The great temple of Taposiris Magna, literally meaning the temple of the tomb of Osiris, is locally known as the Qasr Abusir (قصر أبو صير).

The great temple, today of which only the impressive outer walls remain standing, was once an important cult center of the gods Osiris and Isis. However archeological finds, including over one hundred Doric column drums discovered on site, have shown that the temple of Taposiris Magna had a unique combination of both Egyptian and Greek temple architecture. Thus, within the typical Egyptian-style pylon and surrounding walls, once stood a Hellenistic sanctuary with Doric columns.

During the excavation mission by the Egyptian-Dominican mission a large number of coins bearing the name and image of Queen Cleopatra VII were found inside the temple walls, in addition to many parts of statues and temple grounds which were adorned in the past to reveal the temple foundation panels, which proved that it was built by King Ptolemy IV.

circa 280 CE

Layout and Structural Components
The layout of the Great Temple of Osiris follows the conventional structure of a Ptolemaic temple, consisting of several key elements arranged in a deliberate sequence meant to reflect both the spiritual journey and the physical approach to the divine. The temple was built in a traditional Egyptian style, with certain distinctive features adapted to the evolving Ptolemaic aesthetic and functional needs. As with other temples of the period, the architectural configuration was designed to facilitate the performance of religious rituals and the veneration of Osiris.

The temple’s entrance was marked by a pylon—a monumental gateway that served both as a symbolic and physical barrier between the sacred and profane worlds. The pylon, with its massive stone walls, would have originally been adorned with reliefs and inscriptions depicting the royal patronage and religious iconography associated with Osiris, such as depictions of the god's resurrection and the promise of eternal life to those who worshipped him.

Upon passing through the pylon, the temple complex opened into an expansive courtyard. This space, typically used for processions and ceremonial gatherings, would have been surrounded by columns, many of which were decorated with symbolic motifs tied to Osiris' mythos. The columns themselves were of a monumental scale, typical of the Ptolemaic period, where Egyptian stylistic elements—such as papyrus and lotus capitals—were fused with Hellenistic influences in their proportions and decoration.

The central structure of the temple, known as the sanctuary or naos, housed the most sacred aspect of the temple: the statue of Osiris. This was the focal point of the religious rituals performed at Taposiris Magna, where priests would offer sacrifices and prayers to the god. The sanctuary was typically a small, dark room, intentionally designed to create a sense of awe and mystery, with only flickering torchlight illuminating the statue of Osiris. This spatial configuration mirrored the thematic significance of Osiris himself—god of death and resurrection—whose mythical narrative was intrinsically tied to the cycle of light and darkness.

One of the most significant architectural features of the sanctuary at Taposiris Magna is the central axis alignment, which likely corresponded with the solstitial movement of the sun. This alignment is consistent with other major Egyptian temples, where the temple’s sanctum was oriented to align with celestial events, a key aspect of Egyptian religious thought. The layout of the temple thus functioned not only as a physical space for worship but also as a cosmic representation of the journey between life and death, as well as the transcendence from the mortal world to the divine.

Sculptural and Decorative Elements
The decorative scheme of the Great Temple of Osiris, while largely lost to time due to the erosion of stone and subsequent Roman alterations, would have been lavish and symbolic. The walls of the temple would have been adorned with carvings and reliefs depicting the various aspects of Osiris' myth, including his death, resurrection, and eventual reign over the afterlife. As was customary in Egyptian temples, these reliefs would have included scenes of the reigning Ptolemaic monarchs participating in the rituals of divine veneration, linking the divine authority of Osiris with the legitimization of the Ptolemaic rulers.

The colonnades surrounding the courtyard and the hypostyle hall would have been richly decorated with hieroglyphic inscriptions and painted scenes. These scenes often depicted mythological narratives, where Osiris’ conflict with his brother Set, his dismemberment, and his eventual resurrection were reenacted. Such visual storytelling would have not only reinforced the spiritual significance of the temple but also served as a means for the general populace to engage with complex theological concepts. The reliefs would have been read by the temple's priests and initiated individuals, with each carving acting as a point of access to divine knowledge.

The temple’s roof, as was common in Egyptian temple architecture, would have been flat, allowing for the possibility of skyward symbolism. The upper parts of the temple, where some of the sanctuary's light would enter, may have been designed to create a dramatic visual connection between the temple’s interior and the cosmos above. In particular, it is likely that the temple would have been oriented to reflect the cardinal directions, aligning with the natural rhythms of the sun and the stars, which were considered to have cosmic significance in Egyptian religious thought.