| |
 |
Acknowledgements to
Prof. Claude Traunecker,
Mme. Annie Schweitzer,
Christian Mariais
and Michel Treillet |
 |
|
The small Ptolemaic temple-chapel of Qasr (or Kasr) el Aguz (lit. the castle of the old lady), even named the chapel of Thoth-Ibis, is located about 200m. to the south-west of the temple of Medinet Habu, between Medinet Habu and the remains of the sacred lake which belonged to the temple of Amenhotep III at Malkatta.
In spite of it being very interesting, it is potentially unknown to visitors, even those who have returned several times to Luxor.
It therefore seems of interest to provide up-to-date colour photographic coverage, which is almost complete thanks to the invaluable assistance of Christian Mariais, whose photographs supplement my own [T.B.].
If the temple is architecturally nearly intact, inside this is not the same, the state of its decoration has suffered a lot. This makes any correlation to be made with the drawings, from the principle descriptive article by Dominique Mallet, sometimes difficult.
 |
 |
| Aerial photograph by Cau Brualla |
Aerial photograph
according to the Theban Mapping Project site |
 |
|
 |
| |
Prof. Claude Traunecker and Mme. Annie Schweitzer were kind enough to supply us
with the text of their presentation (Strasburg, December 2005). Many thanks to them. |
|
 |
|
 |
| |
[English translation]
THE TEMPLE OF QASR EL-AGUZ
Recent work of the Marc Bloch University and the IFAO.
The small Ptolemaic temple of Qasr el-Aguz, situated very near of the temple of Medinet Habu, dates from Ptolemy VIII Euergetes II. It is composed of three successive oblong rooms, of which the two last, the room of the offerings and the sanctuary, are decorated. The room of the offerings is only partially sculpted, the majority of the great iconographic scenes being simply painted.
This temple was the object of an epigraphic survey by Dominique Mallet in 1909 (IFAO). This survey disregards the archaeological aspect of the topic completely. Besides, a preparatory visit done in November 2000 by Claude Traunecker and Annie Schweitzer allowed to measure how much this survey was in error and incomplete.
This is why, in the setting of a survey of the places of worship of the late period, and of its research on the late Theban liturgies, the Institute of Egyptology of the Marc Bloch University of Strasburg solicited by the Supreme Council of the Antiques of Egypt, in collaboration with the IFAO, was given the authorisation for work in this monument.
This project appears in a a four-fold perspective:
1. survey of the archaeological context of the monument with cleaning of large areas and limited surveys.
2. new survey of the decor of the temple with translation and commentary of the texts.
3. exhaustive survey of the architecture of the monument.
4. restoration and new presentation of the monument.
An initial campaign took place in April 2001. It brought together an archaeological team, epigraphic and architectural, of 6 people (three from Strasburg and three from Cairo).
The 2002 campaign, of the same importance, permitted the finalisation of a first copy of the texts and to locate the scenes of the decoration of the temple; the architecture team further advanced the recording of the data of the monument; the archaeological team discovered in the south survey of the sanctuary, a wall of bricks previous to the Ptolemaic temple; this last passes under the west wall of the temple. Information collected in the offerings room permit to locate a small church there.
During the 2003 campaign, an older brick wall, oriented north-south, was discovered during the cleaning of the narrow zone which borders the rear facade of the temple, in the east. This wall is oriented precisely the same as the Ptolemaic temple. Two sections of wall, re-cut by the construction of the temple of Ptolemy VIII, allow us to think that we are in a religious building of three sanctuaries previous to the Ptolemaic temple. Its northern and eastern extension has not been recognised during the 2004 campagne.
At the end of this campaign and before the detailed survey of the material, we propose a temporary chronology:
1. A great building in mud brick, probably of worship with three chambers (75,10). We have no characteristic ceramic material definitely associated to this construction, so that its date remains hypothetical.
2. The temple of Ptolemy VIII Euergetes II with a paved walkways (76,20 outside).
3. The construction of the pronaos is incomplete as is the project for a surrounding wall with walkways, which seems to have been never achieved.
4. Modest and utilitarian constructions if established to the south and to the north above the Ptolemaic walkway from Roman or Coptic times.
5. The building of the lateral doors of the sanctuary and the reuse of the temple as a church with a large pavement of square paving slabs in the north.
Following the previous campaign work we now have a complete copy of the scenes and the texts of the temple (walls at 1/20th, drawings of the location of the texts at 1/10th and proportional copies of the texts). This documentation amounts to 151 numbered scenes.
The function of the temple of Qasr el-Aguz:
It has been believed for a long time that the temple of Qasr el-Aguz was an oracular building or one bound to the cult of a deified character. If the identity of the god honoured is without ambiguity, Thoth, present both in the epithets and in the representations, its meaning is very remote from the one which is attributed to him by the previous commentators of this building. It is necessary, indeed, to replace it entirely in the setting of the rituals of Djeme. In the sanctuary, on the rear wall, it is Amon of Djeme who occupies the axis of the temple, Thoth being relegated to the first register. On the lateral walls, can be found part of the daily cult in front of the statue of Thoth and his processional barque.
How can the connection between these two approaches be made? It is known that the rituals of Djeme, in the first millennium BC, of the former festivities of the necropolis, all link to the royal tombs and the commemorative temples of the reign. The departure of the Pharaonic royalty toward the capitals and especially toward the necropolises of the North from the XXIth Dynasty modified the Theban rituals and the very working of Thebes deeply as complex spaces and connected liturgies between them. Amon of Djeme, deceased form of the living Amon of Karnak comes to replace itself for Pharaoh. Every year, the living Amon comes to return the funerary cult to his deceased form. Besides, by ritual mimetism, other divinities benefit from this duality (Montu, Khonsu-Shu and Min). The legitimacy of the successor is bound closely to his role of officiant in the funerary ceremony and the predecessor's funerary cults.
But what role can Thoth play in this configuration?
The east wall of the sanctuary provides elements of a solution: on the upper register, represented in four scenes already noticed by Champollion: the reigning king Ptolemy VIII Euergetes II, to which he returns the cult to his forebears: Ptolemy II Philadelphe, Ptolemy III Euergetes I, Ptolemy IV Philopator and Ptolemy IV Epiphane.
On the south wall, the lower register represent two scenes extracted from the djemaic ritual (cult in Kematef, which means the creator and deceased Amon, and the offering of ointments in Onnophris); to the north (scene n° 7) Thoth attended by Horsaisis returns the symbols of the royal longevity to Ptolemy VIII Euergetes II.
The hypothesis of present work leads me to consider Thoth in his role as funerary officiating priest (Thoth setem). But by re-cutting these scenes with some Theban priest titles, it appears that Thoth is also the guardian of the royal crowns.
Thoth of Qasr el-Aguz plays an important role therefore in the ceremonies of recognition of the Pharaonic royalty according to the specific rituals of Thebes.
At present, the relationship with the former "place beloved of Thoth" centre of administration and the maintenance of law and order in the necropolis, during the Third Intermediate Period, is not clear.
Bibliography
On the rituals of Djeme and the evolution of the Theban liturgy:
C. Traunecker, "La chapelle d'Achôris à Karnak. II. 1ère partie: Décors, textes et interprétation", Mémoire du Centre Franco-Egyptien n°2, 1981, 140 pages. The decor of the chapel (facsimiles by F. The Saout). Texts, translations and commentaries. Iconographic studies. Ritual functions and religious significance.
C.Traunecker, "Thèbes , Memphis : quelques observations" dans Memphis et ses nécropoles au Nouvel Empire, Actes du colloque international CNRS 198, édité par A.-P.Zivie, 1988, p.97-102;
idem, "Le papyrus Spiegelberg et l'évolution des liturgies thébaines" dans "Hundred-Gated Thebes", Acts of a Colloquium on Thebes and the Theban Area in the Graeco-Roman Period, Leiden, 1995, p.183-201;
idem, "Une famille de prêtres à Karnak aux 1er et 2e siècles avant J.-C. les Horsaisis-Nekhtmontou" dans In Memoriam Jan Quaegebeur, Editions Peters, 1998, p.1191-1230;
idem, "Pharaon ritualiste. le culte divin" dans Les Pharaons sous la direction de C. Ziegler. Exposition au Palazo Grassi à Venise, p.145-157.
On the campagne work:
Reports of the work of the IFAO in: BIFAO 2001 to 2004.
See also Y. Volokhine, Le dieu Thot de Qasr el-Agouz, BIFAO 102.
Strasburg, December 2005
Claude TRAUNECKER, director of Institute of Egyptology (IES) of the Marc Bloch University (Strasbourg) and Annie SCHWEITZER, egyptologist and archaeologist, charged with the collections of the IES.
|
|
|
 |
|
 |
This temple-chapel had been constructed by Ptolemy VIII Euergetes II.
The names Thoth and Djehuty  relate to the same god, Thoth is the Greek name for Djehuty.
• The temple is dedicated to Thoth-ibis, a special form of Thoth referred to in the liturgies of the cult of Djeme
Two other variants are:
Dje-hr-(pa)-hb  , Djehuty-Horus, (the) ibis
and Djhwty-stm  , Djehuty-Setem, the setem or sem-priest.
Besides this specific title to the temple, he also carries the usual epithets of Lord of Khmun (Hermopolis), Lord of the Divine Words, ... .
In the temple, the god is always represented with a human body and the head of an ibis, sometimes crowned with the lunar disk, sometimes with a crown similar to the atef crown. The major difference is that that this variation does not cover the top of head, but rests on it, and usually resting on the horns of a ram.
It is possible that a sacred ibis cult took place here.
• The mentioned of two mortal divinities from ancient times can also be found: Imhotep son-of-ptah, in his role of godly healer and Amenhotep son-of-Hapu. Their representations are confined to the second room, and they are not found in the sanctuary at the rear.
• Finally the Ptolemaic dynastic cult itself is even represented here extensively, including the forebears of Ptolemy (but without mentioning the first Ptolemy, son of Lagos, who was a commoner, general of Alexander the Great) and their queens.
By the subtly of providing the kings and queens with the attributes and crowns of the gods and goddesses, the popular effect of assimilating of one with the other is accentuated.
|
|
|
| |
Who is Who ?
In the decorations of this monument it is Ptolemy VIII (c. 182BC–116BC), who is portrayed.
Four of his predecessors (Ptolemy II to V, great-great-grandfather to father) also appear, but as deified kings.
The numbering of the Ptolemies is a modern invention. During the Greco-Egyptian period they were identified by secondary and even nicknames. Ptolemy VIII was known fully as Ptolemy Euergetes Phsycon ("Phsycon" meaning "pot-bellied"). Today he is known as Ptolemy VIII Euergetes II Phsycon.
Ptolemy VIII appears with two Cleopatras (but not at the same time); these are Cleopatra II and Cleopatra III. If unnumbered, it is Cleopatra II who is being portrayed.
Cleopatra III was born to Ptolemy VI (Philometer) and Cleopatra II. Ptolemy VI (Philometer), Ptolemy VII (Neos Philopater) and Ptolemy VIII (Euergetes II) were the brothers of Cleopatra II.
After the death of Ptolemy V, the eldest brother (Ptolemy VI) became the King of Egypt, and (being very young) his mother was regent. He later married his sister Cleopatra II. In an attempt to gain control, Ptolemy VIII had his brother expelled and he married Cleopatra II. He later had Philopater (Ptolemy VII, who never reigned) killed, thus taking the throne fully for himself.
Euergetes then discarded Cleopatra II and married Cleopatra III, making her Queen and joint ruler.
The Cleopatra of "Anthony and Cleopatra" fame, was: Cleopatra VII Philopator (69 BC - 30 BC). She originally shared power with her father Ptolemy XII and later with her brothers/husbands Ptolemy XIII and Ptolemy XIV; eventually gaining sole rule of Egypt.
|
|
|
|
|
 |
| Nehemauait |
Goddesses accompany Thoth and the other gods, while in the royal scenes, it is queen Cleopatra who accompanies Ptolemy and plays the role of a goddess.
The principle goddess mentioned is Nehemauait, she is at times the consort of the snake divinity Nehebu-kau, but also of Thoth, as is the case here. It also seems that she was venerated in all sanctuaries of Thoth, notably in his city of origin, Hermopolis. Usually, but not here, she is represented as a goddess to the child. She wears on her head an architectural sistrum which allows us to differentiate her from Mut and Hathor.
The monument is in Thebes, and the model of the Theban triad, that associates with Thoth a "god's son", in the person of Khonsu, who holds the same role in the classic Theban triad (Amon - Mut - Khonsu).
After Pharaonic times, the temple was transformed into a stable.
One of its original aspects is the inclusion of numerous non sculpted (but solely painted) scenes, which is very rare. This translates into an incompleteness of the building. This is apparent on the outside walls, which are also undecorated.
It was reported that the wall representations are variably preserved, and the comparison between the present photos and the descriptions of Mallet shows that the state of the temple has deteriorated distinctly over one century.
|
|
|
| |
Jean-Baptiste Prosper JOLLOIS, "Description de l'Égypte" (English translation) |
|
|
|
|
| |
This small temple, if judged by the area which it covers, is of little importance.
It was not finished, which its partially roughly-hewn portico and the undecorated outside of the walls evidently announce; but it deserves to be seen, because, containing entirely finished sculptures and others which are only drawn, it represents the different stages of work of the Egyptian artists in the execution of the bas-reliefs.
This can be seen from the figures drawn in red with a purity of line and a boldness of drawing, which supposes a great knowledge of form and a lot of skill in those who executed them. These drawings are superior to the sculptures. The proportions, to which the draftsmen were limited, were determined by squares which still remain. Such was the high standard of the work, which was probably executed by a same class of artists.
Very close to these figures constructed in simple lines, can be seen an outlined bas-relief. The sculptor's chisel followed all the contours of the drawing, and made the material which surrounded the space, circumscribed by the draftsman's features, disappear. This operation detached the figure from the base: but it was still unrefined; all shapes were angular, and all parts of the relief were in the same plane: it therefore required the work of a second class of workers. Then a more skilful sculptor came to put the finishing touches to the sketched work, and to give the soft and rounded forms which can be noticed in the entirely finished sculptures. Figures which were not painted, and the others which are quite brilliant with the deepest colours, allows for conjecture of the work of the painter who immediately followed that of the sculptor.
|
|
|
|
|
|
[ Click on an ochre dot to obtain a photo view from that location ]
 |
|
The above plan is based on the one from "Temples of the Last Pharaohs" by Dieter Arnold.
NOTE: It can be seen that the orientation given by Mallet is false. Nevertheless this will be used for convenience and out of tradition, and the monument will be considered as being oriented east / west, whereas the axis is actually south-east / north-west.
|
|
|
|
| |
CROWNS : variations on a theme.
Throughout the temple both the king and Thoth wear many variations of the atef crown, which has as its base the white crown of Upper Egypt. All have the addition of horns. Most, certainly all of Thoth's, sit on top of the head rather than covering the scalp. Some have the addition of a uraei (usually two), a solar disc on its head, one on either side.
All are shown as seen from the front, instead of in the same profile as the head wearing them. The first image below shows it as would be seen in the correct profile. The last is an example where the atef variant is mounted on the red crown of Lower Egypt
Some appear to be comprised of three smaller versions on top of the horns. This is sometimes called the "hem-hem" crown, or "triple-atef". Again, one is combined with the red crown.
Throughout these pages, all will be referred to as "atef-like" crowns.
|
|
|
|
|
Courtyard
At the centre of its front (east) wall still survives an impressive entrance, which is directly in line with the main axis of the chapel doorways (see axis view). This gives way to an oblong courtyard 13.0 x 3.7m and which must have been 7m high. It stood in place of a pronaos, or hypostyle hall, but which didn't include any true columns.
Behind is the actual chapel, measuring 13 x 8m. Its axis is perpendicular to the courtyard. The first two rooms are considered as vestibules, the third being the sanctuary.
The whole main structure, including the courtyard is further surrounded, on three of its sides, by an additional wall; the front being open.
Located at the centre of the west wall is the large entry to room 1. Two more (smaller) doorways are located one each side of the main chapel building, giving access to the areas at the side of the chapel. Another, even smaller exit doorway is located at the upper (west) end of the south wall.
Room 1
This first room measures 7.40m north-south, 3.75m east-west and 3.6m high.
It is entered through another impressive doorway, at the top of which is the remains of a cavetto cornice. This almost certainly had as its decoration a winged sun-disc. At the centre, the disc had on either side a ureaus serpent, all produced in raised relief; the wings being originally painted in red. Nothing of the colour remains, but the raised central portion is still visible. This design appears to have been used on the Egyptian cornice (and under the lintels) of the other doors on the main axis of the chapel.
This was the symbol of Ra, the sun god, under his epithet of "Sun Of Righteousness with healing in his wings".
A variation of this symbol (the cadeceus, see left) is still used today in association with healing. The temple, with its relationship with Thoth, in his role as healer and magician, would appear to have been a possible place visited by people in search of recovery (or at least somewhere to pray for it).
None of the surfaces of the uprights of the doorway have retained any decoration or colour.
The room was originally illuminated from small windows (see north wall) which were wider on the inside. A large part of its roof (on the right) is missing and is therefore now partially open to the sky.
At the centre of the west wall is the entry to room 2 (discussed in full later). At the western end of the south wall is a much smaller doorway to the outside of the building.
The walls and ceiling of this room are completely uninscribed and of little interest.
| THE DOORWAY BETWEEN ROOMS 1 AND 2 |
The room 1 entry side of the doorway is surmounted with an Egyptian cavetto cornice, which again was decorated with the winged sun-disc. Nothing of its original design has been retained, other than the remains of the disc at its centre.
There is no cavetto cornice on the room 2 side of the doorway.
The uprights
The outer faces, those facing into room 1, project only minimally beyond the normal surface of the west wall. The inner faces, those facing into room 2, do however project beyond the normal surface of the east wall of that room. The surfaces facing into room 2 show faint remains of some hieroglyphs, in two vertical columns. The room surfaces have virtually nothing.
The inner thicknesses have still retained some of their original decoration, in red paint.
On the right (north) thickness are four scenes, which show, starting at the top:
• an image of a mummified Khonsu, wearing a lunar disk on his head and a Menat-necklace, of which the counterweight can be seen hanging down his back. He has the sidelock of youth and, at the same time, the false beard of the god of the dead. He holds in his hands several sceptres. His identifying texts are missing, but he was probably named Khonsu-Thoth, like the one below.
• a now almost invisible image of a god with the head of falcon. According to the text above him, however, he is identified as Khonsu-Thoth  .
• the upper remains of the sistrum which surmounted the head of Nehemauait and also the tops of two cartouches belonging to the king. The figures of both characters been eroded by time.
• the scene which would have represented the king in front of Amon-Ra, nothing now exists.
On the left (south) thickness, in the position of the similar image on the opposite side, is the figure of the hawk-headed Khonsu, his actual name is lost. Again the king, who must have been worship in front of him, is erased.
Both above and below, had to have been scenes analogous to those facing, all of which have now disappeared.
On both sides, the images of the gods (or goddess) would have had the king in front and facing them, none of which have survived. In each case, the king would have been approaching from outside the chapel.
The lintel face (facing into room 1)
At the time of Mallet, the designs on this surface were still (just) identifiable; however, today, they have almost disappeared. Mallet quotes a note made by Champollion: "On the banner, one sees bas-reliefs drawn in red, representing Euergetes II adoring the god Thoth.".
• First scene
All that remains of this scene is the seated character with a lunar disc on his head. This is certainly one of the two male divinities (Imhotep and Amenhotep) found in room 2; this one probably being Amenhotep. Facing him would have been the figure of the king, and probably the queen, bearing gifts.
• Second scene
Here can be seen three characters: king Euergetes II, a god and a goddess. Euergetes, coming from the left (south) part of the temple, presents to the god the "wine of the south". The god is Thoth, with the head of an ibis; he says to the king: "I grant that you inherit the Two Lands, on the throne of Shu". Behind Thoth (only her arm now survives) is probably Nehemauait, his regular companion.
• Third scene
The king, coming this time from the north, again presents vases of wine to a god (who is now lost), probably Thoth, as in the symmetrical scene of the south.
• Fourth scene
The king, wearing the atef-like crown on the klaft head covering, is followed by queen Cleopatra, who wears the Hathoric crown. Arms raised, she pays homage to a now destroyed god, who can be only Imhotep, since he is counterpart of the one in the first scene (if that one was Amenhotep). Ptolemy is thus under the protection of these two extremely popular divinities at this time; besides, their main cult centres were respectively at Thebes, therefore in the south, and in Memphis, therefore in the north.
Under the lintel
Having two surfaces due to the inner (room 2 side) being designed to take a door, it has two separate images. They are both painted in red and both contain a design with open wings.
The surface closest to room 1 (the shortest of the two) has, at its centre, a sun-disk, on either side of which is a uraeus. The top of the design is at the room 1 edge.
On the one nearest to room 2, the design is that of a vulture, its head towards room 2. In its claws it holds two long standards with a large feather emblem and at its upper edge is a line of hieroglyphic text, which ends with the cartouche of Ptolemy.
These two images are better preserved than those under the lintel of the next doorway, which connects rooms 2 and 3.
|
|
|
)
)
)
)
)
)
)
)
)
)
)
)
)
)