The mortuary temple of Hatshepsut () was built during the reign of Pharaoh Hatshepsut of the Eighteenth Dynasty of Egypt. Located opposite the city of Luxor, it is considered to be a masterpiece of ancient architecture. Its three massive terraces rise above the desert floor and into the cliffs of Deir el-Bahari. Hatshepsut's tomb, KV20, lies inside the same massif capped by El Qurn, a pyramid for her mortuary complex. At the edge of the desert, east, connected to the complex by a causeway, lies the accompanying valley temple. Across the river Nile, the whole structure points towards the monumental Eighth Pylon, Hatshepsut's most recognizable addition to the Temple of Karnak and the site from which the procession of the Beautiful Festival of the Valley departed. Its axes identify the temple's twin functions: Its central east-west axis served to receive the barque of Amun-Re at the climax of the festival, while its north-south axis represented the life cycle of the pharaoh from coronation to rebirth.
The terraced temple was constructed between Hatshepsut's seventh and twentieth regnal years, during which building plans were repeatedly modified. In its design, it was heavily influenced by the adjacent Temple of Mentuhotep II of the Eleventh Dynasty built six centuries earlier. In the arrangement of its chambers and sanctuaries, though, the temple is wholly unique. The central axis, customarily reserved for the mortuary complex, is occupied instead by the sanctuary of the barque of Amun-Re, with the mortuary cult being displaced south to form the auxiliary axis with the solar cult complex to the north. Separated from the main sanctuary are shrines to Hathor and Anubis, which lie on the middle terrace. The porticoes that front the terrace here host the most notable reliefs of the temple – those of the expedition to the Land of Punt and the divine birth of Hatshepsut which form the backbone of her case to rightfully occupy the throne as a member of the royal family and as godly progeny. Below, the lowest terrace leads to the causeway and the valley temple.
The state of the temple has suffered over time. Two decades after Hatshepsut's death, under the direction of Thutmose III, references to her rule were erased, usurped, or obliterated. The campaign was intense but brief, quelled after two years when Amenhotep II was enthroned. The reasons behind the proscription remain a mystery. A personal grudge appears unlikely as Thutmose III had waited twenty years to act. Perhaps the concept of a female king was anathema to ancient Egyptian society, or a dynastic dispute between the Ahmosid and Thutmosid lineages needed resolving. In the Amarna Period, the temple was defaced again when Akhenaten ordered the images of Egyptian gods, particularly those of Amun, to be erased. These damages were repaired subsequently under Tutankhamun, Horemheb and Ramesses II. An earthquake in the Third Intermediate Period caused further harm. During the Ptolemaic period, the sanctuary of Amun was restructured, and a new portico was built at its entrance. A Coptic monastery of Saint Phoibammon was built between the 6th and 8th centuries AD, and images of Christ were painted over original reliefs. The latest graffito left is dated to .
The temple resurfaces in the records of the modern era in 1737 with Richard Pococke, a British traveller, who visited the site. Several visitations followed though serious excavation was not conducted until the 1850s and 60s under Auguste Mariette. The temple was fully excavated between 1893 and 1906 during an expedition of the Egypt Exploration Fund (EEF) directed by Édouard Naville. Further efforts were carried out by Herbert E. Winlock and the Metropolitan Museum of Art (MMA) from 1911 to 1936, and by Émile Baraize and the Egyptian Antiquities Service (now the Supreme Council of Antiquities (SCA)) from 1925 to 1952. Since 1961, the Polish Centre of Mediterranean Archaeology (PCMA) has carried out extensive consolidation and restoration works throughout the temple, and it was opened to the public in March 2023.
Design
Hatshepsut renewed the act of monument building following her accession to the throne. She focussed her activities on the city of Thebes and the god Amun, by whom she legitimized her reign. To the Temple of Karnak, the preeminent residence of Amun, she contributed the Eighth Pylon – a pair of tall obelisks –, offering chapels, a shrine with another obelisk pair, and statues of herself. Facing Karnak from across the river Nile, she built a mortuary temple against the cliffs of Deir el-Bahari. The pinnacle of her architectural contributions, it is considered to be among the great architectural wonders of the ancient world.
At its far eastern end, lay a valley temple followed by a long, wide causeway, which also hosted a barque station at its midpoint, that led to the entrance gate of the mortuary temple. Here, three massive terraces rose above the desert floor and led into the Djeser-Djeseru or "Holy of Holies". Nearly the entire temple was built of limestone, with some red granite and sandstone. A single architrave was built of violet sandstone, purportedly sourced from Mentuhotep II's temple. This temple, built centuries earlier and found immediately south of Hatshepsut's, served as an inspiration for her design. On its main axis and at the end of temple, lay the temple's main cult site, a shrine to Amun-Re, which received his barque each year during the Beautiful Festival of the Valley in May. In the south were the offering halls of Thutmose I and Hatshepsut and to the north was the solar cult court. Outside, two further shrines were built for Hathor and Anubis, respectively. In total, the temple comprised five cult sites.
The identity of the architect behind the project remains unclear. It is possible that Senenmut, the Overseer of Works, or Hapuseneb, the High Priest, were responsible. It is also likely that Hatshepsut provided input to the project. Throughout its construction, the temple plan underwent several revisions between the seventh and twentieth years of Hatshepsut's reign. A clear example of these modifications is in the Hathor shrine, whose expansions included, among other things, a conversion from a single to dual hypostyle halls. Its design was directly inspired by Mentuhotep II's adjoining temple immediately south, although its manner of arrangement is unique. For example, while the central shrine of Mentuhotep II's temple was dedicated to his mortuary cult, Hatshepsut instead elevated the shrine of Amun to greater prominence. However, her mortuary cult was otherwise afforded the most voluminous chamber in the temple, harkening back to the offering halls of the pyramid age. There are parallels between the temple's architectural style and contemporaneous Minoan architecture, which has raised the possibility of an international style spreading across the Mediterranean in this period. Hatshepsut may also be of partly Cretan descent. Overall, the temple is representative of New Kingdom funerary architecture, which served to laud the pharaoh and to honour gods relevant to the afterlife.
Architecture
Terraces
The opening feature of the temple is the three terraces fronted by a portico leading up to the temple proper and arrived at by a long causeway that led from the valley temple. Each elevated terrace was accessed by a ramp which bifurcated the porticoes.
The lower terrace measures deep by wide and was enclosed by a wall with a single wide entrance gate at the centre of its east side. This terrace featured two Persea (Mimusops schimperi) trees, two T-shaped basins that held papyri and flowers, and two recumbent lion statues on the ramp balustrade. The wide porticoes of the lower terrace contain 22 columns each, arranged in two rows, and feature relief scenes on their walls. The south portico's reliefs depict the transportation of two obelisks from Elephantine to the Temple of Karnak in Thebes, where Hatshepsut is presenting the obelisks and the temple to the god Amun-Re. They also depict Dedwen, Lord of Nubia and the 'Foundation Ritual'. The north portico's reliefs depict Hatshepsut as a sphinx crushing her enemies, along with images of fishing and hunting, and offerings to the gods. The outer ends of the porticoes hosted tall Osiride statues.
The middle terrace measures deep by wide fronted by porticoes on the west and partially on the north sides. The west porticoes contain 22 columns arranged in two rows while the north portico contains 15 columns in a single row. The reliefs of the west porticoes of this terrace are the most notable from the mortuary temple. The southwest portico depicts the expedition to the Land of Punt and the transportation of exotic goods to Thebes. The northwest portico reliefs narrate the divine birth of Hatshepsut to Thutmose I, represented as Amun-Re, and Ahmose. Thus legitimizing her rule through royal lineage and godly progeny. This is the oldest known scene of its type. Construction of the north portico and its four or five chapels was abandoned before completion, and consequently, it was left blank. The terrace also likely featured sphinxes set up along the path to the next ramp, whose balustrade was adorned by falcons resting upon coiled cobras. In the southwest and northwest corner of the terrace are the shrines to Hathor and Anubis, respectively.
The upper terrace opens to 26 columns each fronted by a tall Osiride statue of Hatshepsut. They are split in the centre by a granite gate through which the festival courtyard was entered. This division is represented geographically, too, as the southern colossi carry the Hedjet of Upper Egypt, while the northern colossi bear the Pschent of Lower Egypt. The portico here completes the narrative of the preceding porticoes with the coronation of Hatshepsut as king of Upper and Lower Egypt. The courtyard is surrounded by pillars, two rows deep on the north, east and south sides, and three rows deep on the west side. Eight smaller and ten larger niches were cut into the west wall, these are presumed to have contained kneeling and standing statues of Pharaoh Hatshepsut. The remaining walls are carved with reliefs: the Beautiful Festival of the Valley on the north, the Festival of Opet on the east, and the coronation rituals on the south. Three cult sites branch off from the courtyard. The sanctuary of Amun lies west on the main axis, to the north was the solar cult court, and to the south is a chapel dedicated to the mortuary cults of Hatshepsut and Thutmose I.
Hathor shrine At the south end of the middle terrace is a shrine dedicated to the goddess Hathor. The shrine is separated from the temple and is accessed by a ramp from the lower terrace, although an alternative entrance existed at the upper terrace. The ramp opens to a portico adorned with four columns carrying Hathor capitals. The walls of the entrance contain scenes of Hathor being fed by Hatshepsut. Inside are two hypostyle halls, the first containing 12 columns and the second containing 16. Beyond this is a vestibule containing two columns and a double sanctuary. Reliefs on the walls of the shrine depict Hathor with Hatshepsut, the goddess Weret-hekhau presenting the pharaoh with a Menat necklace, and Senenmut. Hathor holds special significance in Thebes, representing the hills of Deir el-Bahari, and also to Hatshepsut, who presented herself as a reincarnation of the goddess. Hathor is also associated with Punt, which is the subject of reliefs in the proximate portico.
Anubis shrine