Egyptian temple petroglyphs

Maarten VAN HOEK INTRODUCTION Being fascinated by the enormously rich legacy of ancient Egyptian architecture and art for many years, my wife Elles and I visited the Theban area around Luxor in central Egypt in January 2008. We were amazed by the rich decoration of the numerous impressive temples and tombs, but we were also astonished to notice that many statues and temple walls were scarred with numerous oblong grinding hollows and a few circular cupules; antique and more recent inscriptions of texts in several languages and a large variety of graffiti, both ancient and modern. Especially the SE facing wall between the 4th pylon and the 8th pylon and overlooking the Sacred Lake at Karnak is full with most interesting inscriptions and graffiti. Wilkinson (2000: 47) emphasises the importance of those graffiti and other added imagery and texts, but he does not mention the presences of true petroglyphs on Egyptian temple walls. As a matter of fact I could not find any reference to open air petroglyphs superimposed upon Egytian art in the available literature, but to our surprise some of the walls were also engraved with pecked petroglyphs that one would expect to find on natural rock surfaces in the Saharan desert. During our excursions we noticed definite petroglyphs at the following temple complexes. On the west bank, opposite the modern town of Luxor, are several mortuary temples (the Egyptian dynastic chronology in this report is based on Baines and Mlek as shown in: Wilkinson 2000: 12 -13). On the outer walls of the Small Temple that was inserted during the 18th Dynasty (1550 B.C. to 1307 B.C.) into the enormous complex at Medinet Habu are several petroglyphs of boats, zoomorphs, humans and other images. Further north, on the NE facing outer wall of the Ptolemaic Temple at Deir el-Medina (221 B.C. to 205 B.C.) are the petroglyphs of a possible giraffe and a zoomorph (a horse?) with an enigmatic circle between the legs and possibly mounted by a rider. At the nearby Ramesseum (1290 B.C. to 1224 B.C.) several petroglyphs of warriors appear just below the well known scene of the dedication to the gods on the SE facing wall that overlooks the Second Court. On the same wall, near the legs of a large centrally placed Toth figure are simple petroglyphs of a bird, probably an ostrich, an indefinite quadruped and an (unfinished? and damaged) human, possibly a warrior. Between the legs of a large nearby Horus relief is the crude petroglyph of a zoomorph. One of the pillars of the bigger Hypostyle Hall at the Ramesseum bears the petroglyph of a possible archer. Also at the temples of Seti I and at the Dendera complex we noticed such petroglyphs, but these will be discussed further on. Undoubtedly many more examples can and will be detected at the temple walls in and around Luxor and often discovery depends on favourable lightning. Also at temples outside the Theban area petroglyphs will occur. For example, 190 km upstream from Luxor, just south of Aswan, is the reconstructed temple of Philae (332 B.C. to A.D. 395) where graffiti [post Graeco-Roman engravings] of a kind frequently found in desert locations has been etched into the surface of Trajans kiosk (Byrnes 2007). Judging by the photos made by Byrnes (2007), many of the engravings at Philae indeed look very much like the petroglyphs discussed in this paper.

THE PETROGLYPHS Three petroglyph panels will be discussed in more detail. The first two panels occur at the temple of Seti I (or Sethos I), which is situated on the western bank of the Nile Valley, almost opposite the temple complex of Karnak. The third panel is found at the temple complex at Dendera, which is located some 60 km north of Luxor, also at the west bank of the river Nile. SETI I: PANEL 1 The first petroglyph scene I would like to discuss appears on the NW facing outer

considerably higher, or because the blocks had fallen down and became easily accessible. Although these abraded grooves may have been produced as a sort of gestural art to record a visit to a site, this in analogy with ethnographically recorded instances in Australia (Flood 2006: 240-241), these abraded grooves most probably have mainly been made to derive the power of these ancient temples. But possibly the fine stone powder was also taken home as a relic (in a bag or box, for instance) or even swallowed on the spot, a practice that is generally called geophagy (Callahan 2000). Worldwide there are many examples of rocks said to possess special powers, but also near Thebes there are rocks supposed to have had special forces. An example is reported to have existed in the Wadi Hammamat. This wadi, a dry river valley that served as route from Qift on the Nile to the Red Sea and vice versa; is one of the two principal transverse routes between the Red Sea and Nile valley and, most likely for that reason, has a large number of petroglyphs sites. Beyond the rock art sites in Wadi Hammamat are schist quarries. In Pharaonic times a sarcophagus made from Hammamat stone was known as a "Lord of Life", the stone possessing restorative power (Lankester n.d.). Similar abraded grooves occur elsewhere in Africa and have for instance been reported by Simonis, Campbell & Coulson at at least three of the five so-called Niola Doa petroglyph panels in the Ennedi plateau in eastern Chad (1370 km SW of Luxor). At least seven such polished grooves can be seen in their illustration of Panel 3 (1998: Figs 2 and 3), while another seven examples appear on Panel 2 illustrated by Simonis, Faleschini & Negro (1994: Fig. 4). Coulson & Campbell illustrate Panel 1 at Niola Doa and this panel features at least four abraded grooves. Importantly, Coulson & Campbell argue that at a later period, vertical grooves were ground between the figures; such grooves appear throughout Africa and even on Egyptian temple walls where women rub them to increase their fertility (Coulson & Campbell 2001: Fig. 15).

wall of the NW corner of the Hypostyle Hall at the temple of Seti I. On that wall there are two different added features that both clearly are superimposed upon the ancient Egyptian relief depicting the life size image of a pharao, probably Seti I (Figure 1). Both elements occur at eyelevel. The first element is a single long and shallow depression that appears vertically below the belt of the pharaoh. This feature obviously is a grinding hollow. Such abraded grooves are also called polissoirs and occur by the thousands at the temples of the Thebes area. Most likely these depressions are made by people visiting the ancient sacred places when they became obsolete as many appear in places forbidden to common people and at heights impossible to reach at the moment. Obviously these high up polissoirs were made either when ground level was

All examples at Niola Doa have been executed in a vertical position, like most of the polissoirs on the Egyptian temple walls. Interestingly, polissoirs almost identical to those in Egypt and Chad have been surveyed by me in Utah, U.S.A., where at least at three important petroglyph sites, Butler Wash, Bluff and Potash Road feature similar abraded grooves in mainly vertical positions on vertical sandstone cliffs (Van Hoek 2006). Those polissoirs were probably made by the ancient Anasazi Indians of the Colorado Plateau, a pre-Historic people that inhabited the area from 1000 B.C.E. to 1850 C.E., possibly for similar reasons. The second element is found directly below the polissoir on panel 1 and is partially superimposed upon the ancient Egyptian relief. It comprises an alleged combat scene of three, perhaps four standing humans carrying a circular object (a shield?) and a linear object (a spear or lance?) surrounding and apparently fighting a similarly equipped warrior on horseback. At the back of the horse petroglyph there might be a fifth human who seems to be touching the tail of the horse. The practice of touching the tail of an animal is frequently depicted in Saharan rock art (Allard-Huard 2000: Fig. 104; Huard & Leclant 1980: 365) and seems to be a very ancient ritual. The human in the upper left-hand corner of the scene seems to be phallic and therefore it may be assumed that all humans depicted in the scene are male. All petroglyphs of this group are rather crudely pecked out of the wall, although the area above the horseman may be obliterated at another (earlier?) stage. Also parts of the left arm of the Egyptian Pharaoh relief are partially removed (not illustrated). Wilful obliteration of (parts of) reliefs depicting predecessors and/or their names was a common practice in ancient Egypt.

SETI I: PANEL 2 The second group of petroglyphs can be found on the NW pillar of the Hypostyle Hall, only a couple of metres SE of the first panel.

There are several rather crudely pecked images on the pillar, all at about the same height above recent ground level (eye-level), but only two images stood out distinctly because of favourable lighting. The legs of the horse seem to be partially abraded after the pecking was executed. This specific scene on the NW facing arc of the pillar depicts a combatant with a circular object (a shield?) and a linear object (a sword?) standing in front of an armoured warrior on horseback carrying a similar shield and a spear or lance (Figure 2). Importantly, the rider and especially the horse are almost identical to the petroglyph at the first scene and therefore it may be assumed that all those pecked petroglyphs are contemporary and possibly even executed by the same manufacturer. On the same pillar are at least three more standing warriors, some partially superimposed upon the ancient Egyptian decoration, and a fourth, possibly obliterated, petroglyph of a human. When a roll-out of the whole pillar should be made, the scene would possibly yield a conflict like the one depicted on the first panel. Moreover, even when there would not have been any question of superimposition, the petroglyphs on this pillar still provide a terminus post quem dating as the round shape of the pillar proves that the petroglyphs were added after the column was made and smoothened by the ancient Egyptians during the reign of Seti I. DENDERA The third group of petroglyphs that I would like to discuss in more detail are found on one of the walls around the Sacred Lake at Dendera. This square construction has low, undecorated

walls that attracted later peoples to execute several texts and a large number of polissoirs, some of which were executed extremely superficially, and some petroglyphs. On the east facing outer wall, comprising many stone blocks and regarded here as one single panel, are at least a few faint indeterminable figures outlined with pock marks; one simple horizontal, pecked groove; one simple cross; three indeterminate designs; six (partial) human figures and two petroglyphs of boats. All designs (except for the cross, which is incised) are pecked out of the surface of the wall. One petroglyph of a human is partially obliterated by two polissoirs indicating that these grinding hollows were added later. The boat petroglyphs are so large that they occupy two separate blocks of stone each and therefore small upper parts of the images where the joint runs through the petroglyph are missing. Thus it is very likely that these two boats were executed (long?) after the construction of the wall.

apex. This petroglyph appears on the next block situated about 1.5 metres to the right of the boat but at the same level as in my drawing. It is uncertain if there is a relationship between the two images. Figure 3C shows the second boat which has a more sickle-shaped hull and a sail. It appears to sail in the opposite direction as the - possibly two - stern steering oars are situated at the left-hand side. Again there are no people or oars indicated. DISCUSSION DISTRIBUTION Distribution of rock art is largely determined by the availability of suitable surfaces on natural boulders and outcrop rock. Contrary, imagery simultaneously executed on the walls of monuments is considered to be part of the architecture. For instance, the gruesome decoration on the temple of Cerro Sechn in northern Peru (dating around 1500 B.C.) generally is not classified as rock art since the blocks of granite used to construct the outer walls were first carefully smoothened in order to be able to execute the images. Also the Egyptian reliefs belong to the ornamental architecture of the temples and cannot be regarded as rock art. However, the case of the Egyptian temples proves that petroglyph art does not necessarily need a natural canvas. For the manufacturers of the petroglyphs the smooth surfaces of the (probably obsolete) temple walls simply provided an excellent canvas for their imagery and judging by the instances of superimposition, they did not care so much where they executed their images. It is therefore almost certain that in most cases there is no direct relationship between the imagery of the ancient Egyptians and the content and the position of the later petroglyphs (even though it is tempting to link the boat petroglyphs at Dendera with their location on Sacred Lake walls). Also, there is no apparent preferred place where the petroglyphs occur, though most petroglyphs occur on smooth areas of the temple walls and at eye-level, which no doubt will be a matter of ergonomics. The reasons for

Figure 3A shows a boat petroglyph that is apparently sailing to the left as the stern steering oar is situated at the right-hand side of the image, whereas a long, straight prow projects to the left. Although there are markings within the semi-circular hull, these appear not to represent people or oars; neither seems there to be a cabin. Figure 3B is a petroglyph of a human figure with raised arms and a body composed of two triangles joined at their

executing petroglyphs on temple walls may have been as diverse as the motives for carving them on natural rock surfaces, but possibly accessing the power supposed to still be present in the stones of the temple or the site itself might, in analogy with the execution of the hundreds of polissoirs and cupules, have been an extra stimulus. There may also be a simple explanation for the relatively big concentration of petroglyphs on the temples of the Thebes area and Dendera. First of all, Thebes was the political capital of Egypt during much of its New Kingdom Period (1550 B.C. to 1070 B.C.) and a religious capital for centuries thereafter. Secondly the area was and still is a major crossroads of important routes. At that very point there is - of course - the south-north flowing river Nile, while to the north and south of the Theban area two major routes to the Red Sea converge. Between Dendera and Thebes the route via Wadi Hammamat joins the river Nile near Qift (ancient Coptos), and south of Thebes, near Edfu, the Wadi Barramiya meets the Nile valley. DATING: THE CASE OF THE HORSE AND MEN Dating petroglyphs always is a notorious difficulty, but the fact that petroglyphs appear on Egyptian temple walls provides at least a terminus post quem dating for these specific images. Moreover, the fact that horses are depicted also suggests a rather recent date, as horses were, according to historical records, introduced into Egypt around 1700 B.C. (Judd 2006: 60). Clottes even states that it is obvious that the horse and the chariot came from Egypt, and that they became widespread well before the beginning of the modern era (2007: 138). Coulson & Campbell (2001: 154) speak of an invasion of the Nile Delta in 1680 B.C. by Hyksos warriors from southwest Asia who introduced horses and metal weapons to the Sahara. Because of the presence of horses in the Saharan iconography, this

period has been called Caballin or Horse Period and what has been called the Libyan Warrior style also belongs to this period. Importantly, we begin to see men bearing spears, which replaced the bow in traditional weaponry (Clottes 2007: 137). Indeed, most authors agree on imagery of horses and especially of warriors on horseback to belong to the Libyan Warrior Period. Moreover, the cases of petroglyphs superimposing ancient Egyptian decoration at the temple of Seti I clearly confirm the later nature of these petroglyphs. The reign of this Pharaoh was from 1306 B.C. to 1290 B.C., which falls within the Horse Period and thus the petroglyphs must be younger than 1306 B.C., providing a reliable terminus a quo dating. This does not necessarily mean however, that every petroglyph at any other Egyptian temple is of the same date. For example, on the south facing outer wall of the Roman Birth House at Dendera are several added texts, many crosses and at least one pecked petroglyph of a zoomorph, possibly a stylised lion. The Roman Birth House was built during the reign of Augustus Caesar shortly after Egypt became part of the Roman Empire, around 30 B.C., and therefore this petroglyph could be younger than the ones on the wall at Seti I (though re-use of a previously decorated stone can never be ruled out). As to the dating, a stylistic analogy may offer a further clue. The horse scenes at Seti I are characterised by humans carrying spears and circular shields (and in at least one case a possible sword). The description of Libyan Warriors by Strabon (Strabon [Gographie, XVII, 3 la Libye] in: Salih 2007: 8) matches the scenes the temple of Seti I very closely: Leurs cavaliers ne combattent gure quavec la lance et le javelot le petit bouclier rond en cuir est commun aussi tous ces peuples. A similar observation is made by Van Abalda about the Libyan Warriors des hommes arms de lances et boucliers ronds (guerriers libyens). Ces dernires gravures sont considres comme pouvant remonter jusque vers 1500 avant notre re (2007: 84). Since the

introduction of the horse into northern Africa, images of horses are found in a wide area in the Sahara. As far west as Mauritania images of horses ridden by men with shields and spears are reported for instance from the Guilemsi area and these are said to date between 2000 B.C. and 1000 B.C. (Soler Subils 2007: 19). The standing human in Figure 2 of Seti I seems to carry a circular shield, but instead of a lance or spear he holds an object that could be interpreted as a sword. According to Coulson & Campbell swords appear quite early in the [Camel] period (2001: 160), so the scene could be dating from around 100 B.C. to A.D. 500. Coulson, describing the rock art of the Ar Massif in Northern Niger, mentions another style-feature that belongs to the Libyan Warrior Period. Almost entirely consisting of rock engravings, the majority falls within the so-called Libyan Warrior period/style of art (according to Coulson [2007: 45] dating from 1000 B.C to A.D. 500). This period of art tends to depict horses either with so-called Libyan Warriors with metal weapons, or with chariots and charioteers. Libyan Warriors, who often appear with horses, were sometimes depicted with elaborate apparel and others were drawn with stylized bodies consisting of two triangles joined at the apex. The purpose of this art is unknown but may reflect control of areas, property or even control of spirits (Coulson 2007: 45). Examples of such triangular human figures are for instance reported from the Djado Plateau (Hallier & Hallier 1992: Abb. 21) and de Ar Massif (Lhote 1987: 260), both in Niger. It is interesting to see that the petroglyph of a human with raised arms at Dendera has also a body consisting of two triangles joined at the apex, which may place this petroglyph well into the Libyan Warrior Period. The triangularhuman style is said to be related to imagery from the Horse Period (Coulson & Campbell 2001: 160), but the origins of the Dendera human may be much older as it

also has the arms raised above the head. The raised-arm posture is, according to Byrnes one of the figure depictions most commonly thought to be associated with pre dynastic populations, on the basis of comparisons with Nile artefacts. These are found both in the Eastern Desert rock art repertoire of Egypt and in Naqada II ceramic decoration and as statuettes accompanying burials during Naqada II (Byrnes 2007). The triangular human at Dendera is found very near one of the petroglyphs of boats and this brings me to discuss the boat petroglyphs of that site. DATING: THE CASE OF THE BOATS Whereas horse depictions in Saharan iconography provide a reliable terminus post quem dating, imagery of boats offer a more problematic issue, as boats were and are used on the Nile from the pre dynastic period well into historic times. Egypt was inhabited as early as the Palaeolithic Period and it is difficult to believe that there was ever a time when humans failed to take advantage of the ubiquitous papyrus to build rafts or floats. Later boat iconography involves interpretations that vary from the religious (solar barques) to the military (Byrnes 2007). The boat petroglyphs at the Sacred Lake at Dendera provide a rough terminus post quem dating, since the boats images cannot be earlier than the construction of those walls. However, the boats at Dendera do not resemble the reliefs from the ancient Egyptians, nor the characteristic boat petroglyphs from the wadis in the desert. Allard-Huard (2000: 380) describes and illustrates a large number of boat petroglyphs near the 3rd Cataract on the Nile (Wadi Gorgod and Wadi Geddi), but none really resembles the boats from Dendera. The same goes for the boat petroglyphs from Wadi Hammamat (Byrnes 2007). It is therefore possible that these rather late depictions of boats represent a class on its own. CONCLUSIONS Although I prefer interpretation of the detailed inventory petroglyphs and an to leave any further imagery and a more of Egyptian temple analysis of styles and

cultural relationships to qualified specialists, some general conclusions may be inferred. First it has been demonstrated that open air petroglyph art does not necessarily have to be executed on natural rock surfaces in order to be classified as true rock art. Secondly, though the ubiquitous polissoirs represent a major but largely ignored feature on many Egyptian temple walls, these manifestations are definitely not contemporary with the Egyptian reliefs although they may draw on and acquire the power of the ancient BIBLIOGRAPHY:

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