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Transporting false doors at the construction site of the Temple of Hatshepsut at Deir el-Bahari

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Dziedzic T.
Polish Archaeology in the Mediterranean
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2018
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vol. 27(2)
129-141
EN
The article presents a probable way of transporting false doors to their location within the Temple of Hatshepsut during its construction. The issue does not seem to be of particular significance until one considers the value of the false doors as such and the impossibility of using heavy equipment in the chapels of the Complex of the Royal Mortuary Cult. The false doors had to be introduced into the construction site at the time that the walls of the chapel were being raised but before the building of the vaults. The options discussed in the article illustrate the logistical problems of the undertaking and the construction opportunities that might have been taken advantage of. The discussion provides a closer look at the construction processes taking place in the Temple of Hatshepsut during the separate stages of expansion and the changes in its functional and spatial design. In consequence, it reopens the debate on the building chronology of the temple.
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A Nome Procession From the Royal Cult Complex in the Temple of Hatshepsut at Deir el-Bahari

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Białostocka O.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2014
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issue 27
19–36
EN
In the Temple of Hatshepsut at Deir el-Bahari, a representation of a nome procession covers one of the walls of the small, open courtyard in the Royal Cult Complex. Using analogical scenes preserved in other temples, the paper reconstructs the order of nome personifications depicted in the said procession. It further delves into the nature of this type of representation and its significance for the king, taking into consideration the location of the scene.
3
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‘A Temple Comes to Being’. A Few Comments on the Temple Foundation Ritual

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Karkowski J.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2016
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vol. 29
111–123
EN
Building a temple in Ancient Egypt began with the Foundation Ritual and ended with the consecration of the completed monument to its gods. The moment when the temple was ready for its cultic functions is by a majority of authors placed at the end of the process. The importance and complexity of the Foundation Ritual shows that directly after its completing the Egyptians might have treated extent of the future temple as a sacred space which already during the construction of the temple required some sort of cult. There seems to be no royal document referring to the official worship, but a number of ostraca from Deir el-Bahari and another longer document may be linked to this early stage unmaterialized existence of the temple. All these documents record the offerings presented in the temple by different officials of the time of Hatshepsut. At least some of them predate the completion of building operation.
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The secretarybird dilemma: identifying a bird species from the Temple of Hatshepsut at Deir el-Bahari

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Braulińska K.
Polish Archaeology in the Mediterranean
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2018
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vol. 27(2)
83-116
EN
Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author's studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing it from the “God’s Land”. Iconographic features contesting this identification and suggesting a different species, that is, the African harrier-hawk, are discussed based on a combination of theoretical background, material analysis, on-site interviews with experts and the author’s personal experience with the species.
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Mammals in the iconography of the Temple of Hatshepsut: a project underway

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Braulińska K.
Polish Archaeology in the Mediterranean
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2017
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vol. 26(1)
221-228
EN
The project “Mammals in the iconography of the Temple of Queen Hatshepsut”, initiated by the author in the 2011/2012 season, encompasses a detailed documentation of the animals depicted in various parts of Hatshepsut’s temple in Deir el-Bahari as a prerequisite for in-depth research. The study follows a multi-disciplinary approach within faunal analysis, and is complemented with technological observations on the execution of relief representations from the temple. At this stage of the project, a general taxonomic identification of the animal representations is nearly complete and a further detailed study of each taxon has been undertaken. Both complete animals (mainly mammals for now) and animal raw materials were studied in addition to the contexts and scenes in which they appear.
6
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Palace or Slaughterhouse? The Function of the Room with a Window in the Hatshepsut Temple at Deir el-Bahari

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Białostocka O.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2014
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issue 27
37–60
EN
The small room with a window situated in the south-east corner of the Upper Terrace of the Hatshepsut Temple at Deir el-Bahari has been interpreted by scholars to be either a slaughterhouse or a temple palace of the female pharaoh. Considering the axes of the Temple, the meaning assigned to the southern direction in connection with the solar theology, as well as the relief decoration preserved around the mentioned window, the paper proposes to reconstruct in the said space a symbolic residence of the deceased divine Hatshepsut, later turned into a palace of the sun god in its aspect of the day sun. Besides describing the changing function of the structure, it also looks into the transformation of the pharaoh into a divine being, the form of the sun god. Finally, the paper suggests possible original locations for some of the Hatshepsut statues, now in the collection of the Metropolitan Museum of Art in New York.
7
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Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari? Inscribed Vessels Represented in the Chapel of Hatshepsut at Deir el-Bahari?

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Stupko-Lubczyńska A.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2014
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issue 27
405–420
EN
During documentation of the offering scenes decorating the Chapel of Hatshepsut (the so-called Southern Hall of Offerings) in the mortuary temple of the queen at Deir el-Bahari, on some vessels represented among piled offerings on the upper part of its north wall, deep gouges typical for the iconoclasm of the Amarna period have been observed. Closer examination revealed similar traces of deliberate destruction also on depictions of other pottery forms, recorded on blocks attributed to the scene in question in its eastern section. It is interesting to remark that the described erasures have been noted (with only one exception) exclusively on the north wall of the Chapel, while all the vessels depicted in the corresponding area of the south wall bear no such traces. The aim of the paper is an attempt at reconstructing inscriptions placed on the vessels in question on the basis of similar representations coming from the other parts of Djeser-djeseru, the actual inscribed vessels known from the archaeological context and th depictions of similar artifacts found in some Eighteenth Dynasty tombs of the nobles.
8
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On the Question of So-called Amun-vases: Observations from the Temple of Hatshepsut at Deir el-Bahari

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Stupko-Lubczyńska A.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2015
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issue 28
159–189
EN
It is well known that during the post-Amarna period, depictions and texts vandalized in the course of the religious revolution of Akhenaten were restored. On the whole, they were reworked without changes. However, in the case of some elements of the wall decoration, the repaired image differed somewhat from the original one. This is the case of liturgical utensils represented in the offering table scenes in the Chapel of Hatshepsut and Thutmose I, where instead of hes-vases with conical covers so-called Amun-vases were restored. These were hes-vases with ram-headed lids which are known to have been carried in processions heading to the Nile during the New Year celebrations. The paper aims at answering the questions, what was the reason for the destruction of the mentioned cult implements during the Amarna period and why in the course of the post-Amarna repair some of the libation vessels were restored as ‘Amun-vases’.
9
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Old and Middle Kingdom Tradition in the Temple of Hatshepsut at Deir el-Bahari

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Ćwiek A.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2014
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issue 27
61–93
EN
The temple of Hatshepsut at Deir el-Bahari, although a unique and innovative monument, is firmly settled in the earlier tradition. Its architecture, relief decoration, statuary program and texts, bear direct or indirect references to the past. The Old and Middle Kingdom ideas, patterns and motifs may be traced on various levels, in the overall structure as well as in details. Sometimes the direct source of a feature may be pointed out; in most cases one can at least set forth an inspiration source in the architecture and decoration programme of the royal mortuary complexes, royal texts or iconography. The Deir el-Bahari case should be seen against the wider background of Hatshepsut’s activities, referring to the great periods and achievements of her illustrious ancestors: Memphite and Theban traditions joined thus in a masterly way formed a new, firm base for her rule.
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