Unlike the other temples in Thebes, Luxor temple is not dedicated to a single cult god or a deified version of the pharaoh in death. Instead, Luxor temple is dedicated to the rejuvenation of kingship; it may have been where many of the pharaohs of Egypt were crowned in reality or conceptually (as in the case of Alexander the Great, who claimed he was crowned at Thebes (Luxor) but may never have traveled south of Memphis, near modern Cairo).

The Luxor Temple was built with sandstone from the Gebel el-Silsila area, which is located in South-Western Egypt. This sandstone is referred to as Nubian sandstone. It was used for the construction of monuments in Upper Egypt as well as in the course of past and current restoration works carried out in the modern period.

Like other Egyptian structures, a common technique used was symbolism, or illusionism. For example, to the Egyptian, a sanctuary shaped like an Anubis jackal was really Anubis. At the temple of Luxor, the two obelisks (the smaller one closer to the west is now at the Place de la Concorde in Paris) flanking the entrance were not the same height, but they created the illusion that they were. With the layout of the temple they appear to be of equal height, but using illusionism, it enhances the relative distances hence making them look the same size to the wall behind it. Symbolically, it is a visual and spatial effect to emphasize the heights and distance from the wall, enhancing the already existing pathway.

circa 1400 BCE

New Kingdom (circa 1400 BCE)
The Luxor Temple, known as Ipet Resyt ("Southern Sanctuary") in ancient Egyptian, was primarily constructed during the reign of Amenhotep III (circa 1390–1352 BCE) of the 18th Dynasty of ancient Egypt. Dedicated to the Theban Triad of Amun, Mut, and Khonsu, it served as a focal point for the annual Opet Festival, during which the statues of the gods were paraded from Karnak to Luxor. The temple was designed to symbolize the rejuvenation of kingship, with its hypostyle halls, courtyards, and processional avenue reflecting Amenhotep III's architectural ambitions. Later additions by Tutankhamun and Horemheb enriched its ceremonial function, particularly during the post-Amarna restoration of traditional religious practices.

Ramesside Period (circa 1250 BCE)
During reign of Ramesses II, Pharaoh of the 19th Dynasty, the Luxor Temple was significantly expanded by adding the first pylon, flanked by colossal statues of himself, and an open courtyard. His contributions included relief-scenes commemorating his military victories, particularly the Battle of Kadesh. The addition of monumental obelisks, one of which remains in situ while the other stands in the Place de la Concorde in Paris today, further reinforced the temple's role as a statement of royal authority and divine endorsement. During this period, the temple served both religious and political purposes, integrating into the broader context of the Theban necropolis.

Late Period to Ptolemaic Era (circa 664–30 BCE)
The southern temple of Luxor continued to function as an active cult center during the entire Late Period, although its prominence continue to diminish as political power shifted within Egypt. During the Ptolemaic era, the temple underwent selective renovations and maintained its role in local festivals. The integration of Greek and Egyptian iconography reflected the Ptolemaic rulers' efforts to align themselves with traditional pharaonic legitimacy. While nearby Karnak Temple complex overshadowed Luxor in scale and prestige, the Luxor temple retained a symbolic connection to Thebes' ritual landscape.

Roman Period (circa 30 BCE–300 CE)
During the Roman era, the temple and its surroundings were a legionary fortress and the home of the Roman government in the area. Under Roman rule, parts of the Luxor Temple complex were also repurposed for imperial cult worship. A shrine dedicated to the emperor Augustus replaced earlier structures, transforming the site into a center for the veneration of Roman rulers as deities. Its strategic location near the Nile ensured that it remained a key site for religious and administrative activities, even as Egypt's cultural identity merged with Greco-Roman influences. During the Roman Imperial Period more and more parts of the temple were converted to the cultic practices of worshipping the emperors.

Medieval Period (circa 7th–13th centuries CE)
With the advent of Christianity in Egypt, the temple underwent significant alterations, including the conversion of its inner sanctuaries into a Christian church. By the 7th century CE, it served as a place of worship for local Christian communities. During the Islamic era, however, a mosque dedicated to Abu al-Haggag was constructed atop the ruins of the temple, reflecting the continuity of religious significance at the site. This mosque remains an active religious site, coexisting with the ancient structures.

Modern Rediscovery and Preservation (19th Century Onwards)
The rediscovery of Luxor Temple during the 19th century by European archaeologists marked the beginning of its systematic excavation and preservation. Extensive restoration efforts have focused on stabilizing the structure, deciphering inscriptions, and recontextualizing its role within the Theban landscape. Today, the temple serves as a vital source for understanding ancient Egyptian religion, kingship, and its enduring impact across millennia.

circa 1390 BCE

Avenue of Sphinxes
The Avenue of Sphinxes, also known as the King's Festivities Road or the Rams' Road, went in a straight line between the Luxor Temple and the Karnak area was lined with human-headed sphinxes of Nectanebo I. Stretching to a length of 2.7 kilometers (1.7 miles) Sphinx's avenue (dromos) connected the Karnak Temple (northern temple complex) with Luxor Temple (southern temple). In ancient times, it is probable that, these replaced earlier sphinxes which may have had different heads. The avenue of human headed sphinxes of over one and a half miles (3 kilometers) once connected the temples of Karnak and Luxor. Around 1,350 sphinx statues are thought to have lined this road together with barque chapels stocked with offerings.

circa 1390-1352 BCE

Processional Colonnade
The Processional colonnade of Amenhotep III with the granite colossi of Ramesses the Great flanking the entrance. The Colonnade of Amenhotep III has seven pairs of 52 foot (16m) high open-flower papyrus columns, which still support their huge architrave blocks. The reliefs on the walls of the hall bear the names of Tutankhamun, Horemheb, Seti I, Rameses II and Seti II. Tutankhamun decorated the eastern walls but Horemheb later erased the name of the boy king, and inscribed his own.

circa 1390-1352 BCE

Sun Court of Amenhotep III
Peristyle sun court built by Amenhotep III features double rows of papyrus columns with barque shrines for Mut and Khonsu at the southern end. Decorations depict the coronation of Amenhotep III by the gods. To the right is the 32 columned vestibule which allows access to the inner santum of the temple. The Court of Amonhotep III measures 148 feet long (45 metrs) by 184 feet wide (56 meters), with double rows of papyrus columns on three sides. The northern end was originally the entrance to the temple.

circa 1390-1352 BCE

Chapel of Mut
The chapel or section of the temple complex dedicated to goddess Mut was situated to the south-east of the Amenhotep III's court. During the Roman period this chapel was converted in to a shrine or chapel to the Roman Imperial Cult and later in to a Christian church.

circa 1390-1278 BCE

Peristyle Courtyard
The peristyle courtyard built by Ramesses the second (replacing an earlier court thought to have been constructed by Amenhotep III) was set at an angle to the rest of the temple. The court is composed of a colonnade around the central open area including a number of colossal statues of Ramesses II and abu al-Haggag Mosque. The great Court of Rameses II is 188 feet (57 m) long and 168 feet (51 m) wide. Seventy four papyrus columns, with bud capitals surround it and in the Northwest corner of the court there is a shrine of Thutmose III, dedicated to Theban triad.

circa 1279-1213 BCE

First Pylon
The entrance, first pylon also known as the Pylon of Rameses II, was flanked by six massive statues of Ramesses, two seated and four standing, but unfortunately only two seated statues are still relatively intact. One of the of the two granite obelisks of Ramesses, the other now stands in the Place de la Concorde in Paris. The pylon was half buried in sand until the 1880s but when cleared it revealed two towers measuring 24 meters high and 65 meters wide. They are carved in sunken relief depicting Ramesses at the battle of Kadesh.

circa 1279-1213 BCE

Shrine of the Theban Triad
The Shrines of Theban Triad is located adjacent to the north pylon towar on the inner side. Situated in the north-eastern corner of the Ramesside court, or the first court, it was originally built by Hatshepsut and later renovated by Tuthmosis III. The shrine had three side-by-side chamber which may have once held the statues or barques of Amun, Mut and Khonsu gods of the cult of the Royal Ka.

circa 332–323 BCE

Shrine of Alexander the Great
The shrine was rededicated to Alexander the Great after it was reconstructed by him. The shrine of Alexander the Great from the four pillared offering hall. Its present shape was actually given by Alexander, but Alexander used the original plans of Amenhotep III, his alterations were to remove 4 columns and add a granite shrine. Representations in this chamber depict Amenhotep III or Alexander the Great standing before figures of the ithyphallic Amun.

circa 300 CE

Roman Sanctuary
The apse of the Roman sanctuary, it was converted in to a church cira 300 CE after the Diocletian's persecution of Christians in Egypt. It was transformed, and an apse installed during the Era of the Martyrs along with a few other churches around the site. The small entrance in the apse leads to the offering hall of Alexander the Great. t was here in Luxor that in 1989 workers found a deep pit containing a large quantity of statuary, buried probably in the 4th century CE during the installation of a cult of the deified Roman emperor.

Ihe Luxor imperial cult chamber and its frescoes embody a transformation in the structure and expression of Roman imperial authority manifested in the creation of the tetrarchic system of rule initiated by Diocletian in response to the turbulent world over which he had taken command. As a result, the paintings hold a key place in the corpus of late Roman art, both in Egypt and the wider empire. Like much that characterizes the tetrarchic government.

circa 284–305 CE

Roman Fortress
During the Roman era, the temple and its surroundings were a legionary fortress and the home of the Roman government in the area. Romans took control of Thebes and the Luxor Temple in about 250 CE, they turned the whole of the Luxor complex into a fortified garrison, and this building is only one of many major building projects they undertook at that time. Over time several structures were converted in to cult shrines and later in to churches.

circa 130 CE

Chapel of Serapis
The Chapel of Serapis, built by Hadrian in the court of Nectanebo I. Built using burnt brick and was dedicated to the god Serapis, is the only one remaining of all Roman structures. Serapeum was built in a Peripteros-temple style (a type of ancient Greek or Roman temple surrounded by a portico with columns), unlike most Roman sanctuaries of Sarapis and Isis, which are prostyle, with columns in front.

circa 1180 CE

abu el-Haggag Mosque
The Mosque of abu al-Haggag (ابو الحجاج) is a mosque located in the Egyptian city of Luxor. Specifically, it stands atop the ruins of Luxor Temple, within the court of Ramesses II. The Mosque was built on the site of the temple before it was excavated. Since the temple complex was buried for thousands of years, parts of it were repurposed to construct a mosque dedicated to Sufi Shaykh Yusuf abu al-Hajjaj and was integrated in to the existing structure. Subsequantly, during the modern period, when the temple was unearthed the mosque was preserved and continues to function until today.