The Reflection of the Temple of Karnak on Religious and Political History of Ancient Egypt
The ancient Egyptians are renowned as a society whose reputation is heavily tied to their ability to construct beautifully complex and grand monuments. Even in the current day, the works of these ancient architects stand tall in the heart of Egypt, providing a window into the complex social landscape of one of the world’s most accomplished ancient civilisations. One of the most notable monuments of this regard is the Temple complex of Karnak, which characterises the brilliance of the middle kingdom, with later additions to the temple by Pharaohs of the new kingdom. The significance of the temple of Karnak branches out further than just religion; while starting as the epicentre of the cult of Amun, it evolved into a symbol of power, strength and unification of Egypt, and reflects the achievements of the Pharaohs themselves. The everchanging political climate of ancient Egypt lead to periods in which the development of Karnak was vital, and others where it was insignificant. However, no matter the period, Karnak was able to absorb and reflect its surroundings to us in the modern era, which causes Karnak to be utilised as a key means to understanding this time period.
The complex of Karnak is massive, being constructed by three main sectors. The largest of the three is dedicated to the temple of Amun, the primary God of Thebes, while the smaller two are for Montu and Mut. The Egyptians utilised temples such as these to provide somewhat of an area of residence for the Gods on earth, in which humans are able to connect with them through ceremonies and offerings while the Gods overlook the living. Shafer suggests that these sites exemplify the “the power of creation” as well as the “struggle between chaos and order”, as the Egyptians believed them to help balance Ma’at and Isfet by connecting the realms of earth, sky and netherworld.
As a location which emphasises the human connection to the Gods, it Is no surprise that Karnak was utilised as the location of many celebrations. As a thriving society, these festivities would not be limited to honouring the Gods, but also an appreciation for the grand city of Thebes in which the people reside. An example of this is the Opet festival, hosted at the temple complex which would have seen floods of people admiring the city that they built all while in the presence of the Gods themselves. It is only natural that a celebration of this manner, in such a religiously empowered place would not only promote national pride, but a unquestionable connection to the Gods. The significance of this is that temples, such as Karnak were seen as more than just places of worship, but also as a place of Egyptian connectedness.
The emergence of Karnak as such a significant socio-religious landmark of Thebes it had to evolve significantly from a seemingly humble beginning. Karnak did was not always a grand scale monument which people flocked to; when it was built during middle Egypt it existed as simply a sandstone building to honour the God Amun. While it may seem difficult to imagine the complex as such a minimal creation, it makes sense as the God which it honoured, Amun, only rose to prominence as Thebes developed into the new capital. It was not until the 12th Dynasty in the late Middle Kingdom (c. 1971 BCE) that the temple was first expanded. King Senusret I replacing the primordial sandstone temple with a pristine limestone was the first step in the evolution of Karnak. This upgraded temple is referred to as the Middle Kingdom Court’. For the next half century the temple remained unchanged, while this could be several reasons, the most plausible is the emergence of the second intermediate period (c. 1786 – 1550 BCE). This period involved the division of the unified nation, where Theban nomarchs were in conflict, while the Hyksos gained leverage in Avaris. With Egypt in turmoil, it is no surprise that during this time period, battle efforts were favoured over the expansion of monuments. Looking back on the temples progression during this time period provides insight into the political climate of Thebes, supporting the idea that Karnak is a window to Egypt’s past.
The great temple of Amun in the Karnak complex is a testament to the God’s prominence in the Theban culture. This temple is the largest sector of the three, while also accumulating the most attention from New Kingdom Pharaohs by means of improvements. The influence of Amun on the Egyptians was so significant that Amun was fused with the God Ra to create Amun-Ra. The influence of this change is a testament to the divinity of the Pharaoh himself; as the guardian and father of the Pharaoh, Amun-Ra’s ascendance therefore symbolises the acceptance of the Pharaoh as a descendant of the gods but also as a reflection of Egypt’s power at the time.
The New Kingdom additions to the temple of Amun seem to reflect this divine appreciation, while also introducing a somewhat different outlook on the pharaonic rule. This idea involves Pharaohs seemingly emphasising the desire for their name to be eternally remembered as a result of their accomplishments, rather than solely being remembered due to their lineage. Hatshepsut and Tuthmosis III seem to be the main instigators of this notion, as they both seemed to attempt to link the memory of their name to the temple complex of Karnak, however through distinctly different means. As a female, Hatshepsut may have felt the need to prove her entitlement as the Pharaoh and achieved this through the expansion of the Pylon and Festival Court, which were put forward by her father, Tuthmosis II. Hatshepsut notably also built the Palace of Ma’at and the Red Chapel. Her commitment to honouring her father’s name is an acknowledgement on her claim to the throne, and her contributions to the construction of other sacred sights are a credit to her strength as a leader.
On the other hand, Tuthmosis III, the son of Hatshepsut aimed to cement his name in the history books while also removing his mothers. The most likely reason for this “apparent bitterness” is due to her potentially having “wrested authority” for him as a co-regent. The resentment for his mother became unmistakably obvious following her death (c.1458 BCE), when Tuthmosis III began to remove her name from monuments in the complex of Karnak, notably attempting to remove her inscriptions from the temple of Ma’at and the Red Chapel – two of the most notable constructions of Hatshepsut’s reign. In an attempt to build legacy through his name, Tuthmosis III would ensure his name is placed on many of his constructions, such as the Shrine of Tuthmosis III. The reason for him to be so protective of his name is because the Egyptians believed that one’s name plays a crucial role in ascending into the afterlife. As such, the significance of him trying to remove Hatshepsut’s name from the record is enormous and reflects the somewhat selfish nature of ancient Egyptian politics. The changes to Karnak through these New Kingdom dynasties allow us to capture the desire of the Pharaohs for personal success, as well as the complex clashes in the ancient political scene.
While the Karnak complex provides insight of the political disputes of ancient times, it can also reflect the religious alterations over time. Potentially the most significant change seen through Karna involves the Armana Period in which the Pharaoh, Akhenaten implemented a worship for the Aten Sun Disk as the sole deity, rather than acknowledging the previous pantheon of Egyptian Gods. With a neglect for Gods such as Amun-Ra, who the Karnak complex had previously admired, alongside the change of capital city from Thebes (the city of Amun) to the city of Akhenaten, it is no surprise that much like during the second intermediate period, the temple of Karnak became less of a focus. Despite this, much like the previous pharaohs, Akhenaten felt the need to build structures and reliefs which display his name in the temple of Amun. This desire may have arisen due to the Sed festival in his honour, but also due to the nature of wanting to be eternally remembered as a good king. However unlike his predecessors who honoured the Gods, Akhenaten’s monuments were clearly an insult to the acknowledgment of Amun as the primary God; His shrine, Gempaatenwas built in the Amun temple, however it honoured only himself, his Queen Nefertiti and the Aten. The fact that this clear shift in religious outlook could occur directly in front of the cult of Amun is an indicator of the Pharaoh’s supreme power as a ruler, and the religious change of the time period. This period also saw a step away from the traditional Egyptian art style, which idealises the representation of its subject. The art style of Gempaaten and colossi of Akhenaten represent a more grotesque style which accentuates flaws. Akhenaten’s influence on the complex of Karnak are reflective of an Egypt which is devoid of tradition, while these cultural changes did not remain in Egypt forever, the temples of Karnak will never let us forget it.
Post Akhenaten, the cult of Amun returned to power during the Ramesside Period, which saw Egypt return to its previous norm. During this time, the building projects restarted and were arguably even more impressive than the feats of the previous Pharaohs. Most Notably, the Great Hypostyle Hall, constructed by the great Seti I and Ramesses II, which acted as an upgrade to the Wadjet Hall. Much like the original temples in Karnak, the art of the pillars represented the peoples relationship with the Pharaoh, and subsequently, Amun-Ra; seen through the inscriptions indicating the public were able to enter and celebrate with the Pharaoh during festivals. This indicates a return to the previous relationship between the people and their ruler, with the same dynamic as the aforementioned Opet festival. In addition, the construction on the North Exterior Wall by Seti I is yet another indication of this ruler’s importance and reflects the stories and greatness of the Pharaohs of this era. These constructions by the great Pharaohs are maintained throughout time and provide us with a clear outlook on the cultural climate of Egypt during the Ramesside Period.
When admiring the complex of Karnak from a distance, it is easy to miss the magnitude of historical information that is withheld in its walls. Through the evolution of Karnak it is evident that to the Pharaohs, it is so much more than just another religious monument; it is a representation of power, legacy, belief and legitimacy. In this sense, Karnak does provide us with a window to the past in terms of both politics and religion.
