Red Chapel (Karnak)
| Red chapel in hieroglyphics | ||||||
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| 18th dynasty |
Set-ib-Imen s.t-jb-Jmn Amun's favorite place |
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The Red Chapel (also French Chapelle Rouge ) was an ancient Egyptian barque shrine for the god Amun-Re in the Temple of Amun-Re at Karnak in Egypt . Construction began under Queen ( Pharaoh ) Hatshepsut around 1450 BC. And was after their death by Thutmose III. completed in his name. Later he had the chapel torn down and replaced it with a new building. Originally it was in a central position in the temple, probably where the barque January of Philip III is today . Arrhidaios is located. In 1997, French and Egyptian archaeologists reconstructed the sanctuary using numerous original blocks in the open-air museum in Karnak. The quartzite blocks give the building its reddish color. In contrast, the dark diorite looks like a black frame. The representations give important insights into the cult events at the time of the New Kingdom . Thus representations find the Talfestes , the Opetfestes and daily cult image - ritual .
Discovery and Reconstruction
Between 1899 and 1903, Georges Legrain discovered the first blocks of the "chapel" during restoration work in the 3rd pylon of the Temple of Amun-Re in Karnak . These quartzite blocks had obviously been reused as filling material there. Maurice Pillet and Henri Chevrier continued the rescue work. A total of 322 blocks could be identified by 1996. This corresponds to about 55% of the original building fabric. Because of its reddish color, it was named Chapelle Rouge ("Red Chapel") by French archaeologists , as a counterpart to the Chapelle Blanche ("White Chapel") of Sesostris I made of light limestone. On the basis of epigraphic and architectural studies, Pierre Lacau and Henri Chevrier published a first reconstruction proposal in 1977. Their numbering and placement of the blocks was the basis for the reconstruction that took place 20 years later. In 1997, a French-Egyptian team from the Center Franco-Egyptien built the sanctuary in the open-air museum in Karnak from the original blocks and supplemented it with blocks made of stone and concrete. This was the first time that scenes that belonged together were reconnected.
Building history
The construction of the Red Chapel was commissioned by Queen Hatshepsut during the joint reign of Thutmose III. initiated. Originally it stood in front of the main sanctuary, which houses the statue of the gods, in a central position in the Karnak temple. It probably replaced a previous building made of white limestone that Thutmose II had built in his and Hatshepsut's name. Thus the Red Chapel was for the time being the last sanctuary of a series of older buildings, whose function was to accommodate the processional barque of Amun between two processions .
Since the building was still unfinished when Hatshepsut died, Thutmose III led him. during his sole rule initially ended in his name. However, he left the eighth (and top) register undecorated on the north facade and the cove without palmettes . For reasons that have not yet been sufficiently clarified, which may be related to the persecution of Hatshepsut's memory, Thutmose III. demolish the chapel later. Presumably, the construction work around the 42nd year of government with the Annalensaal also made major changes in the center of the Karnak Temple necessary. However, the removal of the Red Chapel was carried out with the utmost care, as the excellent condition of the found blocks shows. Even the vertical and horizontal joints suffered little damage when removed with levers and corners are rarely damaged. Thutmose III. replaced it with a new granite chapel , which Philip III. Arrhidaios was rebuilt and can still be visited today.
Immediately after their removal, the posts and lintels of the portals were made of diorite , which were already named Thutmose III. were reused for its new buildings in the central area of the Amun Temple. The east gate in the north wall of the corridor of the Annalensaal and the western gate of the vestibule in the southern gate of the 6th pylon were built in and rebuilt. The blocks of quartzite and diorite are likely to have been piled up in one of the numerous depots around the temple before they can be used again. As Dormann had shown, names and representations of Hatshepsut were chiseled out of these piled blocks, but certainly only after the chapel was dismantled, as shown by deletions of the name on blocks that were previously hidden in joints. Especially Amenhotep III. later used many of the blocks as the foundation for the 3rd pylon in Karnak.
Original site
In the area around the Holy of Holies in the Karnak Temple, Hatshepsut carried out various renovations and new constructions, which are known as the “Palace of the Maat ”. Although no block of the Red Chapel was found in situ , it was certainly the central element of this complex. According to El-Hagazy and Martinez, this complex was located north and south of today's barque sanctuary of Philip III. Arrhidaios and the Red Chapel in the main axis in front of this building complex, which means that it was enclosed by the courtyard area.
The French archaeologists situate it in the same place as the present barque January and suggest that it adjoin the west facades of the north and south halls. Their masses allow an insertion between the two complexes and in the temple axis. Due to the greater length of the temple complex, they suspect that a corridor joined on the eastern side.
In the open-air museum, the Red Chapel was set up rotated by 90 ° compared to its original location. As a result, its axis is no longer aligned to the west, towards the Nile , but now points south, towards the Luxor Temple .
architecture
The Red Chapel has typical features of Egyptian temple architecture, such as the round bars at the four corners of the slightly sloping building and the cove as the arched end of the upper wall parts. The reconstructed dimensions are: 17.32 meters long, 6.30 meters wide and 5.77 meters high. The stones used are unusual as a building material: The blocks consist mainly of quartzite , a silicified , very hard, orange, red-brown and violet-colored sandstone that was used for statues, but very rarely for buildings. The covings, chapel bases and door frames made of dark diorite look like a black frame compared to the colored stones. Pigment residues from ocher show that all quartzite blocks were taken in a uniform red.
The technique of relief decoration is also unusual. Usually the scenes on Egyptian buildings extended over larger areas. However, the blocks of the Red Chapel mostly show self-contained scenes. Its width is rarely exceeded. Some blocks were even processed all around and therefore also on the hidden inside.
A six-step staircase leads to the entrance portal. The building is divided into two paved interiors: the vestibule and the adjacent sanctuary , which was originally separated by a door. This contains another entrance on the east side. The inner walls are designed with eight image and text registers.
The vestibule (in Egyptian "Wesechet-Hetep", sacrificial table hall) was the room for the daily offerings and sacrificial rituals . The offerings were apparently sprinkled with water, as lateral drainage channels lead away to the right and left of the main portal in the floor. In the middle there is a 1.30 x 0.80 meter large and 0.5 meter deep diorite tub. Since it is decorated with lettuce plants , it could have served as a natural lettuce bed. Another possible use would be the so-called "Osiris tub" in the Osiris mysteries . Every year a grain Osiris was germinated in a stone tub, then dried in the sun and finally driven out in a boat as a symbol of resurrection.
Only a few privileged people had access to the sanctuary (Egyptian “Set-Weret”, “Great Throne”). In it the barque of Amun rested on a plinth designed as a chapel, like on a throne. If the residence of the king is equated with the palace of the god, the barque January corresponds to his throne room. From this a 0.20 meter high quartzite block is preserved, which is decorated with a lettuce frieze. It once formed the pedestal for the now lost bark pedestal and is surrounded by drainage channels. Thus, the daily cleansing ritual on the cult image could actually have been performed in the sanctuary. Traces of metal could be detected in depressions in front of the plinth of the bark base. They must have held the bronze or copper sacrificial stands with long-stemmed lotus flowers set up in front of the bar pedestal , as the reliefs show. The hollows of the sacrificial stands are also connected to drainage channels, which indicates that the lotus plants have been watered. In the central axis, near the passage to the sanctuary, there is also an undecorated diorite base that could have served as a base for a sacrificial table.
Vestibule with diorite tub
Sanctuary with a pedestal for the base of the Amun boat
Entrance portal to the sanctuary
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Representations of the cult events
Valley festival
In the 3rd and 5th registers of the north facade the " Festival of the beautiful desert valley " is shown, at which Amun marched in a procession from the Red Chapel to Thebes-West . The priests carried the processional barque. On this stood a free-standing canopy in the form of the per-wer . Under the curved roof was the shrine that contained the idol. The gods and kings as the barque crew were represented in the form of small figures that were probably made of gold or at least gilded.
In his barge Amun went to the million year old houses on the west side of Theban. These facilities served not only the cult of the deceased, but also that of the living king. At the center of the ceremonial act was the regeneration of gods and kings, the regular renewal of their physical and mental powers "for millions of years".
The procession was accompanied by a large retinue of priests, musicians, dancers and acrobats. The million year houses each served as a station stamp for the Amun boat. The final destination of the procession was Hatshepsut's million year house Djeser Djeseru ("Most Holy of the Holy") in Deir el-Bahari . The procession crossed the path lined with sphinxes, finally came via a garden and two ramps to the third terrace as far as the Holy of Holies of Amun, a vaulted chapel carved into the rock. There the barge found her home town.
After the return the boat was received in a festive manner in the temple of Karnak. The return of the regenerated god Amun-Re was celebrated in his temple with sacrificial acts and musical and acrobatic performances.
Opetfest
The south facade contains in the 3rd and 5th registers depictions of the Opet Festival, probably the most important and longest of the annual festivals in Thebes. It is documented for the first time under Hatshepsut. Its duration was originally 11 days, later, under Ramses III. it was extended to 27 days.
During this festival Amun of Karnak visited the sanctuary of the "Southern Opet" ( Jp.t-rsj.t - Ipet-resit) in what is now the Luxor Temple , which was considered the place of his birth. The term Jp.t probably meant a "shielded area". The southern Opet is interpreted as the “southern sanctuary” or “hidden chapel” of Amun.
The Opet festival served to renew the divine Ka power of the king. His ka united with that of his royal ancestors. At the height of the mystery-like rituals, the king met Amun-Re in his barge January. The god transferred the divine Ka powers to the king.
The secret rites and mysteries were neither portrayed nor textually reproduced. In contrast, the public processions are reported in detail.
On the way from Karnak to Luxor, the procession passed six station chapels or barge stations, five of which are preserved on the representations of the Red Chapel. The porters were able to set the barge down there and rest while the necessary cult activities were carried out.
In contrast to the departure to Luxor, the return to Karnak was mainly by water. At a pier on the Nile, the barge was loaded onto the large Amun ship "Amun-userhat" and then rowed to the pier of the Karnak Temple. The last section back to the Red Chapel took place again on the shoulders of the priests.
Sedfest
The Sedfest served to renew the rule and power of the ruling king. Usually it was celebrated for the first time after 30 years of reign. In complex rituals, the king should go through a process of rejuvenation.
In the Red Chapel, ceremonies of the Sedfest are depicted on the four walls of the facade and on the two longitudinal walls in the vestibule. However, only Hatshepsut appears as king, never Thutmose III.
An important part of the Sedfest were races in which the aging king demonstrated his strength. In the Red Chapel there are three runs with different attributes:
- The run with the Apis bull in the 5th register of the north and south facades: Hatshepsut runs barefoot with far reaching steps, that is, in a manly posture that is absolutely unusual for the representation of an Egyptian woman. She wears the royal apron with a bull's tail that is characteristic of the cult run, a large collar , ceremonial beard and the White Crown of Upper Egypt . In her hands she holds the Nechacha scepter on the right and the Mekes device on the left (a short, cylindrical object whose ends are reminiscent of a swallowtail and which is interpreted as a box for a document confirming the king's rule over Egypt).
- The run with the Hes vase in the 5th register of the east and west portals and in the 5th register of the south wall in the vestibule: The "king" carries a Hes vase in each hand as an offering.
- The run with the oar and the Hepet device in the 3rd register of the north wall in the vestibule: Hatshepsut brings the ithyphallic Amun an oar and a Hetep device. The Hepet device presented could be a ship device, but the symbols are not clear.
The rituals of the Sedfeste also included re-enthronement. This is probably related to the jubilee of the throne as an active repetition of the enthronement and renewed confirmation of their unusual takeover of power at the time. The representation of the erection of a pair of obelisks for their jubilee celebration in the 16th year of the reign, after they had two obelisks erected in the east of the Karnak Temple for the actual coronation, is probably related to this.
However, the representations are not clear evidence that a Sedfest actually took place. The question cannot be clearly answered scientifically. There is a lack of independent confirmation of such an event, such as inscriptions on vessels whose contents were intended for a Sedfest, or reports in the graves of officials about their involvement in the preparations for such a festival.
Temple foundation ritual
Inside the vestibule, the ritual of the founding of the temple is depicted. These are various rites that took place before construction began on the sanctuary.
First, the location of the temple was aligned with the stars at night. During "rope tensioning" Hatshepsut and the goddess Seschat hammer pegs into the ground, between which a rope is tensioned. The "painting of the first brick" (roughly "laying the foundation stone") served as a preparatory act for construction. Hatshepsut is shown kneeling on a mat in front of a wooden form in which she is smoothing a brick made of Nile mud.
This was followed by “chopping up the earth” as the beginning of the excavation of foundations and pits for the foundation gifts, the “pouring of sand” for the foundations and for cultic purity, the magical securing of the temple through sacrificial rituals and the laying down of the foundation gifts in the foundation pits, the setting of the corner stones , the cleaning of the finished temple with baking soda and finally the delivery to the god by the king.
Daily cult image ritual
The 3rd, 4th and 6th registers of the north wall of the sanctuary show scenes of the daily ritual on the image of the god, as performed every morning by priests as representatives of the king. The deity was carefully taken out of the shrine in the form of its cult image, cleansed, anointed, dressed and given food. Often musical performances accompanied the ritual, for example by singers with sistren , the rattle instruments of the goddess Hathor .
Cult execution in front of the Amun barque
The 5th register of the south and north walls of the sanctuary represents the central scene inside. Its single and often varying theme is Hatshepsut, represented twice and accompanied by her Ka statue, with the sacrifice in front of Amun, who rests in the shrine of his boat. This stands together with the two carrying bars on the chapel-like base (“throne”). Below is the plinth in the beveled form of the hieroglyph for Maat and in front of it typical sacrificial stands with the lotus stems. Both depictions of Hatshepsut wear the same kingskirt, but different headdress: the simple, short curly wig at the front, the chat headscarf at the back.
Enemy destruction ritual by the wife of God
The depiction of an enemy annihilation ritual performed by Amun's consort is unique . She receives a torch from the Father of God and performs a magical cremation ritual on the kneeling prisoner with arms tied behind her back, the symbol of the conquered enemy par excellence.
Here you see the wife of God in a role that is normally only reserved for the king. The Maat obtain and Isfet to destroy was a royal privilege. A typical example of this is the symbolism of “ slaying the enemy ”. Obviously the highest-ranking priestess also had the right to take part in the cult events and enjoyed a high reputation.
The identity of the wife of God is not clear. Hatshepsut gave up this title when she was crowned "King". Her successor was her daughter Neferure , who, however, had probably already died in the 16th or 17th year of the reign. A named successor in Hatshepsut's reign is not known. Her nickname "God's hand", which is derived from the world creation doctrine of Heliopolis and has a clear sexual connotation: The primordial and creator god Amun created the first pair of gods through masturbation , the twins Schu and Tefnut , with the hand of the creator god during masturbation was understood as a partner of God.
Arrangement of the registers
The registers are counted from bottom to top. The outer and inner facades each contain eight registers one above the other. The only exception is the western outer portal with nine registers. The scenes are each aligned from west to east, i.e. from the main portal to the sanctuary. Only the representation of the processions in the 3rd register is in the other direction, from the east to the main portal in the west. The scenes of the portals on the west and east facades are almost identical. They only differ in the symbols for Upper Egypt (south side) and Lower Egypt (north side). The east and west facades are mirror-symmetrical and each scene is shown four times.
The base and the first register are made of almost black diorite and contrast with the red-yellow quartzite of the remaining registers. The dark color symbolizes the underground of fertility-bringing Nile mud from which the life of the world arose according to the creation mythology. The base represents the stylized niche structure of a palace facade and thus defines the chapel as the palace of God. Brothers of gifts in the 1st register from different regions represent the geographical areas from which they come.
| External facade tab | |||
| number | Representations | ||
|---|---|---|---|
| Register 1 | Gods of districts , temples, bark stations, swamps, canals and palaces as gifts Bringer | ||
| Register 2 | Introduction to Hatshepsut in the Red Chapel, Hatshepsut in the “Great House of Amun” temple, historical texts | ||
| Register 3 | West and east facade: Hatshepsut in a three-part ritual before Amun: worship, rowing and hug. North and south facade: Opetfest: procession to Luxor; Valley Festival: Procession to Deir el-Bahari | ||
| Register 4 | Hatshepsut in sacrificial acts before Amun; Amun in its normal form and in the form of the Min | ||
| Register 5 | West and east facade: Hatshepsut in a three-part ritual before Amun: adoration, Hes vase run and hug. North and South Facades: Opetfest: Return from Luxor; Valley Festival: Return from Deir el-Bahari | ||
| Register 6 | West and east facade: Hatshepsut with animal and wine sacrifices before Amun; North and south facades: sacrifices before Amun and the Ninth of Heliopolis | ||
| Register 7 | Coronation of Hatshepsut | ||
| Register 8 | Coronation of Thutmose III. | ||
| Register 9 | West facade only: Thutmose III. | ||
| Register of the vestibule | |||
| number | Representations | ||
|---|---|---|---|
| Register 1 | Rechit birds as the symbolic presence of the people | ||
| Register 2 | Entry to Hatshepsut; Temple foundation rituals | ||
| Register 3 | Introduction of Hatshepsut to the “Great House of Amun” temple: purification rituals, entry into the temple, writing of the years, promise of eternal reign by Amaunet and Amun, reception by Amun | ||
| Register 4 | Hatshepsut at the sacrifice before Amun and Amaunet | ||
| Register 5 | Hatshepsut in cult runs before Amun: Hes vase run and oar run | ||
| Register 6 | Hatshepsut in the daily cult image ritual before Amun | ||
| Register 7 | Hatshepsut in ritual and sacrifice before Amun and Amaunet | ||
| Register 8 | Thutmose III. at the sacrifice before Amun | ||
| Register of the sanctuary | |||
| number | Representations | ||
|---|---|---|---|
| Register 1 | Different symbols: ankh , djed and what | ||
| Register 2 | Sacrifice before Amun in the form of Min and in his normal form; The wife of God of Amun performs a magical ritual | ||
| Register 3 | Amun and the unity of the gods; Reception of the gods and royal ancestors; Cleansing scenes by the priests | ||
| Register 4 | Amun of the four cardinal points; Unity of gods; Dressing ritual for Amun in the form of Min | ||
| Register 5 | Hatshepsut in cult execution in front of the Amun barque | ||
| Register 6 | Amun; the unity of gods; Cult image ritual for Amun in the form of Min | ||
| Register 7 | The Great Nine of Karnak; Hatshepsut with the sacrifice in front of Amun in both his forms | ||
| Register 8 | Thutmose III. at the sacrifice before Amun | ||
See also
literature
- Franck Burgos, François Larché: La chapelle Rouge. Le sanctuaire de barque d'Hatshepsout. Volume I-II. Éditions recherche sur les civilizations (ERC), Paris 2006/2008 , ISBN 978-2-86538-317-7 .
- Albert Burnet: Nouveaux travaux du Center franco-Egyptien. La chapelle Rouge de Karnak. In: Archéologia. 376, 2001, pp. 30-38.
- Jean-François Carlotti: Mise au point sur les dimensions et la localization de la chapelle d'Hatchepsout à Karnak. In: Cahiers de Karnak. 10, 1995, pp. 141-166. ( Online ).
- José M. Galán, Betsy M. Bryan, Peter F. Dorman (eds.): Creativity and Innovation in the Reign of Hatshepsut (= Papers from the Theban Workshop 2012 .; Studies in ancient Oriental civilization. No. 69). the oriental institute of the university of Chicago, Chicago 2014, ISBN 978-1-61491-024-4 ( online ).
- Todd Jonathan Gillen: The Historical Inscription on Queen Hatshepsut's Chapelle Rouge. Part 1. biȝ.yt (“Wonder”) and the Divine Oracle. In: Bulletin of the Australian Center for Egyptology. 16, 2005, pp. 7-14 ( online ).
- Todd Jonathan Gillen: The Historical Inscription on Queen Hatshepsut's Chapelle Rouge. Part 2: Translation. In: Bulletin of the Australian Center for Egyptology. 16, 2005, pp. 15-28 ( online ).
- Alfred Grimm: Enemy images and image burning. A burnt offering for the ritual annihilation of enemies in a festival representation of the “Chapelle Rouge”. In: Varia Aegyptiaca. 4/3, 1988, pp. 207-214.
- Pierre Lacau, Henri Chevrier et al .: Une chapelle d'Hatshepsout à Karnak (= Publications de l'Institut français d'archéologie orientale du Caire. Volume 522 B). Volumes 1–2, Institut français d'archéologie orientale du Caire, Cairo 1977/1979 ( online ).
- François Larché: La reconstruction à Karnak de la chapelle rouge d'Hatchepsout. In: Bulletin de la Société Française d'Égyptologie. 145, 1999, pp. 5-18 ( online ).
- François Larché: L'anastylose de la Chapelle rouge. In: Égypte, Afrique & Orient. 17, 2000, pp. 15-22.
- Bernard Mathieu: La Chapelle rouge d'Hatchepsout à Karnak. In: Égypte, Afrique & Orient. 17, 2000, pp. 13-14.
- Malte Römer: Is the text on blocks 222/35/184 of the Chapelle Rouge a testimony to a new “dimension of tangible closeness to God” (Assmann)? In: Göttinger Miscellen . 99, 1987, pp. 31-34.
- Marianne Schnittger: Hatshepsut. A woman as King of Egypt. 2nd, unchanged edition, Wissenschaftliche Buchgesellschaft, Darmstadt 2011, ISBN 978-3-534-24660-1 .
- Charles C. Van Siclen: New Data on the Date of the Defacement of Hatshepsut's Name and Image on the Chapelle Rouge. In: Göttinger Miscellen. 107, 1989, pp. 85-86 ( online ).
- Karin Stephan: The decoration of the "Chapelle Rouge" in Karnak. Structure and function. Books on Demand, Norderstedt 2008, ISBN 978-3-8370-4840-7 .
Web links
- Sébastien Biston-Moulin, Émeline Pulicani: Chapelle rouge - Hatchepsout - (KIU 1192). www.cfeetk.cnrs.fr, February 15, 2015, accessed April 17, 2015 (French).
- Thierry Benderitter: The Red Chapel of Hatshepsut Reconstructed. www.osirisnet.net, February 18, 2011, accessed October 22, 2014 (English).
- Karl H. Leser: Red Chapel of Hatshepsut. www.maat-ka-re, April 13, 2009, accessed April 17, 2015 .
Individual evidence
- ^ Marianne Schnittger: Hatshepsut. A woman as King of Egypt. 2nd, unchanged edition, Wissenschaftliche Buchgesellschaft, Darmstadt 2011, ISBN 978-3-534-24660-1 , p. 63 and p. 91, Fig. 55.
- ^ A b c d Franck Burgos, François Larché: La chapelle Rouge. Le sanctuaire de barque d'Hatshepsout. Volume II. Éditions recherche sur les civilizations (ERC), Paris 2008, ISBN 978-2-86538-317-7 , p. 11.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 62.
- ^ Pierre Lacau, Henri Chevrier et al .: Une chapelle d'Hatshepsout à Karnak (= Publications de l'Institut français d'archéologie orientale du Caire. Vol. 522 B). Volume 1, Institut français d'archéologie orientale du Caire, Cairo 1977.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 64.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 63.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 131.
- ^ F. Burgos, F. Larché: La chapelle Rouge. Le sanctuaire de barque d'Hatshepsout. Volume II. Paris 2008, p. 12 with reference to Peter F. Dormann: The Monuments of Senenmut: problems in historical methodology (= Studies in Egyptology. ). Kegan Paul International, London / New York 1988, ISBN 978-0-7103-0317-2 .
- ^ F. Burgos, F. Larché: La chapelle Rouge. Le sanctuaire de barque d'Hatshepsout. Volume II. Paris 2008, p. 12.
- ↑ Peter Nadig, Manfred Clauss: Hatschepsut (= design of antiquity ). von Zabern, Darmstadt 2014, ISBN 978-3-8053-4763-1 , p. 167.
- ↑ Aly El-Sayed Hegazy, Philippe Martinez: "Le Palais de Ma'at" et la "place favorite d'Ammon". In: Les Dossiers d'Archeologie No. 187: Hatchepsout. Femme pharaon. 1993, pp. 54-63. Quoted from: Karl H. Leser: Karnak Temple. "Palace of the Maat" - chambers of Hatshepsut. In: www.maat-ka-ra.de
- ^ F. Burgos, F. Larché: La chapelle Rouge. Le sanctuaire de barque d'Hatshepsout. Volume II. Paris 2008, p. 96 with reference to Pierre Lacau, Henri Chevrier et al .: Une chapelle d'Hatshepsout à Karnak. Volume 1, Cairo 1977, §77.
- ^ Karl H. Readers: Karnak Temple. "Palace of the Maat" - chambers of Hatshepsut. On: maat-ka-ra.de , last update: November 14, 2013, last accessed on April 16, 2015.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 62–65.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 89-90.
- ↑ a b M. Schnittger: Hatschepsut. A woman as King of Egypt. Darmstadt 2011, p. 97.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 101-103.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 80–84.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 69–80.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 108–116.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 91-93.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 100-101.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 99-100.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, pp. 104-105.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 65.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 67.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 66.
- ↑ M. Schnittger: Hatshepsut. A woman as King of Egypt. Darmstadt 2011, p. 89.
Coordinates: 25 ° 43 ′ 13.6 ″ N , 32 ° 39 ′ 27.6 ″ E