As a nomadic tribe that lived in this region in ancient times, the Nabataeans demonstrated their exceptional architectural genius by constructing an entire city and this magnificent temple.
This building, constructed against the mountain, is extremely exquisite and belongs to the Greek architectural style. The facade is divided into two levels, standing 40 meters high, with the lower level supported by six colossal Corinthian columns, and the central doorway reaching 8 meters in height.
Originally, various deities were sculpted between the columns of the upper and lower levels of the building's facade, but nearly all were destroyed during the religious transitions at the end of the Roman era, when they were deemed pagan idols.
To this day, the steps left by those ancient destroyers can still be seen on either side of the temple’s entrance, which many initially believed to be left by the builders.
However, that is not the case. The ancient Nabataeans actually built this gigantic temple from the top down. In fact, most ancient rock-cut structures were constructed using this method.
This theory is confirmed by an unfinished tomb, showing that the ancient Nabataeans would chisel out a natural platform on the rock and use it as an operational surface before proceeding with construction.
In other words, while typical buildings are constructed from the ground up, this temple was carved out from the rock, bit by bit, from the top down.
Initially, they would dig out the first construction platform along the surface, then work downward, chiseling away the natural rough surface to create a smooth operational surface.
From the photos taken by local scholars, a small, rugged path with steps can be seen on the side and top of the temple, likely remnants from when the temple was built.
Marks left at the construction site indicate that these ancient people would first use cross-pickaxes to thoroughly carve out a flat surface, and then use hammers and chisels to gradually carve out the building.
“It seems the entire construction process was like dropping a massive stone curtain to reveal the masterpiece hidden behind it.” Standing in front of the temple, Liang En marveled at the ancient people’s remarkable work.
The Nabataeans were even more ingenious in that they used the stones generated during the construction of the temple for the city's construction. This meant that the site was both a construction site and a quarry.
Apart from the construction method, the location of the temple is also crucial: it faces the city’s entrance directly, at the end of a canyon called the Serpent Path.
This canyon, formed by water flow, sees sporadic heavy rains despite the entire area being an arid desert. These sudden rains formed the Serpent Path.
However, thanks to a series of tunnels and dams, they ensured that the floodwaters did not rush westward towards the temple but were instead directed northward into the city’s water storage system.
In fact, the city’s location in a basin’s lowest point was chosen precisely to gather water from all directions, providing the city with a clean water source.
According to data, all the springs within 15 miles of Petra were tapped, and along with rainwater, they were collected into over 200 reservoirs within the city, allowing it to sustain a population of 50,000 residents.
After presenting their credentials, Liang En and his companion entered the Kazni Temple, where visitors are typically not allowed. Contrary to their expectations, the interior was not only empty but also very cramped.
“This doesn’t look like a temple,” Joan of Arc said in a puzzled tone as she looked around the undecorated interior, which was starkly different from any temple she had seen. “Compared to the exterior, it’s too simple.”
“On the contrary, this is precisely a Nabataean temple,” Liang En said, pointing to the empty space with his index finger. “It’s just that what they worshipped is different from what we imagined.”
“So, what do you think they worshipped?” Joan of Arc peered inside, but found the space very small, and there were no sculptures or paintings on the walls.
“No one knows, because it’s just too simple inside,” Liang En said with a hint of helplessness. “Given the technology at the time, this was the only way to maintain the temple's safety.”
The entire temple is built under more than 160 feet of solid rock, meaning tens of thousands of stone blocks press down on the cavern above. To prevent the cavern from collapsing, the pressure had to be transferred elsewhere.
The ancient Nabataeans realized this, so they deliberately made the cavern very narrow to transfer the pressure from the cavern to the ground.
They had originally wanted to build a cavern that matched the exterior facade, but doing so would have caused the pressure to press directly downwards, crushing the entire cavern from the center.
“If you look closely, you’ll notice that the exterior is decorated with Amazonian warriors and the head of the Egyptian goddess Isis. The facade is very international,” Liang En said, shifting the topic.
“Considering that they were a nomadic people and skilled in commerce, these elements likely reflect the influences they absorbed during international trade,” Liang En said, taking out his phone to look at the photos he had taken earlier.
“Moreover, the decorations on the buildings outside are full of symbolism,” Liang En pointed at the photos on his phone. “For example, the eagle on the roof is believed to carry the souls of the dead to heaven.
“The six statues of Amazonian warriors are depicted dancing with double-edged axes, representing the legendary Amazonian dance of death.”
“Most importantly, the two figures on the base, which were destroyed, likely represented the Roman twins Castor and Pollux, who were believed to guide human souls to the underworld.”
“Everything carved here is closely related to death,” Liang En said, leading Joan of Arc to the entrance of the temple, then pointing to the ground. “The temple's architecture is also connected to death, for instance—”
“This looks like a drainage channel,” Joan of Arc said after studying the groove Liang En pointed out, speaking uncertainly.
“But it doesn’t rain here, and even if it did, this channel’s capacity is too small for drainage,” she continued.
“Your analysis is correct, but if you examine it closely, you’ll find that these channels don’t lead to the outside reservoirs and canals but to the inside of the temple,” Liang En pointed out the key to the mystery.
“You mean the interior of the temple—” Joan of Arc caught on quickly and discovered that these channels indeed directed the liquid into the temple. “This must be used for sacrifices!”
An ancient sacrificial method involved killing animals in the temple and letting the blood flow through these channels to a specific location for the gods to enjoy the blood offering.
However, the object of such sacrifices varied greatly, ranging from gods to the deceased. Yet, it was impossible to discern the specific object of worship in this temple.
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