Reproduction Details
Object Type: Bas relief
Date: c. 1250 BC
Period: Reign of Ramesses II, Dynasty 19, New Kingdom
Findspot: Great Hypostyle Hall, Temple of Ramesses II, Abu Simbel
Print Reference: DP110
My latest reproduction is a reconstruction of a relief from the Great Temple of Abu Simbel. It is one of many scenes in the Great Hypostyle Hall glorifying Ramesses II's military achievements. It shows the king in his chariot being pulled by two horses in full regalia, attacking a fortified town. Despite the town not being named, it likely represents scenes from the Battle of Kadesh, one of the most famous military campaigns in ancient Egypt.
Ramesses II
Ramesses is shown as the central and dominant figure, embodying both his divine authority and his military prowess. His posture in the chariot, standing tall with a bow drawn, highlights his role as both a warrior and a leader, personally engaging in battle. This portrayal emphasises the king’s strength and skill in combat, particularly his mastery of archery while riding in a fast-moving chariot, a symbol of elite warfare in ancient Egypt.
The king is wearing a ceremonial war crown known as a Khepresh, traditionally worn by New Kingdom rulers in moments of military action. The presence of the blue crown emphasises Ramesses’s personal involvement in battle and his role as the chief military commander of his forces.
The Chariot
The king rides a lightweight, two-wheeled war chariot pulled by two horses, typical of those used by ancient Egyptian armies during the New Kingdom. Designed for speed and agility, it carried both a driver and an archer (often the pharaoh or a high-ranking officer) who could shoot arrows while in motion. The chariot’s open design allowed both riders to stand upright and move with ease, while protective rails offered support. Built with a sturdy yet lightweight platform, it was engineered for rapid movement in battle, enabling Egyptian chariots to outmanoeuvre infantry or heavier enemy forces.
The horses are shown in full gallop, their bodies stretched out in dynamic motion, which emphasises the speed and power of the chariot. Their strong, muscular forms suggest endurance and agility, essential traits for war horses in ancient Egypt. The harnessing and decorative elements, like the plumed headdresses, symbolise their importance and the wealth of the pharaoh. These horses are integral to the pharaoh’s military prowess, embodying both the strength of his army and the divine favour that enables his victories. Their powerful strides reflect the swiftness and precision with which they would charge into battle, further reinforcing the king's dominance on the battlefield.
The Town
The fortified town, the target of Ramesses’s assault, is depicted perched atop a hill to the left of the scene, its position emphasising both its strategic significance and its vulnerability. At the base of the hill, an archer desperately flees from the king’s relentless arrows, attempting in vain to shield a herd of cattle. Within the fortification, chaos unfolds as defenders on the balconies raise their hands in surrender under the unyielding barrage. On the highest tier of the town, a poignant moment is captured: a woman lifts a young child, perhaps pleading for mercy, while a man extends an offering toward the king, a symbolic act of submission to the unstoppable force of Ramesses’s might.
Translation
Surrounding Ramesses are hieroglyphics giving a declaration of praise for the king, emphasising his divine status, military strength, and his role as a protector of Egypt. Ramesses is described as the "Good God," a title that links him to the divine, and as the "son of Amun," reinforcing his connection to the chief deity of Thebes and his divine right to rule. "Lord of Thebes" connects him to Amun-Ra, the god of Thebes, and "Lord of Victory" reinforces his reputation as an undefeated warrior. He is praised for his valour, strength and dominance in combat, particularly his skill in chariotry, an elite form of warfare.
The declaration refers to his defeat of a coalition of enemies (likely the Hittites and their allies, from the Battle of Kadesh) and the suppression of rebellions in the mountains, a common metaphor for enemies of Egypt. They are described as ‘locusts’, suggesting that though numerous, they are ultimately powerless and vulnerable before him. It ends with a wish for the king's continued success in battle, and a hope that he will not only defeat but completely destroy his enemies and their future generations.
The hieroglyphics should be read from top left to bottom right and are arranged in seven columns. The following translation was made by Edward F. Wente in 1967 when documenting the temple before its relocation due to the construction of the Aswan Damn:
(1) nṯr nfr sꜣ ỉmn hr (?) nb ḫpš mk mšꜥ.f
The Good God, son of Amun, Valorous(?), Lord of Might, who protects his army,
(2) ꜥḥꜣwt (?) pḥty rḫ st ḏrt.f mn ḥr wrryt
the strong fighter, who knows his obligation, steady on the chariot
(3) mỉ nb wꜣst nb nḫt sḥꜣ ḥfnw kꜣ nḫt m ꜥšꜣw
like the Lord of Thebes, Lord of Victory, who battles tens of thousands, strong bull among the multitudes,
(4) sdt dmḏ bštꜣw ḥr-tp ḏww
beating the united (confederacy) and crushing the rebels upon the mountains.
(5) st ꜥḳ m ỉnt.sn mỉ zꜣnḥmw dỉ.k
They enter into their valley like locusts, may you put [your]
(6) šꜥt[.k] m st
slaughter in their place,
(7) .sn ḫf prw.sn nswt nḫt ḫpš
you annihilate their descendants, Oh King, victorious of might!
Cartouches
wsr-mꜢꜤt-rꜤ stp-n-rꜤ
User Maat Ra, setep en Ra
The justice of Ra is powerful, chosen of Ra
rꜤ-msi-sw mri-imn
Ramessu mery Amun
Ramesses (Ra has fashioned him), beloved of Amun
Further Info
The Beit el-Wali Temple of Ramesses II, by Herbert Ricke, George R. Hughes, and Edward F. Wente (1967)
I love these small details that you've highlighted: The woman with the child in the tower, the significance of this particular crown and that the town is not named. The last one's new information for me, since it's universally accepted that this depicts Kadesh, I always thought it's reinforced in the hieroglyphs. Well done!