We can now turn our attention to the two temples that lay in the southwest corner of the Amen complex. The first is the temple dedicated to the lunar god Khonsu who was the son of Amen and Mut in the Theban triad. This structure, an excellent example of a New Kingdom temple, is quite complete. The architectural program of the temple consists of a peristyle court of twenty-eight columns arranged in four groups: two groups of eight that border the sides of the court and two groups of six that sit on a raised platform at the rear. Beyond this court is a hypostyle hall of eight columns which lead to the barque sanctuary. There are chapels to the right and left and a stairway to the roof is located on the east side. Behind the barque chapel is another columned hall that gives access to three sanctuaries at the back of the temple and side chapels to the east and west. The chapel in the northeast corner shows a relief of Osiris lying on a platform with Isis and Nephthys on either side.
The temple was begun by Ramesses III, who was responsible for building the original sanctuary and erecting the walls. The temple was completed and decorated by a number of succeeding kings, predominately Ramesses IV, Herihor, and some who were the Libyan generals ruling in Upper Egypt at the end of the New Kingdom. The inscription on the entrance pylon’s outer face, likely built by Herihor, bears this fact out. Each side bears the inscription:
“First high priest of Amen, doer of the rites, Pinedjem, son of the first high priest of Amen, Piankh, has made this very great and august pylon for his father Khonsu in Thebes-Neferhotep on the front of his temple.”
On the east wing of the pylon, the god’s wife of Amen, Maatkare who is assumed to be the daughter of Psusennes I, is seen alone. She is again seen on the west side where we see her with Henuttawy, the divine worshiper of Hathor. xOf special interest are the peristyle court and the hypostyle hall as inscriptions of both Ramesses XI and the general and high priest Herihor appear here. Ramesses XI is said to have built the hypostyle hall called “Wearer-of Diadems.” This hall is unique for it is the only place where we can clearly see the rise of the High Priest of Amen, Herihor, and the fall of the Ramessid dynasty by means of inscription. The dedications on the architraves of the hypostyle hall bear the name of Ramesses XI, as though he was firmly upon the throne. The dedications around the base of the wall, as well as the scenes, show the position held by Herihor and show the king in a much subordinated position. Around the architrave of the hypostyle hall we read:
“Live the good god, maker of monuments in the house of his father, Khonsu, Lord of Thebes, builder of his temple as an eternal work, in fine white sandstone……” (Architraves on the right of the central aisle, the side facing the small columns.)
“Live the Horus…….Ramesses XI; He made as his monument for his father, ‘Khonsu-in-Thebes-Beautifu-Rest,’ making for him ‘Wearer of Diadems’ for the first time, of fine white sandstone, making splendid his temple as a beautiful monument, forever, which the Son of Re, Ramesses XI made for him.” (Architraves over small columns on the right) (J.H.Breasted, Ancient Records, vol.4, sec. 602).
Around the base of the wall, however, read:
“High Priest of Amen-Re, king of the gods, commander in chief of the armies of the South and North, the leader, Herihor, triumphant; he made it as his monument for ‘House of Khonsu-in-Thebes-Beautiful-Rest;’ making for him a temple for the first time in the likeness of the horizon of heaven, extending his temple as an eternal work, enlarging his monument (more than) before.”
The doorway leading to the court shows Herihor growing stronger and gaining position as he has now become the “Overseer of granaries and the Viceroy of Kush.” The titles are shown along side and beneath the name of Ramesses XI at the beginning of an important inscription. Additionally, we see Herihor making the offerings to the gods, an act which traditionally was only done by the king. Unfortunately, much of this inscription in now lost, but the main thrust of it is a petition in favor of Herihor to advance his power. He is shown before Khonsu and it is evident from the remaining text that some great event was to take place in favor of Herihor within the year. The event itself is not made clear, but Khonsu’s approval was expressed by a nodding of Khonsu’s head and the news was then taken to Amen, who likewise, nodded approval. It is this narrative, in all probability, that is the divine oracle pronouncing Herihor pharaoh. Surely, Herihor wished to make this a matter of record. This “pronouncement” by the god is recorded upon the door that separates the hypostyle hall, erected by both Herihor and Ramesses XI, from the forecourt erected by Herihor alone. The text, in poor condition starting with the confirmation of Amen, follows:
“The city went forth as messengers (to ) him to tell that which Khonsu said---- (Amen-Re), king of gods, turning his face northward to Karnak. Then he arrived at the -----Amen-Re, king of the gods, the father------(Then the god nodded his head) exceedingly, exceedingly, saying: ‘A space of 20 years is (that which) Amen-Re, king of the gods (gives)to you……..”
This is followed by the recording of the grant:
“Then the high priest of Amen-Re, king of the gods, Herihor, triumphant, repeated it to him saying: ‘O my good lord-----(Shall we record these) marvels upon stone?’ The god nodded his head exceedingly, exceedingly. Then Herihor Offering to Amen-Re
Herihor, then built the forecourt and the pylon, and the inscriptions on the architraves and the pylon give him the full Pharaonic titulary. In the first cartouche he put the title “High Priest of Amen” using it as if it was his name before he gained the throne.
At the back of the temple is the barque shrine with a carved pedestal. On the east wall Ramesses IV offers the first portion of the harvest to Khonsu, shown with a falcon head. The king, who holds the censer, presents the table of offerings to the Theban triad of Amen, Mut and Khonsu. Close inspection will show that this is carved over an older scene of the triad which was then seated and now is shown standing. The west wall is bare on its entire lower part. Only a dedication by Ramesses IV, beloved of Khonsu-Neferhotep can be seen. The columns in the pronaos show the royal inscription and dedication to Ptah the Great, South of His Wall, (south face) and to Mut the Great, Lady of Isheru, (east face). Those who venture to the roof may see the outlines of footprints left by pilgrims to this holy site. These travelers would often scrape the side walls for stone dust to return with for its supposed medicinal qualities. This is a practice that continues to this day. The propylon gate in the enclosure wall was
Carved pedestal in barque shrine.
To the west of the Khonsu temple is the small temple of Opet, the hippopotamus goddess who helped women in childbirth. The temple is chiefly the work of Ptolemy VIII and is special in that it has its own gateway through the western side of the temenos wall that surrounds the Amen precinct.
The temple is constructed with crypts that allude to the tomb of Osiris. A door on the east side provides access to a small chapel of Osiris that is independent of the main chapel. A narrow passage separated the east side of the Opet chapel from the temple of Khonsu and there is an entrance on the east side that leads to the Osirian chapel. This doorway bears the name of Ptolemy XIII and the side walls show the name of Augustus. The lowest levels of reliefs on either side of this doorway show the king with the red and white crowns, presenting a platter of offerings to Osiris-Wennefer. Behind him is Hapi, the Nile god, wearing the symbolic plants
East entrance of Opet chapel from Khonsu Temple.
Leads to Osirian chapel.
Moving to the west entrance of the chapel, one enters into a room with two columns of singular design. The goddess Opet has been associated as one of the forms of Hathor, and this association can be seen in the faces of Hathor that are carved upon blocks of stone that surmount the composite capitals. These capitals consist of umbels, palm leaves, and buds which top the two columns found in this small open hall
Cartouche of Ptolemy VIII
Moving eastward past the Hathor columns and through the main sanctuary entrance, three doorways that lead to the inner rooms are seen. To the left is the north room which bears the name The Mansion of User-Menu (The Most Powerful of Monuments). On the west wall of this room we see Ptolemy VII offering bandages to Osiris, who is followed by Amenet, female counterpart of Amen, wearing the Red Crown of the North. On the north wall of this chapel are scenes relating to the resurrection of Osiris. Directly ahead, on the main axis, is the room called The Mansion of Gold (perhaps the Golden One?), and is located above the Osirian chapel that leads to the temple of Khonsu. Located in this room is the so-called Niche of Opet. Here on the north side the king is seen wearing the Red Crown and standing in front of a bust of the goddess Opet. Above and in front of Opet we read: “Words spoken by Great Opet, who creates (gives birth) the Gods, Lady of Heaven, Mistress of the Two Lands, (above her head) Nobel in Thebes.” On the south wall the king wears the White Crown of the South and offers what appears to be a water clock (clepsydra) to a head of Hathor. The inscription reads: “Words spoken by Great Opet, who creates the Gods, Lady of Heaven, Mistress of all the Gods, Nobel in Thebes.”
To the right is the entrance to the room identified as The Mansion of the Seat of Souls (perhaps Power?). It is interesting to note that built into the walls of both the north and south sanctuaries are crypts, which with the help of a ultra-violet light, show figures and texts that are otherwise not visible. These crypt rooms, some beneath ground level, most likely served as a symbolic tomb for Amen-Osiris, and held the ritual items used in the Festival of the Resurrection of the God.
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