Świątynia Królowej Hatszepsut w Deir el Bahari. Proces wznoszenia obiektu w świetle badań architektonicznych

Architectonic research conducted in the temple of Queen Hatshepsut in Deir el Bahari in Egypt in 1968-1988 justifies the conclusion that the object was erected in two stages, each of which was based on a different spatial plan. A number of premises indicate that the founder of the first stage, realised only partially within the upper terrace, was Totmes II, and that certain solutions of his plan were patterned on the neighbouring temple of Mentuhotep. At the time of his death, the construction was assumed by Queen Hatshepsut, who redesigned the first terrace, adapting it to her needs, and then commenced the expansion of the temple to the east, north and south. The realisation of those plans became the second stage of the construction, and each of the phases, both that of Totmes II and Hatshepsut, was composed of numerous stages, which the author tried to distinguish in his study. The preservation of legible sings on the temple walls enabled him to determine the order of the origin of its particular parts. In the course of the expansion of the temple to the east during the first period of her reign, the Queen was compelled to respect the presence of earlier buildings, situated in this area, such as the shrine of Amenhotep I, pharaoh of the eighteenth dynasty, or the tomb of Queen Neferu from the eleventh dynasty. This is the reason why the original solution of the central courtyard and both ramps had to be granted a different form and range, as testified by the foundation deposits of the Queen, placed in characteristic points of the original plan of the central courtyard. Not until she became the total sovereign of Egypt, could the Queen pull down buildings which hindered her plans, and embark upon the expansion of the object in its ultimate form. The range of this undertaking is linked with a successive series of foundation deposits within the lower terrace. The heretofore held conviction that the last element of the temple is the northern colonnade of the central courtyard, supposedly uncompleted due to the death of the Queen, does not correspond to actual facts. The real cause of interrupting the construction of the collonnade was its collision with te earlier tomb of Meryt Amon, located underneath. Earlier studies concerning the temple in question concentrated attention on the hieroglyphic and figural decoration of the object, which originated during the reign of Queen Hatshepsut. It is not surprising, therefore, that she was regarded the sole founder of the object. The author of the article claims that there is no sufficient justification for ascribing the role of the architect and builder of the temple to Senmut, merely upon the basis of his name and likenesses, engraved in bas relief behind the door frames of niches. Queen Hatshepsut. It is not surprising, therefore, that she was regarded the sole founder of the object. The author of the article claims that there is no sufficient justification for ascribing the role of the architect and builder of the temple to Senmut, merely upon the basis of his name and likenesses, engraved in bas relief behind the door frames of niches. Those elements are not the signature of an author, as has been maintained up to now, but rather a confirmation of his authority, stemming from multiple functions held at the court of the Queen. Presumably, his position can be compared to that of a present-day investor and supervisor. The design and realisation of the temple involved probably numerous builders, whose know names are Minmose, Nakht and Thuty. Each of those men could have been the author of a single or several elements of the object. The author expresses the hope that his ascertainments might to contribute to a slighty different view of the history of the origin of the discussed temple, and their correctness will be confirmed by consecutive rearchers interested in this architectonic work.