The history of the formation of the ancient Egyptian festival of Opet is strongly connected with the name of Queen Hatshepsut (1490-1468 BC), who left images of festive scenes on the southern wall of the Red Chapel (hereinafter in parentheses - KK) in Karnak [PM 2 II, p. 66-68; Lacau and Chewier, 1977-1979] and the upper terrace of her palace. the memorial church in Deir el-Bahri [PM 2 II, p. 357 (79-81); Naville, 1906, pl. CXXIII-CXXVI]. Meanwhile, the origins and reasons for the appearance of one of the main holidays of the New Kingdom are still unclear.

The annual Opet, celebrated in the 2nd month of the Flood season (), according to L. Bell, was aimed at reviving and renewing the powers of Amun-Ra, nature, and the Pharaoh (Bell, 1997, p.157-177). As the relief images of the Red Chapel and Deir el-Bahri show, the Opet program consisted of two main parts: traveling the procession with the barge of Amun-Ra from Karnak to Luxor and back, and performing rituals in the temple of Karnak after the return of the festive procession. Of particular interest in these compositions are the hebridean motifs, which are not found in other known images of Opet 1.

Thus, in the scenes of the return of the procession from Luxor to Karnak, there appear images of two" Hebridean "statues of Hatshepsut and Thutmose III 2, mounted on a large boat and symbolically pulling the rope of the boat of Amun-Ra "Userhat" [Naville, 1906, pl. CXXIII-CXXVI; KK, blocks 164, 171 ]3. Both figures sit on a throne with the symbol of the unification of Egypt placed at its base, their legs are bandaged with cloth, and the upper part of the torso has clothing resembling a cheb-gray dress, from under which the hands holding a scepter and a whip lookout.

Cheb-sed (anniversary) - the ritual of renewing the powers and might of the Pharaoh, which was celebrated, as a rule, in the thirtieth year of his reign and then every next three years of his reign [see: Mathieu, 1956, pp. 7-28; Uphill, 1965, pp. 365-383].

1 L. Bell [Bell, 1997, p.291, p. 89] pointed out the conceptual connection between Opet and hebsid, but this remark was not properly substantiated in the work of the scientist.

2 Thutmose III was Hatshepsut's nephew and stepson. His accession to the throne took place I šmw 4 1490 BC [Urk. IV, 177, 7. 180, 15. 648, 9], However, he was soon sidelined for many years by Queen Hatshepsut. Thutmose III, who became a full-fledged ruler only after Hatshepsut's death, nevertheless counted down the years of his reign from the date of his accession to the throne.

3 CC - Red Chapel (see color photos of CC blocks). on the author's website of K. Leser: http://www.maat-ka-ra.de/english/bauwerke/red_chap/hatredc.htm. The fact that the barge contains statues of two pharaohs with different crowns indicates only a nominal division of power between the kings; in fact, the participation of Thutmose III in the rites is always secondary.

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According to the texts of the Red Chapel, after returning to Karnak, the participants of the procession entered the Hall of Feasts (CC, block 176) - on the territory located, apparently, in front of the pylon of the IV temple [Barguet, 1962, p.326]. Since there is no evidence of the further location of the "cheb-sedny" statues of kings upon their arrival in Karnak, it can be assumed that they were carried to the Hall of Feasts and placed in a special pavilion - perhaps in the jubilee chapel of Senusert I [PM 2 II, p. 61-63], before which Hatshepsut, as during Cheb - sedny, was placed in a special pavilion.seda, performed a ritual run (CC, block 102), which meant accepting power from the deceased tsar (Mathieu, 1996, p.118). Probably, the statues were placed in the same way as during cheb-sed, i.e., the one representing the" deceased " king in the crown of Upper Egypt was facing the front staircase, and the statue with the crown of Lower Egypt was facing the back one (Uphill, 1965, p. 368).

In the same hall, the priests brought the barque of Amun, probably placed it on a special platform, and Hatshepsut performed the rite of striking the chests of mrt4 four times with the scepter (CC, block 176). Then the barge was moved to the Alabaster Chapel of Amenhotep I, and in front of it Hatshepsut made a cheb-sedny run with the bull Apis (KK, block 102). According to the images, the queen was dressed in a shenti loincloth, on her head she has a white crown with a urei; in her right hand she held a whip, in her left-mks (case for the document of succession to the throne). The ritual running scene is defined as a "soil offering" (wd)-this was the name of the rite that took place during the final stages of the Cheb-seda celebration [Uphill, 1965, p.381].

To conclude the review of cheb-sedny motifs in the reliefs of Opet, let's pay attention to one more scene from the Red Chapel. In the seventh register of the building is an image of Hatshepsut, representing the obelisks of Amun-Ra (CC, block 302). Such an event was usually held to celebrate the Pharaoh's jubilee (Uphill, 1965, p. 368). Meanwhile, L. Habashi believed that this scene shows the obelisks erected by Hatshepsut in the easternmost part of the temple at the time of the beginning of the sole reign of the queen, her ("royal radiance") [Habachi, 1957, p. 96]. The main argument here is the recording of block N 287 of the Red Chapel, which reports that Hatshepsut received power over Egypt in the 2nd year of her regency [Lacau, Chevrier,

4 Chests-mrt-small containers topped with feathers and containing, apparently, four varieties of dyed cloth; this fabric, in all likelihood, was related to the cult of Osiris, resembling the burial veils of the god (Egberts, 1995). It is known that the rite of consecration of chests, along with the consecration of four bulls, is often found in the scenes of the coronation and celebration of cheb-sed [LÄ IV, col. 91-92; LÄ VI, col. 749 - 754]. Such scenes are depicted, for example, over the niches of the western wall of the upper terrace of Deir el-Bahri on both sides of the entrance to the sanctuary of Amun [PM 2 II, p. 364, plan XXXVII (1)].

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1977-1979, p. 133], while the queen celebrated her cheb-sed only in the 16th year of her reign [Hornung, 1974, p. 55] 5. However, later W. Murnane showed that this text is not related to the actual accession of the queen to the throne or her coronation, but only describes the election of Hatshepsut Amon-Ra as ruler [Murnane, 1977, p. 116]. In addition, in the very scene with the dedication of the obelisks, it is clearly stated that the king " erected two great obelisks... in the middle of the hall of Ouajit the sacred" (wrwy...), i.e. in the pillared hall of Thutmose I, built between pylons IV and V of Karnak [Barguet, 1962, p. 311-313] - in the place where Hatshepsut erected her Hebridean obelisks6. Thus, the reliefs of the Red Chapel depict those obelisks that were erected in front of the pylon of the V temple of Amun-Ra during the celebration of Heb-seda Hatshepsut.

So, in the scenes of the Opet festival, we have identified three main elements related to the royal cheb-sed: the "cheb-sed" statues, the ritual run, and the dedication of obelisks. The presence of these motifs in the Opet program suggests that the establishment of the holiday was timed to coincide with the year of Hatshepsut's jubilee, which was probably celebrated on I šmw 4 in the 16th year of the reign of Tsarina 7 (the date of I šmw 4 served as the starting point for the year of the reign of Hatshepsut and Thutmose III [Gardiner, 1945, p. 26; Sethe, 1932, p. 23]). In this regard, the heb-sed inscription sp tpy ("the first case of heb-sed")should be taken into account on the "Osiric" pylons 8 of the upper terrace of Deir el-Bahri, which probably indicates the dating of the construction of" Osiric " statues and the design of the walls of the upper terrace, which included relief scenes of Opet.

The sp tpy formula written on certain buildings should be considered as an indication of the first occasion of celebrating the anniversary of a particular ruler, which means that the buildings were built for the anniversary or shortly before it [Murnane, 1981, p. 375; Hornung, 1991, p.170]. This is indirectly confirmed by the fact that the same inscription is found on the northern side of the Hatshepsut obelisk in Karnak, where it corresponds to the year of construction of the obelisks [SEE IV, 358-359]. According to archaeological data, the last changes in the design of the funeral temple were carried out by Hatshepsut

5 Heb-sed Hatshepsut probably counted from the year of her legendary coronation under her father Thutmose I (c. 1530/1520-1503 BC).

6 The obelisks were placed on the 30th of the fourth month of the Harvest season (šmw) in front of Pylon V in Karnak [Urk. IV, 367; Hornung, 1974, S. 58].

7 The celebration of Heb-sed was held approximately one to two months before the sunrise of Sirius (Hornung, 1974, p. 56-57).

8 The "Osiric" pylon refers to a massive pillar supported by a standing statue of the Pharaoh in the form of Osiris.

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just before the celebration of its cheb-seda (Hayes, 1942, p. 23-24; Marciniak, 1978, p. 169-170; Pawlicki, 1997, p. 47). Thus, the design of the upper terrace of the temple could well have been carried out in the year of Hatshepsut's jubilee [Pawlicki, 1997, p. 45-47]. This is also evidenced by Hebridean inscriptions on the columns of the inner row of the upper terrace [Pawlicki, 1999,p. 157] and scenes depicting the Pharaoh during the jubilee celebration above the entrance portals of the funeral royal chapels [Pawlicki, 1997, p. 48]. If the relief design of the walls included scenes with the image of Opet, then by the time of cheb-sed, the program of this holiday had already been created. Numerous examples of the relationship between the spooky inscription and "Osiric" statues allowed K. Leblanc to directly connect the latter with the celebration of the Pharaoh's jubilee (Leblanc, 1980, p. 87). Similar" Osiric " statues decorated, in particular, the six chapels built by Hatshepsut on the way from Karnak to Luxor for the celebration of Opet (KK, blocks 300, 305, 135, 169, 170). Following Leblanc's theory, it can be assumed that the construction of these chapels was also timed to Heb-sed Hatshepsut.

In addition, it should be noted that the production of the royal" cheb-sed " statues, which appear in the scene of the voyage from Luxor to Karnak, was undoubtedly related to the celebration of Cheb-sed 9. And here it is interesting to pay attention to the composition of the northern wall of the temple of Ramesses III (1190-1159 BC) in El-Kab, which shows the scene of the sailing of two barques, one of which is located on the island of the goddess Nekhbet, and on the other, judging by the inscription in the cartouches, there was an image of the Pharaoh Ramesses III, pulling the goddess's barge on the way to Per Ramses to participate in her Hebridean festival [Gardiner, 1911, p. 41-51]. Based on the significance of this composition, we can compare it with the swimming scene of the" cheb-sedny " statues of Hatshepsut and Thutmose III. In this case, it should be recognized that the ultimate goal of the voyage was to celebrate heb-sed. However, taking into account that the celebration of the anniversary was several months away from Opet, the hebridean elements in the holiday can be considered as events that preceded the actual anniversary and served as a kind of rehearsal for it.

From what has been said, we can conclude that the entire Opet procession was originally associated with the royal jubilee, for which Hatshepsut carried out extensive construction activities and formed a new religious rite. Apparently, the program of the Opet festival as recorded on the walls of Deir el-Bahri and the Red Chapel did not exist until the 15th year of Hatshepsut's reign, after which the celebration of Cheb-seda of the queen took place.

At the same time, it should be borne in mind that Hatshepsut celebrated only one heb-sed during her reign [Hornung, 1974, p.49], while Opet took place annually. Then the question arises: was the celebration of Opet held every time in the form that is presented on the monuments, or did it take a different form after cheb-sed? Perhaps the answer is found in the text spoken by Thoth in the scene of Hatshepsut's re-coronation (CC, blocks 261 and 172): "I establish the annals of your daughter (i.e. Amun-Ra. - AM) Hatshepsut, when she celebrates millions of cheb-seds in the place of the Chorus of the living, like Ra, forever" (smn [. i] gnwt ) 10. This inscription can be interpreted as an annual confirmation of the king's right to the throne by reproducing certain rituals, in particular the coronation ceremony held during the jubilee [Uphill, 1965, p. 380]. Thus, not being able to hold cheb-sed annually, Hatshepsut transferred some of its rites and symbols to the Opet program, and the presence of anniversary scenes.

9 The presence of Thutmose III's "cheb-sed" statue on board the royal boat can also be explained by the fact that he celebrated his first cheb-sed together with Hatshepsut (Uphill, 1961, p. 248-251).

10 On the north wall of the Red Chapel (block 186) there is a similar text, supplemented with the phrase: "...millions of cheb-seds, a great multitude, after she shone forth as king of Upper and Lower Egypt, of the South and North, as a Choir sitting on a Dais () ... " [Lacau and Chevrier, 1977-1979, p. 239-240].

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it pointed to the legitimacy of the royal power, which is annually renewed and sanctified by God. Given that the meaning of cheb-sed was probably to renew the vital forces and power of the ruler [Moret, 1923, p. 188; Frankfort, 1958, p. 366-367; Bleeker, 1967, p. 115 f.; Mathieu, 1996, p. 123], it becomes clear that the inclusion of cheb-sed people is understandable. the festival of Opet, which also served to revive the energy and power of the Pharaoh. Accepting this hypothesis, we turn again to the scene of the dedication of the obelisks from the seventh register of the Red Chapel.

If we consider the decoration of the south wall of the chapel not as a mosaic of various events from the life of Hatshepsut, but as a reflection of the whole program of the Opet, then the scene with the dedication of the obelisks will be perceived in the context of the final festive rites that preceded the re-coronation of the queen, presented in the same, seventh register. Does this mean that during the Opet, the Hatshepsut obelisks were consecrated for the jubilee celebrations?

According to the inscriptions, the production of obelisks lasted for 7 months, from the 15th to the 16th year of Hatshepsut's reign [Urk. IV, 367, 3 - 5]. The obelisks themselves were installed in šmw 30, apparently after cheb-sed 11. As we know, the celebration of Opet was held at the beginning of the Flood season; therefore, the consecration of obelisks during Opet could not have taken place in the 15th year of Hatshepsut's reign, i.e. before her cheb-seda. It remains to be assumed that this event took place no earlier than the second 16th year of Hatshepsut. Note that the construction of the Red Chapel was started towards the end of Hatshepsut's reign, in the 17th - 20th year [Mathieu, 2002, p. 13], which means that the decorative design of the building took place after the queen's cheb-sed. Thus, the scene with the presentation of the obelisks of Amun-Ra could refer to the program of the second Opet celebration, held in the 16th year of Hatshepsut's reign.

It turns out an interesting thing in general: if the relief compositions of Deir el-Bahri reflect, apparently, the first case of the Opet, then the scenes of the Red Chapel-the second, which includes elements of the previous version of the holiday. Consequently, for two years the ritual program of the Opet preserved the rites of the Hebridean character, which allows us to speak about the consolidation of the latter within the framework of the Opet. In this case, is it possible to answer in the affirmative the question posed in the title of the article, or with the end of Hatshepsut's reign, the Opet holiday lost its close connection with the royal cheb-sed? To understand this problem, we should refer to the era of Thutmose III (1468-1436 BC), the stepson of Hatshepsut (see above, ch. 2).

Thutmose III placed scenes depicting Opet in the Feast Hall of his Ahmenu Temple [PM 2 P, p.110 (335-336)], erected to the east of the main temple of Karnak. It is noteworthy that at the base of the columns of the Hall of Feasts there are familiar Hebraic inscriptions (sp tpy) [Urk. IV, 594-595], which allow us to date the construction of the hall to the 30th year of the reign of Thutmose III, when the celebration of its first anniversary took place. This inscription also suggests a connection between the first heb-sed of the Pharaoh and the festival of Opet, represented in the decoration of Ahmenu. However, in this case, we can only talk about any changes that were probably made to the Opet program by the time of the royal jubilee, since the first information about the Opet under Thutmose III dates back to the 23rd year of his reign [Urk. IV, 740 - 741]. Hence, it is necessary to find out whether Thutmose III retained the heb-sed rituals in the Opet program after Hatshepsut's death, i.e., before his jubilee.

It is known that after becoming an independent ruler, Thutmose III launched an extensive construction activity in Karnak. Around the 24th year of his reign, Thutmose began the construction of the Ahmenu Temple (Barguet, 1962, p. 296). Apparently, in the same years, he completed the Red Chapel of Hatshepsut to the 8th register, adding from the east and

11 Э. Хорнунг объясняет причину запоздания в установлении обелисков технической проблемой, связанной с низким уровнем Нила, что затрудняло доставку обелисков с юга [Hornung, 1974, s. 59].

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Double doors on both sides (Graindorge, 1993, p. 43). This circumstance clearly indicates the further use of the building after the death of the queen. Hence the idea that the Opet program presented on the walls of the chapel has remained unchanged since the time of Hatshepsut. Meanwhile, some time later, Thutmose demolished the Red Chapel, and in its place erected Pylon VI [PM 2 II, p. 78, plan X] and the new chapel of barca ("granite sanctuary") [PM2 II, p. 98 - 99, plan XII (1)]12. It is quite likely that these changes somehow affected the Opeta program as well. To give an approximate time of the beginning of such changes, we will point out the design of some of the Karnak buildings of Thutmose III.

The posts of the pylon of the Fifth temple are decorated with a scene of the Pharaoh offering gifts to Amon on the occasion of his second cheb-sed [PM 2 II, p. 85-86 (222: e-f); Urk. IV, 595-596]; Hebridean inscriptions are also found on the walls of the VA hall adjacent to the "granite sanctuary" [PM 2 II, p. 91 (257), plan XII (1)]. All this makes it possible to attribute the beginning of the noted changes in the architectural ensemble of Karnak to one of the hebseds of Thutmose III (the 30th or 33rd year of the Pharaoh's reign).

Let us also pay attention to the decoration of the walls of the so-called Hall of Annals, which surrounded the sanctuary of Barca [PM 2 II, p. 89, 98]. The walls of the Hall are covered with inscriptions telling about the military campaigns of the Pharaoh, starting from the 23rd to the 42nd year of his reign [Urk. IV, 647 - 729]. At the same time, the first scene from which the chronicles open represents the dedication by Thutmose III of two obelisks to Amun-Ra [PM 2 II, p. 97(282)]13, erected for the royal jubilee [Breasted, 1906, vol. II, p. 249]. This seems to establish a semantic connection between the ritual of heb-sed and the military campaigns of Pharaoh 14. At the same time, the obelisks are like the first gift that the king symbolically presents to Amon-Ra, who is in the form of a statue in the "granite sanctuary".

Note that the text with the record of the first Syrian campaign is directly adjacent to the scene of the dedication of the obelisks. This juxtaposition of scenes probably draws a certain parallel between the pharaoh's first military campaign and his cheb-sed (Mironova, 2008). The correlation of these two events can also be traced in the inscriptions of Pylon VI, where among the descriptions of sacrificial gifts offered to Amun-Ra after the campaign of 23, offerings to obelisks erected for the anniversaries of Thutmose III are mentioned [PM 2 II, p. 90 (245); Urk. IV, 738, 5]. The obelisks themselves were located in front of pylon IV [PM 2 II, p. 74-75, plan X] and VII [PM 2 II, p. 171, plan XIV] by the pylons of Karnak-one might say on the path of the Opet procession. Let us recall that the celebration of Opet was established at the end of the first Syrian campaign of Thutmose III, in the 23rd year of his reign. It is known from Horemheb's decree that Thutmose III returned to Egypt every year from his next military campaign at the beginning of the Opet festival [Breasted, 1906, vol. III, § 59]. Thus, Opet was the first festival in honor of Amun-Ra, which the Pharaoh celebrated after the end of military campaigns. Building semantic parallels between Opet, the first Syrian campaign of Thutmose III, and the Karnak obelisks (and hence the pharaoh's cheb-sed), we can assume that the consecration of the obelisks took place during the celebration of Opet, as it probably was during Hatshepsut. Most likely, this ceremony was held after the celebration of Cheb-sed Thutmose: according to inscriptions, the obelisks of Pylon VII were erected at the end of a military campaign.

12 The surviving inscriptions of the" granite sanctuary "contain the date" year 42 " [Van Sielen, 1984, p. 53]; however, it is not clear exactly whether this is the date of construction of the building. Most likely, in the 42nd year of the reign of Thutmose III, the construction and decoration of the sanctuary of Barca and the Hall of Annals were completed.

13K. Zethe believed that in fact the scene implied the presence of four obelisks, since near each of the two obelisks depicted there are two lines denoting the number 2 [Urk. IV, 643]. In his opinion, two of them belonged to those erected in front of pylon IV of the temple, and the other two-in front of pylon VII [Urk. IV, 643].

14 Heb-sed was in principle related to the military triumph of the Pharaoh [Kroll, 2005, p.91-96], and the jubilee scenes often included images of captured enemies, indicating the power of the king [Moret, 1923, p. 177].

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in Naharin, held in the 33rd year of the Pharaoh's reign [Urk. IV, 586-587] (i.e., the construction of the obelisks took place after I šmw 4 of the 33rd year, when the royal jubilee was celebrated).

Let us return, however, to the thesis about the relationship of the Opet festival with Cheb-sed and the military triumphs of Thutmose III. If we apply this series to the reliefs of the Hall of Annals, we get the following semantic chain::

The above diagram not only confirms our idea of the relationship between Opet and Thutmose III's cheb-sed, but also allows us to see that this connection existed already from the 23rd year of the king's reign. This last observation is proved by another circumstance: Thutmose celebrated his very first cheb-sed together with his stepmother, in the 16th year of her reign [Uphill, 1961, p. 248-251]. Based on this, there is every reason to believe that Hatshepsut's successor continued to use cheb-sed rites in the Opet program, which, with the beginning of his independent rule, received an additional connotation associated with the pharaoh's military victories.

As we can see, during the first half of the XVIII dynasty, the royal jubilee served as a kind of catalyst for the formation or evolution of the Opet holiday program. Analysis of the relief decoration of the monuments of Hatshepsut shows that when laying the foundations for a new religious holiday, the queen relied on the structure of one of the most ancient royal rituals. Thus, the festival of Amun-Ra, taking into itself the rites and symbols of heb-sed, actually became an analogue of the latter. This connection between the cult of Amun-Ra and cheb-sed is clearly reflected in the jubilee scenes of Amenhotep III and Osorkon II, presented in the decorations of the tomb of Heruf (TT 192) [PM 2 I, p. 298-299; Nims, 1980] and the temple of Bubastis [Naville, 1892, p. 4, pl. VI]15 respectively. As is clear from the texts and relief images of these monuments, the heb-seds of both pharaohs directly correlated with the cult of Amun-Ra, whose image took part in festive rites. In this connection, there is a suspicion that the tradition of interaction of solar holidays with the royal cheb-sed existed until the end of Egyptian history. However, this problem is already the subject of a separate study.

LIST OF ABBREVIATIONS

BIFAO - Bulletin de l'Institut Français d'Archéologie Orientale. Le Caire. DHA - Dossiers d'Archéologie. Paris.

GM - Göttinger Miszellen. Beiträge zur ägyptologischen Diskussion. Göttingen. JEA - The Journal of Egyptian Archaeology. London. JNES - The Journal of Near Eastern Studies. Chicago. LÀ - Lexicon der Ägyptologie. Wiesbaden, 1975 - 1986. Vol. I-VI.

MDAIK - Mitteilungen des Deutschen archäologischen Institutes, Abteilung Kairo. Wiesbaden, Mainz (ab 1956).

15 In the hebraic scenes of Osorkon II, it says: "His Majesty wishes (to celebrate) a great event (i.e. heb-sed - AM) in honor of his father Amon-Ra"

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OIP - Oriental Institute Publications. Chicago.

PAM - Polish archaeology in the Mediterranean. Warsaw.

PM2 I-II - Porter B., Moss R. L. Topographical bibliography of Ancient Egyptian Hierogliphic Texts, Reliefs, and Paintings. Oxford, 1960 - 1972. Vol. I.-II (2 ed.).

SAOC - Studies in Ancient Oriental Civilization. Chicago.

Urk. IV- Sethe K. Urkunden des 18. Dynastie. Leipzig, 1906.

ZÄS - Zeitschrift fur ägyptische Sprache und Altertumskunde. Leipzig-Berlin.

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Mironova A.V. Parallels between the first Syrian campaign of Thutmose III, his first heb-sed and the cycle of the moon / / Proceedings of the XV International Conference of Students, postgraduates and young scientists "Lomonosov" [Electron, resource]. Moscow, 2008. The "History" section.

Barguet P. Le temple d'Amon Ré à Karnak: Essai d'exégèse. Cairo, 1962.

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