Solstice

While we don’t have detailed accounts of how the Winter and Summer Solstices were exactly marked and specifically celebrated in Ancient Egypt, it is clear and evident that the Egyptians recognized the importance of the cycle of seasons, agriculture, and associated such with the eternal cycle of life, death, and rebirth.

All evidence suggests to us that the Egyptians had a deep understanding of celestial movements, and such understanding is reflected within their mythos, folklore, and even their architectural designs and temple structures. With the alignment of the sun being used almost as a divine measuring tool dictating the locations and construction of temples, Egyptians developed sanctuaries that align directly with the sun’s movemtns during the Solstices and Equinoxes to this very day.

As you may know, the Egyptians had sects of both Solar and Lunar deities, and the Summer Solstice was especially significant because it heralded the arrival of the star Sirius, known to the Egyptians as Sopdet – and personified in the feminine. Sirius/Sopdet, the brightest star in the night sky, was linked to the annual flooding of the Nile, which was crucial for agriculture and in short, was Ancient Egypt’s lifeline.

Thus, the Summer Solstice, occurring around June 21st, was therefore observed in Ancient Egypt. And evidence for such comes appears on this day, as the sun falls perpendicular to several key temples, including those at Abydos, Hibis, Edfu, Dendera, as well as the temples of Ramesses III and Ptah within the Karnak complex.

It is safe to say, this alignment was not coincidental but a deliberate architectural feature, where sunlight would penetrate through openings in the temple to light up both inner sanctuaries or specific statues, marking the beginning of summer in the Ancient Egyptian calendar.

Winter Solstice, which usually falls on December 21st, is marked by unique solar alignments, particularly at Karnak Temple, where the sunrise aligns with the temple’s axis, illuminating the shrine to Amun-Ra, who embodied the sun in its daily journey across the sky, representing life, sustenance, and the cycle of day and night. Amun Ra’s primary cult centre was at Thebes, where the Karnak Temple complex was dedicated to him. It is not certified, but not inconceivable, that the illuminating of the shrine to Amun-Ra was linked to the myth of Ra’s journey through the Underworld at night, symbolizing death and rebirth. This could parallel the idea of the sun’s “rebirth” after the Solstice.

Amun, Amun-Ra & Khepri

Originally a local deity of Thebes, Amun was known as the god of the air, the wind, or the invisible force of creation. His name means “hidden one” or “the secret one,” reflecting his mysterious and omnipresent nature. The ancient solar deity, Ra was the god of the sun, often depicted with a falcon head crowned with a sun disk. He was considered the creator god who gave birth to all other gods and to the world itself.

The syncretism of Amun and Ra occurred around the Middle Kingdom, when Amun’s worship in Thebes rose in prominence. By the New Kingdom, Amun-Ra had become the chief god of the Egyptian pantheon, often referred to as the “king of the gods.” This merging symbolized both the invisible, creative force (Amun) and the visible, life-giving power of the sun (Ra).

Amun Ra’s association with the movement of the sun, was represented in the form of the dung beetle (Scarabaeus Sacer), who the Egyptians observed rolling dung into balls, which they likened to the sun’s daily journey across the sky. This action symbolized the sun’s rebirth each morning, which was central to the mythology of both Ra and Amun-Ra. It was believed that Ra, as the sun god, was to travel through the Underworld at night and be reborn at dawn, much like the scarab beetle pushing the dung ball.

The dung beetle was closely associated with Khepri. Khepri is one of the aspects or manifestations of Ra, representing the morning sun. Khepri, whose name means “He Who is Coming into Being“, was depicted either as a scarab beetle or with a scarab beetle for a head. This imagery was based on the dung beetle’s behaviour of rolling dung into balls, which we previously mentioned was symbolic of the sun’s daily journey across the sky and the concept of creation and renewal.

Just as the dung beetle rolls dung into a ball and buries it, from which new beetles emerge, Khepri was seen as rolling the sun across the sky, pushing it through the underworld at night, and bringing about its rebirth each dawn. This made Khepri a symbol of transformation, renewal, and the cycle of life and death.

In art, amulets, and inscriptions, Khepri is often shown in his scarab form or with a scarab head, sometimes pushing the sun disc or depicted in the act of rolling dung balls. This association made the dung beetle an emblem of Khepri’s power and protection. The scarab beetle, through Khepri, was not only a symbol of the sun’s daily cycle but also of the Afterlife and eternal life. Scarab amulets were placed with mummies to aid in resurrection, echoing Khepri’s role in creation and rebirth.

The Temple of Hatshepsut, Djeser-Djeseru (the Holy of Holies)

The Temple of Hatshepsut, Djeser-Djeseru (the Holy of Holies) at Deir el-Bahari, also experiences the Solstice solar phenomenon. During the Winter Solstice, on the upper terrace of the Holy of Holies, sunlight penetrates the sanctuary known as the shrine or “sun cult altar”, lighting up the inner chambers. This was part of the temple’s design, reflecting Hatshepsut’s claim to be the daughter of Amun-Ra.

An integral part of the Temple of Hatshepsut, on the northern side of the upper terrace of Hatshepsut’s temple, this inner sanctuary is dedicated to the god Anubis. The central feature is a large limestone altar in the open courtyard, which was touched by the sun rays every day. This altar was part of the complex’s focus on the diurnal journey of the sun in the sky. The walls and architectural elements of the complex were adorned with reliefs and inscriptions that dealt with the mythology, including the journey of Ra, and the divine kingship of Hatshepsut, who, as mentioned, claimed a direct divine lineage from Amun-Ra.

Overall, the entire temple’s unique terrace structure, designed by Senenmut, Hatshepsut’s architect, was not just for aesthetic or functional purposes but also had an astronomical significance as the entire complex was dedicated to the worship of Amun-Ra, Ra-Horakhty, and Atum-Amun, different aspects of the solar deity. The alignment of the complex with the sun, especially during the solstices, would have been significant for religious rituals and for affirming the divine right of Hatshepsut to rule. The sun’s entry into the sanctuary during particular times of the year would have been a powerful demonstration of this connection.

Ramesses II, glowing with the gods

Twice a year, the sun illuminates the Inner Sanctuary of Ramesses II’s Great Temple within the Abu Simbel Temple Complex. Originally, this phenomenon occurred on February 21st and October 21st, but after the temple was relocated in the 1960s to save it from the rising waters of Lake Nasser, created by the Aswan High Dam, the alignment shifted to the subsequent day.

Now, every year on February 22nd and October 22nd, thousands visit the site to see the phenomenon. It is thought the dates were chosen to coincide with Ramesses II’s birthday as well as his coronation day, though exact historical evidence for these specific dates being his actual birthday and coronation day is debated.

Inside the sanctuary are four seated statues of the deities Ra-Horakhty, Amun-Ra and Ptah, with king Ramesses II sat among them deified in the sun’s rays. The sun’s rays light up the first three statues, leaving Ptah in darkness.

Ptah’s presence in the sanctuary at Abu Simbel, where he remains in shadow during the solar alignment, might be interpreted as a nod to his connection with the mysteries of creation, stability, and perhaps symbolically with the Underworld’s permanence and the unchanging nature of death, contrasting with the cyclical rebirth of Ra, Amun-Ra, and Ramesses II.

Ptah is typically shown with a human body wrapped in tight mummy bandages, with only his hands emerging from the wrappings. He holds a sceptre combining the symbols of life (ankh), stability (djed), and power (was). This mummiform depiction does not mean Ptah was considered dead or an actual mummy but symbolizes his role in creation and his association with craftsmanship, where mummification can be seen as an ultimate act of preservation and creation. The mummy-like form represents Ptah’s creative power, emerging from the primeval mound or the earth itself, akin to the idea of creation from nothing or from the chaos of the underworld. Therefore, Ptah being left in darkness could also represent his role in the process of transformation, from death to life, which is central to Egyptian mythology concerning creation, preservation, and rebirth.

Regardless of the theories, this alignment reflects the sophisticated astronomical knowledge of the Ancient Egyptians, who used the sun’s path to create religious and political symbols.

Akhenaten and the Horizon

It is generally accepted that Akhenaten chose the location for his temple dedicated to the Aten, based upon the way the landscape resembled the hieroglyph for the word horizon (Akhet). Claiming the land was previously uninhabited, something that has not been proven otherwise, Akhenaten saw the resemblance as almost a concept of divine intervention.

Akhetaten, most famous for his religious revolution and dedication to the sun disc Aten, likely shared common interests with kings previous and afterward, when it came to making statements about religious structures being intertwined by the sun’s route within the sky, both throughout the day and throughout the year. However, unlike the other temples, Akhenaten’s Gempaaten (Sunshade of Aten)’s dedication to the sun’s route was constant, thus the temple was mostly open plan, with direct and constant shining of the sun deemed sacred no matter what time of the day or year, permitting the rays of the sun disc to shine upon the grounds and tribute deeemed sacred.

That said, it is thought the day of Aten worship would be divided into three parts; the rising of the Aten every morning, noon worship when he was at it’s highest and hottest, and of course, the eventual setting of the sun in the early evening. As Akhenaten’s style of Aten worship made he and his family intermediaries between the divine and man, Akhenaten’s city was designed with wide roads suitable for processions where the common man could catch a glimpse of their divine rulers. The structure of the procession routes and their size could indicate that such events were frequent.

The concept of the sun rising and setting, central to Aten’s worship, aligns with the solstice’s symbolic importance as the points of the year where the sun’s path is at its extreme north or south. Celebrating these moments could have been seen as celebrating Aten’s power and presence. However, specific records or inscriptions detailing solstice celebrations during Akhenaten’s reign have not been found or may not have survived. Akhenaten’s focus was more on daily worship of the sun rather than specific calendar events like Solstices, but the emphasis on the sun’s cycle in his religion suggests that such events might have been marked or celebrated in some form.