The Central Hall and Related Annexes
The Central Hall
A brief passage extends eastward from the First Transverse Chamber into the grand and imposing
Central Hall of the Cenotaph. This expansive chamber features three aisles and spans dimensions of 100 feet by 65 feet. Surrounding the hall are seventeen small cells, with one located in the middle of the end wall, which has been opened to provide access to another transverse chamber.
The walls, constructed from massive blocks of dark red sandstone, enclose a rectangular island composed of even larger blocks of red granite. On this island, ten monolithic pillars crafted from the same red granite material stand tall. These pillars measure 3.90 meters (12.8 feet) in height, 2.37 meters (7.8 feet) in width, and 2.13 meters (7.0 feet) in thickness, with an average weight of about fifty tons each. Access to this pillared island at the center of the hall is facilitated by stairways positioned at each of its shorter sides.
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| Osireion - The Central Hall and Related Annexes |
Between the island and the walls of the hall lies a water channel approximately two meters (6.6 feet) wide and nine meters (30 feet) deep. Initially, there was no direct access to the island from any other part of the building. Moreover, there was no access to the side walls of the hall, where seven small square cells are situated, opening onto a narrow ledge about 60 centimeters wide, level with the surface of the island.
These cells, originally sealed by wooden doors, comprise six cells each in the northern and southern walls, two in the western wall, and three in the eastern wall. The ledge where the cells open is interrupted on its western and eastern sides by two pilasters or engaged pillars. At the eastern and western ends of the island, a small and narrow flight of thirteen steps descends partially into the channel.
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The water in the canal was originally supplied through a lengthy underground passage, constructed with limestone walls, roof, and flooring, leading eastward to the ancient Nif-wer Canal. In modern times, due to the rising bed of the Nile and the subsequent increase in subsoil water levels, this remarkable monument is now permanently flooded. Only the Entrance Passage, the antechamber, and small side rooms remain dry.
Strabo, the Roman writer , mentions this passage and describes it as constructed of stone without any joints. Most of the granite roof of the hall is missing, but from the remnants, it is evident that the structure had a unique form. The roof sloped upwards at the northern and southern sides, while the central part remained flat. Remarkably, it resembled the undersides of lids found on certain Old Kingdom Sarcophagi.
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| Osireion - The Central Hall and Related Annexes |
The method by which the hall was illuminated and ventilated remains unknown to us. However, Strabo mentioned that the roof was externally covered by a large mound, encircled by a grove of trees. Today, remnants of circular stone-lined pits can still be found at the southern and northern sides of the building. Upon excavation, these pits were discovered to contain soil and the roots of large trees, providing insight into the environment surrounding the Osireion during its ancient existence.
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| Osireion - The Central Hall and Related Annexes |
Even in its roofless state, the Central Hall presents an awe-inspiring sight with its imposing simplicity. Similar to the Valley Temple of Khafra at Giza, it was initially devoid of decoration. However, Merenptah commissioned the sculpturing of scenes depicting himself offering to various gods on the eastern wall. Additionally, he initiated the decoration of some of the architraves, although this endeavor was left unfinished.
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
The "Flower of Life" (FOL) is a modern term used to describe a geometric pattern consisting of nineteen overlapping circles with completed arcs inside a larger circle. These circles are typically drawn in red ochre, with some appearing faint and difficult to discern. Rather than being etched or carved into the granite rock, the pattern seems to be indelibly burned into the rock's surface. The "Flower of Life" holds significant religious and spiritual importance, representing sacred geometry.
This symbol is believed to portray fundamental forms of space and time, serving as a blueprint of the universe. It is thought to encapsulate the basis for the design of every atom, molecular structure, life form, and element of existence. As a result, the "Flower of Life" is regarded as one of the most potent ancient symbols, symbolizing the interconnectedness and unity of all creation.
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
The "Flower of Life" circle clusters found on the surfaces of two opposing granite pillars within the Central Hall have stirred speculation regarding their age. Some enthusiasts suggest they could be as old as 6000 years. However, there is no concrete evidence supporting such an early date. Instead, there is compelling evidence pointing to a much later dating.
Recent research indicates that these symbols likely date no earlier than 535 B.C., with a probable timeframe ranging from the 2nd to the 4th century CE. This conclusion is based on photographic evidence revealing Greek text alongside the "Flower of Life" circles, as well as the position of the circles near the tops of columns that are over 4 meters in height. Such placement suggests that the Osireion was partially filled with sand before the circles were drawn, indicating a timeframe likely after the end of the Ptolemaic Dynasty. Despite exotic prehistoric theories, the evidence suggests a more recent origin for the "Flower of Life" symbols in the Osireion.
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
The Eastern Transverse Hall, also known as the Sarcophagus Chamber, is situated behind the eastern wall of the Central Hall. Its current entrance is accessed through a hole in the rear of the central square cell of the eastern wall. This hole was forcibly created in modern times, allowing entry into the chamber.
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| Osireion - The Central Hall and Related Annexes |
The Eastern Transverse Hall mirrors its counterpart on the western side, with the notable difference that it originally had no connection with the rest of the building. Like its counterpart, this hall is also tent or saddle-roofed, indicating its likely function as the sarcophagus chamber or a symbolic representation of the sarcophagus itself.
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| Osireion - The Central Hall and Related Annexes |
During the reign of Seti I, the Transverse Hall must have been accessible, as evidenced by the decorations found on its roof. Seti I adorned the roof with typical representations associated with the sarcophagus-lid, depicting the Goddess Nut stretched out over the world and bending over the deceased king. Additionally, scenes depicting Nut being elevated above the earth by Shu, the god of the air, were also present. These decorations suggest that the hall served a significant ceremonial or symbolic purpose during Seti I's reign.
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
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| Osireion - The Central Hall and Related Annexes |
During the reign of Seti I, the Transverse Hall must have been accessible, as evidenced by the decorations on its roof. Seti I adorned the roof with representations of the Goddess Nut stretched over the world and bending over the deceased king, along with scenes depicting Nut being raised above the earth by Shu, the god of the air.
The accompanying texts depict a dramatic script recounting how Nut complained to the Great God that her husband, Geb, had insulted her by calling her "Sow that Eats her Young." Geb defends himself by pointing out that Nut gives birth to her children, the stars, every evening, but she consumes them in the morning, justifying the name he called her. After some domestic dispute, the Great God decrees that Nut may consume her children every morning but must give birth to them again at night, forbidding her to be called "Sow that Eats her Young."
Approximately fifty-five years ago, the western part of the Temple of Seti I was at risk of collapsing, prompting the installation of fourteen piers of steel and concrete between the western wall of the temple and the eastern wall of the Transverse Hall. However, no connecting passage or stairway between the two buildings was discovered during this operation, leaving the method of access to decorate the roof still unknown.
Regarding the purpose of the Osireion, Merenptah's decoration of the Entrance Passage with scenes and texts typically found in royal tombs suggests that, in his era, the building may have been regarded as a tomb. The Great Hall's design suggests a stone sarcophagus, with the rectangular island representing the wooden coffin it contains. Frankfort proposed that the island symbolized the first hill of dry land emerging from the Primeval Ocean during Creation. He also suggested that the depressions between the rows of pillars were intended as resting places for a symbolic coffin and Canopic chest. However, these depressions appear too large for such a purpose. It is more likely that they were intended to receive the bases of a large statue and an altar, indicating an Old Kingdom date when statues were embedded in temple pavements to prevent their removal or overthrow.
It is plausible that a ruler of the Old Kingdom, believing that a mudbrick Mastaba Tomb was unsuitable for Osiris, might have reconstructed it in eternal stone. In ancient hymns, Osiris is described as "He who sleeps surrounded by water." If he were buried on the island, or within a yet undiscovered chamber inside it, this description would certainly hold true. Moreover, a stela from the Late Period makes reference to "the Hill of Thinis, which conceals its Lord." Additionally, as previously mentioned, Strabo noted that the Osireion was covered by a hill. It appears that some Egyptians regarded it as the Tomb of Osiris, while others believed that the Mastaba of King Djer served as the sacred tomb.
The mystery surrounding the Osireion persists, as the channel surrounding the island has never been emptied of its water, despite attempts with powerful pumps. It is unlikely that the enigma of the Osireion will be solved, making it one of the most captivating puzzles in Egyptology. It presents a challenge for future generations of Egyptologists, who must exert exceptional efforts to unravel its mystery.
In a separate discovery near the ancient temple at Kom el-Sultan, archaeologists found the only known statue of King Khufu, the builder of the Great Pyramid of Giza. This miniature ivory figure, standing no more than 7.0 centimeters tall, exudes the power and dignity of a colossus. The king is depicted seated, adorned with the Red Crown of Lower Egypt. Interestingly, the determined expression on the statue bears a striking resemblance to his son Khafra. This remarkable artifact now resides in the Cairo Museum, cataloged as No. 4244.
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The figure, dating back to the 4th Dynasty, has sparked debate among Egyptologists. While most scholars believe the statuette is contemporaneous, Dr. Zahi Hawass and some others argue that it may be an artistic reproduction from the 26th dynasty. Their argument stems from the absence of any confirmed 4th Dynasty structures excavated at Kom el-Sultan or Abydos.
The figure, along with several others, including some dating back to the 1st Dynasty, was discovered by Petrie in 1903 in a pit near the ancient temple. Interestingly, all the figures had been slightly damaged and coated with a dry brown substance. Analysis revealed that this material was, astonishingly, dry human excrement. The pit, it turned out, was the cesspit of the temple lavatory, revealing an ancient scandal.
In ancient times, it was customary for kings and nobles to dedicate votive statues to a temple. When these offerings became too numerous or damaged, priests would dispose of them by burying them within the sacred temple enclosure. In this case, however, the lazy or negligent priest chose to discard them down the lavatory.
The discovery is particularly ironic considering that it involves the only known statue of the great Khufu, one of the most significant pharaohs of Egypt.
Another ivory figure from the same group now resides in the British Museum in London. This figure depicts a king adorned with the White Crown of Upper Egypt and a richly patterned cloak. The identity of this king remains a mystery, but the figure's beautiful and contemplative face, exuding an intensely spiritual expression, leads one to speculate that it may represent an archaic king who would later be venerated as Osiris.
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| Osireion - The Central Hall and Related Annexes |
By the time of the 5th Dynasty, Abydos had developed into a sizable and prosperous town. The old temple underwent significant expansion and boasted a considerable number of priests, layworkers, and extensive land and cattle holdings. All these were designated and protected by royal decree, issued by King Nefer-ir-ka-Ra, which means "Beautiful is the Soul of Ra," the third king of the 5th Dynasty.
This decree, inscribed on a limestone stela, was discovered by Petrie at Kom el-Sultan and is currently housed in the Museum of Fine Arts in Boston, USA. In the decree, the king asserts, "I do not permit any individual to remove priests from this district, except for serving the God in the temple or maintaining the temple itself." The decree continues, stating that priests are exempt from any interference within the boundaries of eternity, as ordained by the King of Upper and Lower Egypt, Nefer-in-ka-Ra.
Additionally, the decree prohibits the removal of essential equipment required for work on any other temple estate where priestly duties are carried out. This firm decree reflects the king's dedication to the preservation and sanctity of the temple and its associated properties and personnel.
"I do not permit any man to take away any serfs who are working on any god's field for the corvée or for any other work in the district," the decree sternly declares. It continues, "As for any man who should disobey this decree, he shall be consigned to the temple work-house, where he will be assigned to the corvée or to ploughing duties."
This implementation of justice, though punitive, carries a poetic quality. It must have been a sight of satisfaction for the oppressed to witness pampered officials toiling in the mud of a canal or laboring behind a plough under the scorching sun. It reflects an early instance of justice prevailing in the ancient land of Egypt.
The annual pilgrimage to Abydos became firmly established, and Osiris was now regularly revered as the "Lord of Abydos." The rise of the Cult of the God of the Common People was evident, and the priests of the Solar Cult were compelled to integrate Osiris into their religious practices, known today as the "Pyramid Texts." The earliest known versions of these texts adorn the walls of the passages and burial chamber of King Unas' Pyramid from the 5th Dynasty at Saqqara. They are also found in the pyramids of the 6th Dynasty rulers and, much later, in the tombs of private individuals.
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| Osireion - The Central Hall and Related Annexes |
These texts provide clear evidence that Abydos was considered the final resting place of Osiris's entire body. As such, it held profound sanctity, and many Egyptians, despite living elsewhere, yearned to be buried beside their god in Abydos. Consequently, a significant necropolis emerged on the sandy plain between the cultivated land and the mountain.
In some cases, familial obligations or other factors prevented individuals from fulfilling their desire to be buried in Abydos. Instead, they settled for erecting small cenotaphs or memorial steles. An intriguing monument discovered years ago illustrates this practice. Dedicated by two daughters to their mother, the stela honored the mother's fervent wish to be buried in Abydos, a wish unfulfilled until the daughters eventually brought her remains to rest in the sacred soil. The stela, placed at her tomb, invited future passers-by to offer prayers and offerings for their departed mother.
These intimate human artifacts serve as bridges spanning nearly 5000 years, connecting their time with ours. Undoubtedly, many more such monuments lie buried beneath the sands, awaiting discovery.
King Teti, the inaugural ruler of the 6th Dynasty, issued a decree akin to that of King Nefer-ir-ka-Ra. His successor, King Pepi I, married two sisters of Djau, the Nomarch (Vizier) of Abydos. Djau commissioned a stela for both sisters, named Mery-Ra-Ankh-Nes I and II, which was discovered by Auguste Mariette built into the side of a well in the modern village and now resides in the Cairo Museum (No. 1413).
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Djau evidently thrived under the patronage of his royal brother-in-law, amassing an impressive array of official titles including "Real Hereditary Prince," "Nomarch," "Overseer of the Pyramid City," "Chief Justice," "Vizier," "Overseer of the King's Archives," "Priest of the Gods of Buto," "Priest of the Gods of Nekhen," "Chief Ritualist," "Sempriest," "Master of the Wardrobe," and "Wearer of the Seal." In recognition of his birthplace, Djau commissioned a stela in Abydos of Thinis, honoring King Pepi I and expressing his deep affection for his homeland. The inscription concludes with a plea for the priests of the Temple of Osiris Khenti-Amentiu to uphold their agreement to provide Djau with mortuary offerings from the income of the land he endowed to the temple after his passing.
Djau and his sisters likely inspired Pepi I's involvement in their hometown. Pepi I undertook the complete reconstruction of the old temple in limestone, featuring sculptures of exceptional quality based on the surviving fragments. Additionally, he erected a limestone portal at Kom el-Sultan, bearing his name despite its current weathered state.
Pepi II, whose reign spanned an unprecedented ninety years, further enhanced the temple and issued a decree endowing offerings to the priests and statues of the two Queens Mery-Ra-Ankh-Nes, as well as their brother Djau.
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