Once a year, the people of Luxor, Egypt enjoy a 3-day party celebrating the moulid (birth date) of the 13th century Sufi leader Sheikh Yusuf al-Haggag, who was also known as “Abu al-Haggag”, “father of the pilgrims”.
Once a year, the city of Luxor, Egypt throws a 3-day party celebrating the moulid (birth date) of the 13th century Sufi leader Sheikh Yusuf al-Haggag, who was also known as “Abu al-Haggag”, “father of the pilgrims”. Tourists from other parts of Egypt often come to Luxor to join the party. I’ve been to the moulid twice: once in 2018, and again in 2019.
Sometimes I go back and update old blog posts. This can happen if I get new information, new photos, or need to correct old information.
I just spent a month in Egypt. I took more photos and learned new stuff. So I’m adding my new material back into older blog entries.
Here are ones I’ve recently updated:
African Sunrises and Sunsets. I removed Egypt from this page, so that now it contains only Morocco and Senegal. (But I did leave ONE photo from Egypt on it.) I created a new page to show off my photos of sunrises, sunsets, and moons from Egypt.
Our stereotypes of ancient Egyptian dance involve awkward-looking poses with right-angle positions of the elbow and wrist. People assume that such images appeared on temple and tomb walls. But, did they? Here’s a look at some of the dance scenes appearing in temples and tombs in Egypt. Continue reading “Backbends of Dancers in Ancient Egypt”
One of the most popular images sold on papyrus at souvenir shops in Cairo is that of the Three Musicians. The original scene appears in the Tomb of Nakht. Most organized tours won’t take you there, because it lies in the Valley of the Nobles where the tombs are generally small and less impressive than the Valley of the Kings.
The tomb of Nakht is small, too small for most tour groups to cram everyone in. If a group of more than a handful of people goes, chances are they will need to take turns going in while the others wait outside. Because the tomb is small, there aren’t many scenes to view inside. Most tourists would rather see the spectacular tombs found in Valley of the Kings.
Nakht lived under the reign of Tuthmoses IV, around 1401-1391 BCE. He was a scribe and a temple star watcher.
However, I’m a different type of tourist. I enjoy seeing the things that the big tours don’t go to see. I have visited this tomb several times because I like this scene so much, I enjoy going back to see it again.
Here’s the image on a papyrus one I bought in Cairo in 1999:
I asked my guide to tell me about the overall scene. In particular, I asked him if this was a temple performance done by priestesses. He emphatically said NO. He pointed off to the right a section of the scene that doesn’t appear in this photograph which showed Nakht and his wife watching, and he said that this was merely entertainment for the pleasure of Nakht and his family.
Music and dance in ancient times were NOT always about religion. Sometimes they were, but not always.
Another part of the artwork inside this tomb features a cat, curled up in a ball. We hear so much about the Egyptian cat goddess Bastet, but I find this image charming because it looks like a family pet snuggling up for a nap.
Egyptologists call this Theban Tomb TT52. They believe it’s from around 1400 BCE, which means it’s about 3,400 years old.
Temples and tombs from ancient Egypt offer many tributes to motherhood. As of 2019, I’ve found one tomb at Saqqara with a madonna scene, and several temples along the Nile cruise route with motherhood-related images, including Luxor Temple, Edfu Temple, Kom Ombo Temple, and Philae Temple. Here’s a look at the ones I’ve discovered in my travels so far.
Tomb of Niankhkhnum and Khnumhotep (Tomb of the Brothers)
At Saqqara, which is just outside of Cairo, the tomb of Niankhkhnum and Khnumhotep, often known as the “tomb of the hairdressers” or the “tomb of the brothers” features two beautiful scenes of motherhood near its entrance.
These are the oldest images from ancient Egypt that I have found so far celebrating motherhood. Although scholars have not determined the tomb’s exact age, the current theory is that Niankhkhnum and Khnumhotep served either Nyuserre Ini or Menkauhor Kaiu. Assuming that theory is correct, this tomb would thus have been built in the latter part of the 25th century BCE, making it over 4,000 years old.
One of the images at this tomb shows a small child playing around his mother while she does her daily housework.
The other shows the mother nursing the baby when it’s time to feed him. It’s really interesting to see this madonna-type image that was created about 2,500 years before the time of Christ.
The birth room of the Luxor Temple tells how Queen Mutemwia became the mother of Amenhotep III. It offers a fascinating story of immaculate conception, annunciation, and birth about 1,300 years before the story of Jesus Christ. The bottom row shows the ram-headed creator god Khnum molding two children, one to be the physical body, and the other to be his ka (spirit version). The story goes on to show the god Amun coming to her, the conception, the pregnancy, and the birth. The intent of the story is to justify Amenhotep III’s right to be revered as a god, just as the later story of Jesus used immaculate conception to justify his claim to be the Son of God.
In this segment of the wall, we see Queen Mutemwia (top right) sitting on the birth chair giving birth to her son s the deities Isis and Khnum rub her hands.
This birth scene would have been commissioned by Queen Mutemwia’s son, Amenhotep III, to support his divine claim to the throne of Egypt. Scholars estimate that his 37-year reign begin in 1386 BCE or 1388 BCE, which places the age of this scene as being more than 1,000 years before the temples of Edfu, Kom Ombo, and Philae (mentioned below) were constructed.
Interestingly, I had visited the Luxor Temple approximately 8 times without ever seeing this birth story. Finally, I visited the temple for about the 9th time in 2019, and this was the first time a guide showed me this scene. It’s not something that every tour of the Luxor Temple includes. If you want to see the birth room, you may need to insist that your guide include it in the tour.
The Edfu temple honors Horus the Elder and his wife, Hathor. Some of its walls feature scenes of Hathor nursing her infant, Horus the Younger. Some of these scenes were damaged by early Christians during the Roman era, in an attempt to obliterate the earlier Pagan beliefs.
Near the entrance to the Edfu temple is a special room known as the mammisi, or “birth room”. This is a small chapel located just outside and in front of the main pylons, and it celebrates the birth of “Horus, the Unifier of Two Lands”. The mammisi features several images of Hathor playing musical instruments, including sistrum (rattle), frame drum, and lyre.
The Edfu temple that stands today is relatively young, but resides on the site of a much older shrine. The structure that stands today was built after Alexander the Great conquered Egypt, leading to the era of Greek Pharaohs that ended with Cleopatra. The first stone of today’s temple was laid in 237 BCE, and it was consecrated in 142 BCE. This is one of the best preserved temples in Egypt due to having been buried for centuries under sand and river silt deposited by the Nile inundations.
The temple at Kom Ombo, Egypt is unique because it honors two different gods – Sobek (with a crocodile head) and Horus the Elder (with a falcon head). It’s a fascinating temple to visit, with many interesting images on its walls.
A unique segment of wall that is popular with many of the tourists who visit Kom Ombo is the scene showing two women using birthing chairs to give birth. The wall to the right of them features images of surgical tools.
The throne-shaped object on the head of the lower woman is a nod to the goddess Isis and her role as a patron of fertility and motherhood.
One of the tour guides I’ve worked with, Abdul Aly, has proudly pointed out that ancient Egyptians have known about the benefits of delivering babies while sitting up in birthing chairs for at least 2,000 years. In contrast, modern Western medicine only started to embrace birthing chairs and the upright posture since about the 1980’s.
Like Edfu, Kom Ombo was built during the period of the Greek Pharaohs, on top of an older temple site dating from the New Kingdom. Construction lasted from 180 BCE to 47 BCE. In addition to the birthing chair scene, I was very fond of the on-site museum featuring crocodile mummies. Unfortunately, the Crocodile Museum at the temple does not allow visitors to take photos. Another of my blog posts shows the Nilometer at this temple.
Philae Island at Aswan hosts the beautiful Nubian temple of Isis. Construction began around 690 BCE, on a site that had hosted an older structure, with most of the temple that remains today being built during the reign of Nectanebo I, ranging from 380-362. In the 1960’s, the island was flooded by the rising waters of the Nile caused by the Aswan High Dam, and Philae was one of the temples moved to a new site on higher ground funded by UNESCO.
There are several images of Isis nursing the baby Horus in this temple. These resemble the madonna-style images of Hathor with Horus at Edfu. There is some overlap of the stories regarding Hathor (which were earlier) and Isis (who came later.) Unfortunately, many of the images of Isis with Horus at Philae were vandalized during the Roman era by early Christians who were trying to obliterate the earlier Pagan religion.
I’ve featured highlights of how ancient Egypt honored motherhood by selecting several must-see images to watch for that are easy to find if taking a Nile cruise or a Luxor-to-Aswan tour or touring Saqqara near Cairo. These are ones I’ve personally noticed so far on my travels to Egypt, but I’m sure there are many I have not yet found. I’ll keep looking, and if I find more, I’ll add them to this blog post.
I encourage you, too, to keep looking on your own. You’re sure to discover more of these images in statues (in museums), tombs, and other temples.
There’s an historic street in Cairo’s Khan al Khalili district known as the Sharia al-Khayamiya (Tentmaker’s Street). Along this street, vendors sell a uniquely Egyptian handcrafted textile known as khayamiya. You might also see it spelled as “khayamia”, “khyamiya”, “khayameya”, and other variations of that. The word is derived from Khayma, which is the Arabic word for “tent”. You may have heard of Omar Khayyam, whose name means “Omar the Tent Maker”.
Although it’s possible to purchase khayamiya in parts of Cairo other than this street, you’ll find the best selection here. I find it captivating to explore the shops and admire the many tapestries available there. I’ve always found the vendors to be very welcoming and willing to talk about their art.
What Is Khayamiya?
Khayamiya artisans create the pieces using applique techniques to make designs. The fabric is a type of canvas. Historically in the Middle East, such appliques were used to decorate the interior of tents. As the photo at the top of this article shows, some khayamiya pieces are small enough to be used as a cover for a throw pillow, while others are large enough to cover a large section of a wall, similar to the sizes often used in the U.S. for quilted wall hangings. As a textile artist myself, I’m very fond of the khayamiya technique, and it’s always a treat when I go to Cairo to visit the Sharia al-Khayamiya.
In 2012, the quilt shows presented by the American Quilter’s Society featured a khayamiya artist from Egypt touring throughout the U.S.
Types of Designs
The majority of khayamiya designs that I’ve seen fit into these categories:
Geometric designs similar to those typical of Islamic art
Images inspired by Pharaonic art from tombs and temple walls, especially birds
Scenes depicting Egyptian life, such as Saidi musicians or men playing the tahtib martial art. See the photo below showing two different views of Saidi musicians, one in which the musicians wear burgundy galabeyat, and the other in which the musicians wear navy blue.
Words written in Arabic calligraphy. Most of these that I’ve seen translate into Allah’s name, or praises to him.
Playful designs intended to appeal to tourists, such as the Mickey Mouse photo shown below.
The photo below shows several khayamiya pieces displayed on the wall of one of the shops on Sharia el-Khayamiya. The owners of the shops I visited gave me permission to take the photos in this blog post.
Egypt’s Red Sea area is world-renowned for its beautiful underwater scenery, and enjoys a reputation as one of the best places in the world to go scuba diving and snorkeling. This khayameya design is reminiscent of the underwater view:
As I mentioned above, some of the designs are fun and playful, intended to appeal to tourists who may be looking for gifts to take home to their families. In this khayameya piece, a mouse wears a traditional red tarboosh (hat) on his head, and a blue men’s gallabiya (long floor-length shirt). He’s playing a rebaba, which is a traditional Egyptian musical instrument.
About the Khayamiya Street
Sharia el-Khayamiya is one of the last Medieval covered streets remaining in Cairo, and is worth a visit just to take in the history it represents. The street lies immediately south of the historic city gate known as Bab Zuweyla. It was built in the 1600’s.
Historically, when Egypt was the hub of the Islamic world, every year the artisans of the Tentmakers’ Street would craft a massive tapestry to cover the kaaba stone in Mecca for the annual hajj (pilgrimage to Mecca). When the time came to transport the tapestry to Mecca, it would be carried through the Bab Zuweyla and placed on the camel caravan that would transport it there. The departure of the caravan to Mecca was occasion for the people of Cairo to celebrate.
In recent decades, since the discovery of oil on the Arabian peninsula, the Saudis purchase their tapestry for the annual hajj from other sources. Egypt no longer provides it.
If you stand outside a shop in Sharia el-Khayamiya, you may need to dodge cars and motorcycles, since it still is a functional street. I find it best to quickly move inside a shop displaying designs that appeal to me, rather than linger out in the street area.
The khayamiya textiles come in many sizes. Prices vary according to the size of the piece and the intricacy of the design. Sometimes when I visit these shops, I sit down on a bench, pick up a large pile of textiles, and start looking through it in search of something to catch my eye. For me, it is a pleasure even just to look through them. The vendors are always very willing to help me find specific pieces if I tell them what sort of design or size I’m looking for.
Although some of the vendors don’t speak much English, they can typically recruit someone nearby to translate. I’ve never had a communication problem, and I enjoy seeing their faces show their pride in their work as they answer my questions about certain items.
I have purchased many khayamiya pieces to use as gifts for friends and family members.
It can be a challenge figuring out what gifts to buy when visiting Egypt. I have given several pieces to people in my life who appreciate handcrafted textiles. The diverse selection of color combinations and designs offers options that could appeal to a variety of tastes.
I also have several pieces for my own home, and when I look at them, they bring back memories of my visits to Egypt.
Nearly everybody has heard of the 3 great Pyramids of Giza. In fact, the Great Pyramid of Giza was one of the 7 wonders of the ancient world. Many have also heard about the pyramids just south of Giza: the Bent Pyramid, the Step Pyramid, and the Red Pyramid. But comparatively few have heard of the pyramids in Deir el-Medina, the Valley of the Workers. There are 3 there, each marking a tomb. In the past, there were more such pyramids, but they have not survived through the ages.
Deir el-Medina is near Luxor, on the West Bank near the Valley of the Kings. Some people call it the Workers Village, the Valley of the Workers, or the Valley of the Artisans. Archaeologists estimate that this community was active between 1550 and 1080 BCE.
After seeing the grandeur of the Valley of the Kings and the temples, Deir el-Medina offers an entirely different perspective on life in Pharaonic times because of the insight it gives into how regular people lived, as opposed to the kings and nobles. It is unique in that there is no other archaeological site that provides such extensive information to scholars about the daily life of ancient society, including living conditions, social interactions, and community life.
Deir el-Medina was a village where the people who built the famous tombs and temples on Luxor’s West Bank lived. These were the people who carved the great columns out of rock, created the bas-relief art work on temple walls, painted the tomb ceilings and walls, carved the alabaster canopic jars and other treasures for the tombs, and more. Many historians believe that Deir el-Medina was founded by the Pharaoh Amenhotep I and his mother, Ahmose-Nefertari. Today, the village has been awarded status as a UNESCO World Heritage Site.
Today, it is possible to visit the site and see what remains of the homes. An experienced guide can point out which room was probably the kitchen (based on remains of cooking fires and food found there), which was probably the toilet, etc.
These pyramids are small, maybe about 10 feet tall, at most. It is possible to walk up close to them, but not to go inside.
How I Learned About Valley of the Workers
I originally discovered the Valley of the Workers in 2004. Our tour guide, Mohamed, had just taken us through the Valley of the Kings, and we had been impressed with the magnificence of the tombs there. He then gave us a choice: whether to see Valley of the Queens (which was the activity that had been pre-planned for us), or whether to make a change and visit Valley of the Workers.
Mohamed explained that the only tomb at Valley of the Queens which approached the grandeur of the Valley of the Kings we’d already seen was that of Nefertari, and that one was closed to the public due to its fragile condition. He said that the tombs at Valley of the Queens that were open to the public were all smaller, less elaborate versions of what we had seen at Valley of the Kings.
Our group decided to make the change he suggested, and go to Valley of the Workers. I’m glad we did, because it was entirely different from Valley of the Kings, and gave us fascinating insight into the lives of the people who built the temples and tombs.