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Construction of the temple complex started in approximately 1244 BC and lasted for about 20 years, until 1224 BC. Known as the “Temple of Ramesses, beloved by Amun”, it was one of six rock temples erected in Nubia during the long reign of Ramesses II. Their purpose was to impress Egypt’s southern neighbors, and also to reinforce the status of Egyptian religion in the region. Historians say that the design of Abu Simbel expresses a bit of ego and pride in Ramses II.
With the passage of time, the temples fell into disuse and eventually became covered by sand. Already in the 6th century BC, the sand covered the statues of the main temple up to their knees. The temple was forgotten until 1813, when Swiss orientalist JL Burckhardt found the top frieze of the main temple. Burckhardt talked about his discovery with Italian explorer Giovanni Belzoni, who travelled to the site, but was unable to dig out an entry to the temple. Belzoni returned in 1817, this time succeeding in his attempt to enter the complex. He took everything valuable and portable with him. Tour guides at the site relate the legend that “Abu Simbel” was a young local boy who guided these early re-discoverers to the site of the buried temple which he had seen from time to time in the shifting sands. Eventually, they named the complex after him: Abu Simbel.
In 1959 an international donations campaign to save the monuments of Nubia began: the southernmost relics of this ancient human civilization were under threat from the rising waters of the Nile that were about to result from the construction of the Aswan High Dam. The salvage of the Abu Simbel temples began in 1964, and cost some USD $40 million. Between 1964 and 1968, the entire site was cut into large blocks (up to 30 tons averaging 20 tons), dismantled and reassembled in a new location – 65 m higher and 200 m back from the river, in what many consider one of the greatest feats of archaeological engineering. Some structures were even saved from under the waters of Lake Nasser. Today, thousands of tourists visit the temples daily. Guarded convoys of buses and cars depart twice a day from Aswan, the nearest city. Many visitors also arrive by plane, at an airfield that was specially constructed for the temple complex. The complex consists of two temples. The larger one is dedicated to Ra-Harakhty, Ptah and Amun, Egypt’s three state deities of the time, and features four large statues of Ramesses II in the facade. The smaller temple is dedicated to the goddess Hathor, personified by Nefertari, Ramesses’s most beloved wife (in total, the pharaoh had some 200 wives and concubines). The temple is now open to the public.
The Great Temple at Abu Simbel, which took about twenty years to build, was completed around year 24 of the reign of Rameses the Great (which corresponds to 1265 BCE). It was dedicated to the godsAmun, Ra-Horakhty, and Ptah, as well as to the deified Rameses himself. It is generally considered the grandest and most beautiful of the temples commissioned during the reign of Rameses II, and one of the most beautiful in Egypt. Four colossal 20 meter statues of the pharaoh with the double Atef crown of Upper and Lower Egypt decorate the facade of the temple, which is 35 meters wide and is topped by a frieze with 22 baboons, worshippers of the sun and flank the entrance. The colossal statues were sculptured directly from the rock in which the temple was located before it was moved. All statues represent Ramesses II, seated on a throne and wearing the double crown of Upper and Lower Egypt. The statue to the left of the entrance was damaged in an earthquake, leaving only the lower part of the statue still intact. The head and torso can still be seen at the statue’s feet. Next to the legs of the colossi, there are other statues no higher than the knees of the pharaoh. These depict Nefertari, Ramesses’s chief wife, and queen mother Mut-Tuy, his first two sons Amun-her-khepeshef, Ramesses, and his first six daughters Bintanath, Baketmut, Nefertari, Meritamen, Nebettawyand Isetnofret. The entrance itself is crowned by a bas-relief representing two images of the king worshiping the falcon-headed Ra Harakhti, whose statue stands in a large niche. This god is holding the hieroglyph user in his right hand and a feather while Ma’at, the goddess of truth and justice) in on his left; this is nothing less than a gigantic cryptogram for Ramesses II’s throne name, User-Maat-Re. The facade is topped by a row of 22 baboons, their arms raised in the air, supposedly worshipping the rising sun. Another notable feature of the facade is a stele which records the marriage of Ramesses with a daughter of king Hattusili III, which sealed the peace between Egypt and the Hittites. The inner part of the temple has the same triangular layout that most ancient Egyptian temples follow, with rooms decreasing in size from the entrance to the sanctuary. The temple is complex in structure and quite unusual because of its many side chambers. The hypostyle hall (sometimes also called pronaos) is 18 meters long and 16,7 meters wide and is supported by eight huge Osirid pillars depicting the deified Ramesses linked to the god Osiris, the god of the Underworld, to indicate the everlasting nature of the pharaoh. The colossal statues along the left-hand wall bear the white crown of Upper Egypt, while those on the opposite side are wearing the double crown of Upper and Lower Egypt(pschent). The bas-reliefs on the walls of the pronaos depict battle scenes in the military campaigns the ruler waged. Much of the sculpture is given to the Battle of Kadesh, on the Orontes river in present-day Syria, in which the Egyptian king fought against the Hittites. The most famous relief shows the king on his chariot shooting arrows against his fleeing enemies, who are being taken prisoner. Other scenes show Egyptian victories in Libyaand Nubia. From the hypostyle hall, one enters the second pillared hall, which has four pillars decorated with beautiful scenes of offerings to the gods. There are depictions of Ramesses and Nefertari with the sacred boats of Amun and Ra-Harakhti. This hall gives access to a transverse vestibule in the middle of which is the entrance to the sanctuary. Here, on a black wall, are rock cut sculptures of four seated figures: Ra-Horakhty, the deified king Ramesses, and the gods Amun Ra and Ptah. Ra-Horakhty, Amun Ra and Ptahwere the main divinities in that period and their cult centers were at Heliopolis, Thebes and Memphisrespectively.The axis of the temple was positioned by the ancient Egyptian architects in such a way that twice a year, on October 20 and February 20, the rays of the sun would penetrate the sanctuary and illuminate the sculpture on the back wall, except for the statue of Ptah, the god connected with the Underworld, who always remained in the dark. These dates are allegedly the king’s birthday and coronation day respectively, but there is no evidence to support this, though it is quite logical to assume that these dates had some relation to a great event, such as the jubilee celebrating the thirtieth anniversary of the pharaoh’s rule. In fact, according to calculations made on the basis of the heliacal rising of the star Sirius (Sothis) and inscriptions found by archaeologists, this date must have been October 22. This image of the king was enhanced and revitalized by the energy of the solar star, and the deified Ramesses Great could take his place next to Amun Ra and Ra-Horakhty. Due to the displacement of the temple, it is widely believed that this event now occurs one day later than it did originally.
The temple of Hathor and Nefertari, also known as the Small Temple, was built about one hundred meters northeast of the temple of Ramesses II and was dedicated to the goddess Hathor and Ramesses II’s chief consort, Nefertari. This was in fact the second time in ancient Egyptian history that a temple was dedicated to a queen. The first time, Akhenaten dedicated a temple to his great royal wife, Nefertiti. The rock-cut facade is decorated with two groups of colossi that are separated by the large gateway. The statues, slightly more than ten meters high, are of the king and his queen. On the other side of the portal are two statues of the king, wearing the white crown of Upper Egypt (south colossus) and thedouble crown (north colossus); these are flanked by statues of the queen and the king. What is truly surprising is that for the only time in Egyptian art, the statues of the king and his consort are equal in size. Traditionally, the statues of the queens stood next to those of the pharaoh, but were never taller than his knees. This exception to such a long standing rule bears witness to the special importance attached to Nefertari by Ramesses, who went to Abu Simbel with his beloved wife in the 24th year of his reign. As the Great temple of the king, there are small statues of princes and princesses next to their parents. In this case they are positioned symmetrically: on the south side (at left as you face the gateway) are, from left to right, princes Meryatum and Meryre, princesses Meritamen and Henuttawy, and princes Rahirwenemef and Amun-her-khepeshef, while on the north side the same figures are in reverse order. The plan of the Small Temple is a simplified version of that of the Great Temple. As the larger temple dedicated to the king, the hypostyle hall or pronaos is supported by six pillars; in this case, however, they are not Osirid pillars depicting the king, but are decorated with scenes with the queen playing the sinistrum (an instrument sacred to the goddess Hathor), together with the gods Horus,Khnum, Khonsu, and Thoth, and the goddesses Hathor, Isis, Maat, Mut of Asher, Satis and Taweret; in one scene Ramesses is presenting flowers or burning incense. The capitals of the pillars bear the face of the goddess Hathor; this type of column is known as Hathoric. The bas-reliefs in the pillared hall illustrate the deification of the king, the destruction of his enemies in the north and south (in this scenes the king is accompanied by his wife), and the queen making offerings to the goddess Hathor and Mut. The hypostyle hall is followed by a vestibule, access to which is given by three large doors. On the south and the north walls of this chamber there are two graceful and poetic bes-reliefs of the king and his consort presenting papyrus plants to Hathor, who is depicted as a cow on a boat sailing in a thicket of papyri. On the west wall, Ramesses II and Nefertari are depicted making offerings to god Horus and the divinities of the Cataracts – Satis, Anubis and Khnum. The rock cut sanctuary and the two side chambers are connected to the transverse vestibule and are aligned with the axis of the temple. The bas-reliefs on the side walls of the small sanctuary represent scenes of offerings to various gods made either by the pharaoh or the queen. On the back wall, which lies to the west along the axis of the temple, there is a niche in which Hathor, as a divine cow, seems to be coming out of the mountain: the goddess is depicted as the Mistress of the temple dedicated to her and to queen Nefertari, who is intimately linked to the goddess. Each temple has its own priest that represents the king in daily religious ceremonies. In theory, the Pharaoh should be the only celebrant in daily religious ceremonies performed in different temples throughout Egypt. In reality, the high priest also played that role. To reach that position, an extensive education in art and science was necessary, like the one pharaoh had. Reading, writing, engineering, arithmetic, geometry, astronomy, space measurement, time calculations, were all part of this learning. The priests of Heliopolis, for example, became guardians of sacred knowledge and earned the reputation of wise men.
The Minister of Culture, Farouk Hosni, announced that a tunnel in the tomb of King Seti I (1314-1304 BC) has been discovered by Dr. Zahi Hawass and his team in the Valley of the Kings. They’ve been searching for this tunnel for over twenty years in the West Bank necropolis. Dr. Hawass, Secretary General of the Supreme Council of Antiquities, and the head of the mission, finally succeeded in completely excavating the 174m long tunnel after several seasons of work that began in November 2007. The tunnel was cut into the bedrock near the end of the beautifully decorated tomb of Seti I. In addition to excavating the tunnel, the team braced the walls and ceiling with metal supports. They also built a wooden walkway over the original stone staircase of the tunnel to preserve it and installed a mining car system to remove rubble from the team’s excavations. During their work, the mission uncovered many shabtis and pottery fragments that dated to the Eighteenth Dynasty (1569-1315 BC). Several limestone ostraca fragments, as well as a small boat model made of faience were also found. During their excavation of the staircase, the team found that three of the steps were decorated with red graffiti.
The only other excavation of the tunnel took place in 1960 under the direction of Sheikh Ali Abdel Rassoul. His team was able to reach a depth of 136m but they had to stop their excavation because it was too hard to breath. Upon reaching the end of the 136m section, which had been partially excavated by Abdel-Rasoul's workmen, Dr. Hawass’s team were shocked to uncover a descending passage which measures 25.60m in length and 2.6m wide. The mission eventually uncovered a fifty-four step, descending staircase.
After the first descending passage, a second staircase measuring 6 meters long was cut into the rock. At the beginning of this passage the team found a false door decorated with hieratic text that reads: “Move the door jamb up and make the passage wider." These written instructions must have been left from the architect to the workmen who were carving out the tunnel. Dr. Hawass said that when he went inside the tunnel of King Seti I for the first time he noticed that the walls were well finished and that there were remains of preliminary sketches of decoration that would be placed on the walls. Unfortunately none of this was every completed. Dr. Hawass added that he was very surprised to find a second staircase inside the tunnel. It appears that the last step was never finished and the tunnel ends abruptly after the second staircase.
Dr. Hawass believes that the workmen and artists first finished the original tomb of Seti I during his twelve-year reign and then began to construct the tunnel. It appears that Seti I was trying to construct a secret tomb inside a tomb. It is likely that when Seti I died his son, Ramesses II (1304-1237BC), had to stop the work and bury has father. Dr. Hawass believes that Ramesses II continued where his father had left off and constructed his own tunnel within his tomb in the Valley of the Kings. The Egyptian mission is currently working in the tomb of Ramesses II to preserve the wall paintings and to look for a similar tunnel to the one in the tomb of Seti I.
The statue was found beneath the southern false door of the tomb. The statue was found beneath the southern false door of the tomb, and even before the room had been opened, I could see the statue's crystal eyes gazing back at me. The statue shows Kai sitting on a high-backed chair. He wears a shoulder length wig, decorated with horizontal rows of curls. Each eye is framed in cooper, while his eyebrows are in raised relief. The lips are thin and finely drawn. The musculature of the body is very well defined and Kai's right arm is bent across his chest. His left arm is resting on his lap on top of his short, white shendyt-kilt. The base of the statue is decorated with five lines of hieroglyphic text which list Kai's title including the "Steward of the Great Estate." On either side of Kai are his two children. They are very small figures and barely reach to his knee caps. His daughter is sitting next to his left leg in a long white sheath dress. Kai's son is standing naked next to his right leg. Depictions of naked figures with their finger to their lips, was an ancient Egyptian artistic convention for depicting male children.