, and co-existing with this great structure was the mortuary temple, where priests carried out rituals and made offerings to the Pharaoh's ka. The tombs within the Valley of the Kings did not exist in isolation. To avoid betraying the secret location of the tomb the mortuary temple was conveniently built at the desert edge on the West Bank at Thebes.

Medinet Habu

One of the best-preserved mortuary temples on the West Bank is that of Ramesses III of the Twentieth Dynasty. Located about 1 km south of the colossi of Memnon, at Medinet Habu ('City of Habu'), the temple stands tall and proud, surrounded by a high mud brick enclosure wall. Inside this massive enclosure wall lies the temple, with its impressive pylon entrance before you, and to your right is a smaller, earlier temple, and the sacred lake. The temple was not just a focus for the Pharaoh's cult; adjoining the first court of the temple is the palace. Here Ramesses III would relax, perhaps when he was in Thebes for festivals, or when he felt to urge to be with his harem.

The decoration on the pylons and the exterior of the temple are largely devoted to celebrating Ramesses III's triumph over his foes, all executed in an overtly propagandistic manner. Egypt was a country quite often subject to foreign invasion. During this part of Egyptian history, the late Bronze Age, the people of Libya and a group known as the "Sea Peoples" were being particularly troublesome. Egypt remained resistant to their attacks, and scenes of battle are recounted in great glory on the walls of Medinet Habu. Key battles depicted include that of the Libyan War of Years Five and Eleven, and the Northern War of Year Eight. Ramesses is frequently seen in battle with his lion, and piles of severed hands and genitals celebrate the quantity of enemies slain. The front of the pylon shows the oversized Ramesses III smiting other enemies of the land (Nubians and Syrians) before the gods Amun and Re-Harakhty.

Within the temple there is the usual ceremonial and religious repertoire of the king at festivals and the procession of barque shrines. Further within the first and second courts lies the hypostyle hall, leading to the rear of the temple. It is this part of the temple that most clearly demonstrates the various roles of the New Kingdom mortuary temple. As with other older temples, the mortuary temple contained suites of chambers that identified the dead king with certain gods, in particular Osiris, king of the Underworld, and the sun god, Re-Harakhty. The distinguishing feature of the mortuary temple is its use as a place of worship for the living king himself, celebrating divine kingship. The temple, which was based upon that of the Ramesseum (the mortuary temple of Ramesses II), also contains a chapel for Ramesses II, who was now a role model of great kingship.

Deir el-Bahri

Arabic for 'Monastery of the North', Deir el-Bahri is situated at the foot of the Theban Mountains, behind which shelters the Valley of the Kings. Here lies the New Kingdom (1549-1069 BCE) mortuary temple of Hatshepsut, a temple of untraditional appearance which appears to be in tranquil harmony with the surrounding environment. Located opposite Karnak, on the West Bank of Thebes, this temple was once connected by a long causeway (c. 1 km) to a valley temple near the Nile.

The mortuary temple closely resembles the architectural style of its much earlier Middle Kingdom (2066-1650 BCE) next-door neighbour -the mortuary temple of King Nebhepetre Mentuhotep. Thutmose II (1491-1479 BCE), initiated work at the New Kingdom site, but Hatshepsut took over the building at an early start.

Hatshepsut

Hatshepsut was a ruling Queen (1479-1457 BCE), and understandably needed to assert the legitimacy of her right to the throne. Nowhere is this more apparent than at Deir el-Bahri. Temple wall scenes strive with great propaganda to prove she is a direct descendant of the god's. Hatshepsut was the daughter of Thutmose I (1503-1491 BCE) and Queen Ahmose, she married her half brother Thutmose II (1491-1479 BCE), who was born from the union of her father and his concubine Mutnofret. The couple failed to produce a male heir, however Thutmose II and his royal concubine, Isis, produced a son who became Thutmose III. Hatshepsut's marriage was short-lived; after only fourteen years on the throne her husband, Thutmose II, died. His young son, Thutmose III inherited the throne of Egypt at an age that would require an older and wiser regent. His stepmother Hatshepsut assumed this role, as the below translation of an inscription from the rock-cut tomb of Ineni testifies:

"[Thutmose II] went up to heaven and was united with the gods. His son took his place as King of the Two Lands and he was the sovereign on the throne of his father. His sister, the God's Wife Hatshepsut, dealt with the affairs of the state: the Two Lands were under her government and taxes were paid to her"

(From the stele in the rock cut tomb of Ineni on the West Bank of Thebes)

For twenty years Hatshepsut was the proper ruler of Egypt, after having had herself crowned as King in the second or third year of her regency. She took on new titles: Maatkare Hatshepsut ("Maat is the ka of re, Hatshepsut") and Khenemet-Amun-Hatshepsut ("She who embraces Amun, the foremost of women"). Thutmose III was still essentially a joint ruler, with year dates being numbered against his reign. However it is visually apparent in the artwork that she is the only ruler and key player of this time. The texts of her time are fantastically interesting. In order to justify her right to rule she creates a new history. To place a shadow over her stepson she claimed she was co-regent with her father, Thutmose I (1503-1491 BCE). Much of this scenario is ideally depicted in the artwork of her mortuary temple.

The Temple

The temple lies in an area traditionally associated with the goddess Hathor, and alongside the site of a temple constructed by King Nebhepetre Mentuhotep of the Eleventh Dynasty. This much earlier mortuary temple must have inspired the architect of Hatshepsut's complex. Both temples had great wide causeways that connected the cliff edge temple with the valley temples near the Nile. Hatshepsut's causeway was lined with sandstone sphinxes and statues, and was 37 metres wide. Both temples brought the desert into bloom with their planned gardens of trees and flowers. The temple of Nebhepetre Mentuhotep had a grove of Tamarisk and Sycamore trees incorporated into its design. Hatshepsut's temple contained gardens of flowers and imported trees, such as Myrrh, planted in rows. The temple consists of three broad terraced courts that rise above each other towards the Theban Mountains. The courts are approached by ramps, and on either side of these ramps lie colonnades, behind which shelter the famous reliefs. Standing at either side of the lowest colonnade are oversized Osiride statues, indeed, the upper terrace was once decked with Osiride statues of the queen.

(Ashley Cook)