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Ancient Africa: Egyptian Temple Architecture

Ancient Africa: Egyptian Temple Architecture. I. From Middle Kingdom uncertainty to New Kingdom confidence: Stone architecture for pharaohs and gods. Old Kingdom. Middle Kingdom . New Kingdom. 2600 bc. 2500 bc. 2030 bc. 1550 bc. 1400 bc. King Zoser’s Mortuary Complex.

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Ancient Africa: Egyptian Temple Architecture

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  1. Ancient Africa: Egyptian Temple Architecture

  2. I. From Middle Kingdom uncertainty to New Kingdom confidence: Stone architecture for pharaohs and gods Old Kingdom Middle Kingdom New Kingdom 2600 bc 2500 bc 2030 bc 1550 bc 1400 bc King Zoser’s Mortuary Complex Mortuary temple of Hatshepsut Temple of Amon, Luxor Great Pyramids, Giza (mortuary complex)

  3. I. A. Historical Context: Political power sharing: pharaohs, priests, and nobles Nile Valley in Upper Egypt

  4. I. B. What major change was there in Middle and New Kingdom mortuary temple design compared to Old Kingdom (Saqqara and Giza)? Middle Kingdom (ca. 2040 – 1640 B.C.) A rock-cut tomb at BeniHasan, 2000-1900 B.C.

  5. I. B. New Kingdom: Hatshepsut’s Mortuary Temple, Deirel-Bahri, Egypt, c. 1500 bc Middle Kingdom Mortuary Temple of Mentuhotep, 2061-2010 bc

  6. I. B. Mortuary temples facing the Nile River Actual burials in the Valley of the Kings Middle- and New-Kingdom mortuary temples at Deir el-Bahri

  7. I. B. Middle Kingdom Old Kingdom New Kingdom Great Pyramids at Giza Mentuhotep’s Mortuary Temple Hatshepsut’s Mortuary Temple

  8. II. Hatshepsut’s mortuary temple: innovation and tradition in Egyptian design Hatshepsut’s Mortuary Temple

  9. II. A. Tradition: Queen Hatshepsut’s Mortuary Temple and earlier mortuary complexes   1. Major parts of the New Kingdom mortuary temple Hatshepsut’s Mortuary Temple

  10. II. A. 2. How did Senmut’s design dramatize the progress of the processional ritual for Hatshepsut? Great Pyramids at GIza Hatshepsut’s Mortuary Temple

  11. II. B. Innovation: Aspects of the new temple design that could be attributed to gender . . . 1. Colonnades, open terraces Great Pyramids at Giza Hatshepsut’s Mortuary Temple Like the myrrh terraces of Punt, mythical homeland of the gods ramp to third terrace

  12. II. B. 2. Landscape orientation Great Pyramids at Giza Hatshepsut’s Mortuary Temple “welded to the rockscape as if nature were an extension of Senmut’s design” (Kostof 82)

  13. II. B. 2. Hatshepsut’s Mortuary Temple a framed view on the central axis ramps up and in views back and out

  14. II. B. 3. Architectural language: Is it more representational (vernacular) or more abstract? Columns from Saqqara and Giza Doric columns in Greece Hatshepsut’s “proto-Doric” columns

  15. Egyptians were the first to use stone columns not merely as structural supports but as forms connoting certain values. II. B. 3. polychrome Osiris statues with the face of Queen Hatshepsut Hatshepsut’s Mortuary Temple Osiris

  16. III. New Kingdom Temples to gods and the Elaboration of Spatial Progression New Kingdom Temples near Thebes Temple at Karnak Temple at Luxor

  17. III. A. Context: Why did the truly extensive monumental temples not come about until the New Kingdom period (1552-1070 BC)? displays power through gigantism Temple at Karnak Temple at Luxor

  18. III. A. What are the parts of a New Kingdom Egyptian temple in spatial progression? Temple at Luxor Temple at Luxor pylon truncated pyramidal towers flanking the entrance of a temple Avenue of Sphinxes

  19. III. A. Phase 1 Phase 2 hypostyle Pylon courtyard pylon Inner sanctuary courtyard East West Temple at Luxor Archaic hypostyle columned entrance (as at Saqqara)

  20. III. A. 1. Why do the parts of the temple often repeat themselves? The Four Characteristic Parts of an Egyptian Temple Again courtyard hypostyle pylons pylon courtyard hypostyle inner sanctuary East West Temple at Karnak

  21. III. A. 2. What is Kostof’s approach to this spatial progression as a product of ritual? Spatial Progression Difficulty of approach Temple at Luxor Limited or graduated access inner sanctuary hypostyle courtyard Egyptian royal palace at Amarna, c. 1350 B.C.

  22. III. B. Section by section, what are the spatial/experiential qualities shaping the ritual progression and to what does each section correspond in representing the Egyptian creation myth? small, low, utterly dark half-light, half-dark mystery open, sunny & defined vertical wall & passage (Temple of Horus at Edfu) 5. inner sanctuary 4. hypostyle 3. courtyard 2. pylon Edfu Luxor Luxor Luxor

  23. III. B. 1. temenos wall

  24. III. B. 2. pylon Luxor threshold = pylon Karnak

  25. III. B. 3. courtyard Luxor Luxor

  26. III. B. 4. hypostyle hall and its clerestory Karnak Veil of mysterious semi-darkness clerestorey

  27. III. B. 4. a. the character of the hypostyle hall as an interior space a space half filled with mass

  28. III. B. 4. a. Spaces created by Egyptian clerestorey-lit hypostyle halls Zoser’s Funerary Complex Giza (Chephren’s Valley T.) Karnak hypostyle hall

  29. III. B. 5. inner sanctuary (Temple of Horus at Edfu)

  30. Geography and Landscape Kingship (pharaohs v. priests) Religious belief in the afterlife Symbolic architectural language Ritual

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