Built Heritage
Map of built heritage in Luxor
How to use this map
Enlarge the map by clicking the square in the top right hand corner, which will make the map full screen. Click each of the pointer icons to uncover descriptions of each heritage site, as well as their location. See below for extended descriptions of the sites and their cultural importance. Purple location drops indicate sites on the West Bank; blue location drops indicate those on the East; green location drops indicate museums.
Summary
Whilst the built heritage of Luxor is inarguably of arresting opulence, these monuments are only made significant by intangible local practices and memories of rituals and festivals. Luxor monuments are areas where local group identity was developed, through bringing together the community to participate in ritual and activities such as the Opet Festival, creating a unified Luxor heritage and culture which remains of importance to modern local people. The memory of these intangible elements of heritage have been passed down generations from antiquity to present day through the exchange of practices, such as the Tahteeb dance which is still performed at weddings and festivals, as well as familial stories of the various layers of heritage which enhance Luxor diversity.
More than sixty annual festivals were celebrated in ancient Luxor (Thebes) including the Beautiful Feast of Opet, Festival of I Shemu, Festival of II Shemu, and the Beautiful Festival of the Valley.
The Opet Festival
The Opet festival took place annually in the second month of Akhet during the month of the flood, which is around the end of August in the Gregorian calendar (El-Sabban, 2000, 29). The Opet Festival is a celebration of fertility and rebirth, of which the flood of the Nile is analogous to due to bringing with it rich soil to feed fertile lands in Luxor; “just as the Nile’s flood reenergized the lands, so too did the Opet Festival renew the powers of the king” (Accetta, 2012, 4). During the festival, it was believed that the god Amun-Re transferred his powers openly to the king by granting health and dominion over Egypt, who in turn retransmitted the ka back to the god through faithful service, offerings, and monuments (Kitchenn, 1993, 183; 2008, 157). The Opet Festival procession, which is depicted in the Court of Ramses II (Bell, 1985), was practiced in public to renew the Pharaoh’s power in front of the public as a witness to enable to king to strengthen their political and religious status in the eyes of their subjects (Accetta, 2012, 9), but the cult activities were done behind closed doors (Spalinger, 1998).
The gods of the living, such as the Theban triad were often assumed as the exclusive companions of the king, which was perpetuated by the Pharoah to promote themselves as the intermediary between gods and humanity; this divide between domestic and state religion allowed the Pharoah to stress their divinity and connection to the gods (Accetta, 2012). Whilst the procession of the Opet Festival is distinctly public, the rituals and offerings, happen inside the Temples where the public does not have access, depicted by Nineteenth Dynasty reliefs in the great Hypostle Hall at Karnak (Kitchen, 1999, 391) and in the Colonnade Hall at Luxor Temple (Epigraphic Survey, 1994, pl. 17). Despite this seemingly private affair, the Opet Festival has had a lasting impact on Luxor heritage due to the festival evidencing Luxor as a central element of the Pharoah’s power. At the Avenue of the Sphinx reopening an artistic reimagination of the Opet festival invited the international audience to witness the powerful imagery of Pharaonic Luxor, and the spiritual symbolism of the event. See here for the Avenue of the Sphinx Opet festival.
The Beautiful Festival of the Valley
Events such as the Beautiful Festival of the Valley are examples of intangible heritage being facilitated by built structures; arguably, intangible heritage is the raison d’etre for such monuments. Without personal and community meanings they would likely not have been so carefully and intricately constructed. The Beautiful Festival was a ritual service to deceased pharaohs performed at memorial temples during the reign of Thutmose II and Hatshepsut, but became a festival under Ramses II (Doresse, 1979, 37-8). Pharaohs are depicted in temple scenes during the Festival wearing the Atef-crown to symbolise renewed kingship over Egypt in the other world (Collier, 1996, 68), rather than the Double-crown which presented earthly sovereignty. Presumably, living pharaohs experienced the Beautiful Festival and believed if they created the most ornate memorial temple to themselves they would be more likely to be remembered by their ancestors. From this rationale comes the marvel of the Temple of Hatshepsut, with its multiple chapels and three courtyards. Therefore, without intangible practices such as festivals, the built heritage would be less meaningful. For this reason, consulting the local population to better understand their personal and community meanings of the heritage is important, as their oral traditions and memories will inform the local meanings and wider context of the monument.
The events of the Beautiful Festival are contested due to the lack of evidence of rituals; typically, ancient Egyptian art did not express the rituals performed in the innermost part of temples, as they were deemed too sacred (Fukaya, 2019, 59). Evidence of the Festival comes in the form of scenes of procession to and from the West Bank to partake in the event decorating the walls of temples, mainly the Red Chapel and Deir el-Bahari, in Luxor (Fukaya, 2019, 48). Prior to the Festival statues of deceased pharaohs would be collected from the West Bank to participate in Amun’s procession to the West Bank on barques to memorialise them (Karkowski, 1992, 162), and return them to their home in their memorial temples (Fukaya, 2019, 57). The festival continued to be celebrated into the Graeco-Roman Period, as the Ptolemies realised how important the festival was for Thebes (Dogaer, 2020)
West bank
Also known as the 'Theban Necropolis', for Ancient Egyptians, the West of the Nile was the destination of the dead sometimes referred to as the ‘Land of the Dead’, against the life of the East Bank. Burial chambers were connections to the ‘Duat’, the Ancient Egyptian Underworld, which the sun god Ra would travel from west to east each night; this is why the West Bank was chosen as the site of death. Consequently, all monuments on the West Bank focus on death, in tombs of various pharaohs and nobles at the Valley of the Kings and Queens, and temples celebrating deceased pharaohs, such as the Temple of Hatshespsut. The majority of sites on the West Bank were established during the New Kingdom (c. 1540-1075BC). The World Monuments Fund included the West Bank in its ‘Watch Lists’ due to threats of flash floods and rising groundwater due to irrigation of adjacent fields, meaning the monuments are at physical risk, such as the Mortuary Temple of Amenhotep III.
The West Bank is also home to intangible heritage practices, such as the pottery industry. The Luxor Pottery School ensures the transfer of these traditional skills.
Valley of the Kings
The Valley of the Kings is arguably the most popular tourist destination in Luxor’s West Bank, with the greatest importance to Ancient Egyptian history. Also known as the Valley of the Gates of the Kings, between 16th and 11th centuries BC rock-cut tombs were created for various pharaohs and nobles of the New Kingdom. There are 63 currently discovered tombs, with around 20 for pharaohs, the rest of the tombs dedicated to favourite nobles, as well as wives and children. The first tombs currently known as of Amenhotep I and Thutmose I. Due to the sensitive nature of the tombs, most are not open to the public, and the ones which are often are closed for restoration. To minimise time in the tombs and prevent damage to decorations, visitors are expected to walk quietly in single file through the tombs. Temples in the Valley are located away from their pharaohs tombs, closer to the bank facing Thebes; these temples were visited during festivals held in the Theban Necropolis, such as the Beautiful Festival of the Valley. The Valley highlights how conscious pharaohs were to ensure a proper burial and thus journey into the afterlife for themselves and their families, such as Ramesses II and Ramesses III each constructing a massive tomb for the burial of their sons to ensure their smooth voyage.
Medinet Habu
The location is associated almost exclusively with the Mortuary Temple of Ramses III. The temple was built by Hatshepsut and Thutmose III, and Ramses III later chose the site as his memorial temple. The entrance to the temple, such as the Migdol Gate, was modelled after Syrain fortresses Ramses III had seen during his Syrian war campaigns, which is why the memorial temple looks like a fortress.
Temple of Seti I
The Mortuary Temple of Seti I was completed after the pharaoh’s death, and was completed by his son, Ramses II. As the temple is situated at the northern end of the Theban Necropolis, it had few visitors in antiquity. The temple has been ravaged by floods both in antiquity and modern-day, having been badly damaged by floods in 1994 the temple has since been restored. While the pharaoh’s palace is no longer visible, recent excavations have revealed its foundations; therefore, the temple is the earliest surviving example of a palace within a memorial temple.
Temple of Hatshepsut
The Temple of Hatshepsut is a mortuary temple in the Theban Necropolis built during the reign of Pharaoh Hatshepsut. The temple is considered one of the great architectural wonders of the ancient world, and sits against the rocks of Deir el-Bahari. The temple is exceptionally large, and includes a shrine to Hathor, Anubis, Amun, as well as the mortuary complex and solar cult court. Despite this pleasing architecture, the temple has suffered over time, as in the decades following Hatshepsut’s death, Thutmose III attempted to destroy references to her rule; the reasoning behind the attacks is unknown, but it is presumed to be due to Hatshepsut’s gender. During the Amarna Period images of Egyptian gods, especially Amun, were to be destroyed; these disfigurements were repaired by Tutankhamun and Ramses II. Earthquakes also destroyed parts of the temple in the 11th century BC. The Ptolemaic kingdom restored the sanctuary of Amun and made additions to the temple. During the Coptic period, a monastery of Saint Phoibammon was built and images of Christ were painted over reliefs.
Colossi of Memnon
The Colossi of Memnon, also known as el-Colossat, are two huge stone statues of Amenhotep III which have stood in front of the ruins of the Mortuary Temple of Amenhotep III since 1350 BC, the largest temple in the Theban Necropolis. The statues of Amenhotep III sit with their hands resting on their knees with their gaze facing eastwards to the river. Two smaller figures are carved into the front throne alongside his legs, of his wife Tiye and mother Mutemqiya. The statues contain 107 Roman-era inscriptions in Greek and Latin dated to AD 20 – 250, which highlights the statues as a place of intrigue for ancient tourists.
Deir el-Medina
Deir el-Medina is an ancient Egyptian workmen’s village, home to the workers who carved the Valley of the Kings. The settlement’s ancient name was ‘set maat’, meaning ‘the place of truth’. At its peak, the community had around 68 houses made of mudbrick, built on top of stone foundations. The village is not thought to have been a pleasant environment due to its location in the Land of the Dead and the barren hillsides it sites in. The settlement housed a mixed population, of Egyptians, Nubians, and Asiatics who would be labourers for the creation of the tombs, as well as those involved in the decoration; their jobs were desirable, and the posts were inheritable. During their days off the workmen would work on their own tombs, which are considered to be some of the most beautiful on the West Bank.
East Bank
The East Bank of the Nile represents life, and is the location of modern Luxor’s town. Today, this representation of life is maintained, and there is bustling nature to the bazaars which line the El Souq and Local Market. Many Ancient Egyptian families of the New Kingdom kept estates in Ancient Thebes, and during the 15th century BC many brightly coloured palaces, surrounded by gardens, were constructed. In the Iliad, book 9, Homer stated that “in Egyptian Thebes the heaps of precious ingots gleam”, highlighting the immense wealth and lasting power Luxor’s East Bank contained. As you stand on the shore of the Nile, from the East you can look towards the West Bank, basking in the lasting legacy of the pharaohs and their families, whilst considering the energetic lives which would have been lived on the East. It is clear the importance of the Nile to Ancient Egyptians, as the famed Luxor Temple is positioned very close to the river, and is parallel with the bank.
Luxor Temple
Luxor Temple is a large complex constructed c.1400 BC which, unlike other temples in Ancient Thebes, was not dedicated to a cult god or defied pharaoh. Instead, the temple was dedicated to the rejuvenation of kingship, and thus may have been where many pharaohs were crowned. In the temple, there are chapels towards to the rear built by Amenhotep III and Alexander the Great, as well as other parts built by Tutankhamun and Ramses II. The temple was a big part of the Opet Festival, a celebration of Amun-Re and the pharaoh’s fertility which would last over 24 days by the beginning of the reign of Ramses III. During the festival, a statue of Amun-Re, Mut, and Khons was carried from Karnak to Luxor Temple, where a ritual marriage ceremony between Amun-Re and the pharaoh would take place in the Birth room to ensure the pharaoh’s fertility. During the Roman era, the temple was a legionary fortress, and the home of the Roman government in the area. The temple was added to the UNESCO World Heritage List in 1979.
Karnak temple
Karnak Temple is a complex of various temples, pylons, chapels, and other buildings. Building on the complex began in the reign of Senusret I (1971-1926 BC) in the Middle Kingdom, continuing into the Ptolemaic Kingdom (305-30BC). However, most of the buildings date from the New Kingdom. Due to this wide span of time, the deities represented in the complex range from some of the earliest, like Hathor, to deities from later in Ancient Egyptian culture. The complex of Karnak has four different Precincts, of Amun-Re, which is the only one open to visitors, Mut, Montu, and the dismantled Temple of Amenhotep IV, which are all closed to the public. In the Precinct of Amun-Re, there are various colossal statues, such as the figure of Pinedjem I which stands at 34 feet tall, and is home to one of the largest obelisks, at 95 feet tall. The complex is believed to be the second most visited historical site in Egypt, second only to the Giza pyramid complex, and was put on the UNESCO World Heritage List along with the rest of the city of Ancient Thebes.
Avenue of the Sphinx
The Avenue of the Sphinx, also known as the ‘King’s Festivities Road’, and the ‘Rams Road’, is a 2.7km walkway which connects Karnak and Luxor Temple. The road is currently lined by 1057 statues, including 807 sphinx, and 250 ram-headed lions; work is still going on to uncover more of these huge statues. Construction of the avenue began in the Queen Hatshepsut’s reign and was completed during the reign of Nectanebo I (380-362BC), and the ram-headed lions were mainly built during Tutankhamun’s rule. The avenue was an important part of the Opet Festival, a celebration of the pharaoh’s fertility, where a statue of Amun-Re, Mut, and Khons would be carried from Karnak Temple to Luxor Temple, through the Avenue of the Sphinxes.
The Reopening of the Avenue of the Sphinx
Over the years, the road became buried under dust, sand, and debris. In 1949, Egyptian archaeologist Mohammed Zakaria Ghoneim discovered the first traces of the avenue, with eight statues near Luxor Temple. Following his discovery, the 1057 statues were uncovered, and restoration began for seven decades until November 2021, when they avenue was reopened in a beautiful celebration of Luxor culture.
The grand reopening, which was created by a team under the German University in Cairo, simulated an Ancient Egyptian festival, the Opet Festival, with participants in pharaonic dress, boats on the Nile, and horse drawn carriages. There were three golden pharaonic-style model boats carried by men in gold and black robes, replicas of what would have been worn in Ancient Egypt, which were dedicated to Amun Ra, Kohnsu, and Mut. Egyptian singer Haidy Moussa performed a song about Queen Hatshepsut, and a documentary directed by Tamer Morsi was screened during the ceremony detailing the heritage of Luxor, including the monuments, markets, and the Nile, whilst also describing the hard work of Egyptian archaeologists in preserving the heritage. There were fireworks and lightshows, in splendour akin to that of pharaonic times. Students from Luxor University’s Faculty of Arts created 28 murals telling the history of Ancient Egypt, such as ceremonies, and burial traditions. Clearly, local people of Luxor and Egypt as a whole feel a distinct connection to their Ancient origins, and present with a deep sense of pride of the beauty and rich heritage.
The reopening is part of the Egyptian Government's attempts to revitalise interest in their ancient monuments following the COVID-19 pandemic, and was modelled on the Royal Mummies Parade in Cairo. Together, these events have helped to reestablish Egypt as an attractive tourist destination.