No part of the Temple of Amen is more famous or impressive than this huge pillared hall, one of the largest religious structures ever built. Neither photographs nor raw statistics give a true impression of its size and beauty—or in the eyes of some travelers, its clunkiness. One visitor waxed enthusiastic: “The Pyramids are more stupendous. The Colosseum covers more ground. The Parthenon is more beautiful. Yet in nobility of conception, in vastness of detail, in majesty of the highest order, the Hall of Pillars exceeds them every one.” But another remarked that “the columns are far too numerous. The size which strikes us is not the grandeur of strength, but the bulkiness of disease.” Perhaps the Hypostyle Hall was overengineered with too many large columns placed too close together, but there can be no doubt that it inspires overwhelming awe.

Ironically, this vast forest of columns, larger than any other such hall on earth, was intended to symbolize the most prosaic of features, a papyrus swamp like the thousands that lined the banks of the Nile. Each year, such thickets flooded during the inundation and the Hypostyle Hall was built so that it too would be covered with shallow Nile water in summer. The hall represented the swampland surrounding a primeval mound on which Egyptians believed life was first created. Originally, in Dynasty 18, only two rows of six huge columns stood here. They are the ones we see today on the central eastwest axis of the hall. Immediately to their north and south, two walls defined a colonnade similar to that in Luxor Temple. It was only later, in Dynasty 19, that these walls were moved farther out and the Hypostyle Hall we know today created by adding another 122 columns. When first seen by Europeans, parts of the Hypostyle Hall were already in a disastrous state. The situation was made even worse in October 1899, when foundations weakened by ground water caused columns to topple and walls to collapse. Thanks to French archaeologists and engineers who have been working here for nearly a century, this splendid monument is being restored to its original condition.
 
The Hypostyle Hall is 103 meters (335 feet) wide, 53 meters (172 feet) deep, and covers 5,500 square meters (58,000 square feet). Its ceiling is supported by 134 sandstone columns. Six columns on each side of the main east-west axis have open papyrus flower capitals and stand 23 meters (75 feet) tall. They are 10 meters (32 feet) in circumference, built of stone drums, each 1 meter (3 feet) high and 2 meters (6.5 feet) in diameter. One hundred and twenty-two other columns stand in four groups, two on each side of the hall’s northsouth and east-west axes. They have closed papyrus flower capitals and are 15 meters (49 feet) tall, 8.4 meters (27 feet) in circumference.

The difference in height between the two central rows of columns and the others in the hall—a difference of about 10 meters (33 feet)— allowed clerestory lighting to be installed along the main axis. Some of the huge sandstone grills in the windows are still in place.

This design meant that the main axis of the hall was brightly lit, but away from the axis the hall became increasingly dark. Statues were placed throughout the hall and must have appeared as eerie presences in the dim light. Three such statues stand today near the main axis.
The Hypostyle Hall was apparently envisioned by Rameses I, but it was built by Sety I and Rameses II. Cartouches in the northern half of the hall are Sety I’s, in the southern half, Rameses II’s. The names of Rameses I, III, IV, and VI are also present. The cartouches and royal titles of these kings constitute the principal inscriptions on the columns.

There is a clear difference in the quality of workmanship in the two halves of the hall: Sety I’s artisans produced delicately carved raised relief, and there are many examples of  figures that were recut several times before the artisan achieved what he considered proper proportions. (Look, for example, at the face of Sety I at the north end of the west wall.) In contrast, Rameses II’s decoration was hastily done, often in sunk relief; there was little modeling or attention to detail. Many reliefs still retain traces of paint, and it is worth spending time wandering through this forest of columns, admiring the architecture and decoration. If you are lucky enough to be in the hall alone, the silence and the sense of grandeur make it a truly impressive experience. On the left as you enter the hall stands a huge statue of Rameses II and Amen. On the right, a slab of alabaster lies on the floor (below what was originally a large stela), carved with figures of Nubian and Asiatic enemies of Egypt, collectively known as the Nine Bows. The scenes in the hall all have religious themes intended for a limited audience of priests. They show the king offering to deities, the processions of the sacred barks, and various temple rituals. For example, north (left) of the gate in the Second Pylon, Sety I and Hathor greet Amen and Mut.

 Farther along, Rameses I adores eight deities. On the north wall of the hall (left of the door), priests in full regalia carry an elaborate sacred bark of Amen on their shoulders and Sety I greets the Theban Triad. Traces of paint can still be seen here and indicate how brilliantly decorated (even how garish) the walls originally must have been. This wall has on it some of the finest carving to be found at Karnak. The bark, smaller than the actual river-going barges used in festival processions but still large enough to require twenty men to lift it, has the head of the god Amen carved bow and stern. To the left (east), a stunning raised relief figure of Sety I presents abouquet of papyri. His mouth and nose are finely carved, his cheeks delicately modeled, his wig and broad collar drawn in great detail. On the right (east) side of the door, Thoth stands and writes the king’s names on the leaves of a persea tree (Mimusops schimperi). Sety I kneels beneath it. Compare the workmanship here with that in a similar scene carved for Rameses II on the hall’s southern wall. The Sety I scene has considerably more appeal.

From" The Illustrated Guide to Luxor" by kent R.Weeks ,published by the American University in Cairo Press. Copyright © 2005 White Star S.p.a