The Sarcophagus Of Queen Hatshepsut

Ahmose returned victoriously to Thebes. The work of his father and brother had finally been completed. Historical evidence has proven that that point in Egyptian history was perceived as the re-birth of Egypt into a unified country, led by one pharaoh, Ahmose I. Egypt had finally conquered the Hyksos and Ahmose I was the hegemony of Thebes. Excavations at Tell el-Dab’a reveal abandonment of the Siege of Avaris, which reveals

Hatshepsut’s appearance and portrayal changed as her usually feminine features were replaced by kingly accessories such as the royal kilt, Nemes headdress with uraeus, Atef crown and symbols of Egypt’s enemies under her feet when represented in statues. The seated limestone statue from Deir El-Bahri is the best example of this portrayal of Hatshepsut as a female but with kingly accessories. This transition from a female representation to a more manly and masculine appearance reflects Hatshepsut to have a more kingly identity and because traditional most Pharaohs were male. Egyptologist Peter Dorman also explains this transition as the “strictures of functioning solely as a queen were inconsistent with that role. Hatshepsut’s royal image changed over time as her feminine appearance gradually changed as she began to be depicted in royal masculine

Tutankhamun was an Eighteenth Dynasty pharaoh whose legacy extends to the present, and currently one of the best-known ancient Egyptians of all-time. The “Boy King” inherited the throne at the age of nine, his reign lasting only ten years before his sudden unexpected death. The traditional burial customs and funeral processions were carried out upon him, but the tomb he was laid to rest in was unique from the typical Eighteenth Dynasty tombs characterised by their lavish style and large scale. This uniqueness has been evidenced in a variety of archaeological and written sources, which express the tomb’s historical significance.

Nonetheless, during the 12th Dynasty, there was a temple built for Amun’s worship and toward the end of the 18th Dynasty, Amun’s status increased even more and he became known as “…the great royal deity who was “Father of the Gods” and ruler of Egypt and the people of its empire (Rosalie 104).

The coffin and mummy of Djedmaatesankh are known as one of the few unopened coffins, retaining the original seal. Currently, it has been decided not to open the coffin in order to examine the mummy within due to the fact that it would severely damage the artwork and hieroglyphs that have been painted on the outside. The coffin is made of cartonnage, which is created with moulded linen and plaster and is painted on the outermost layer. These paintings describe the story of Djedmaatesankh’s life, as well as references to the Book of Caverns in order to provide the body “with safe protection as it makes its journey through the underworld on its way to eternal life in the Field of Reeds”. The coffin is from the 3rd intermediate period of ancient Egyptian culture and has been dated to 945-715 BC, coinciding with the 22nd Dynasty in which Ian Shaw relays that the “Chief of the Meshwesh Sheshonq (King Sheshonq I)” ruled. The base materials used are linen and plaster to form the cartonnage, and the artwork on the outermost layer uses a combination of paint and gold leaf to create depictions of Djedmaatesankh’s life. Ancient Egyptians used paint made from a mixture of pigment and plaster to paint on coffins and sarcophagi, and the higher classes used increased amounts of gold leaf as well. Djedmaatesankh’s coffin would be classified as funerary art, which had been created to be of use in funerary rituals and practices. Djedmaatesankh’s coffin is an excellent example of the extensive

While there are several notable Egyptian temples, monuments, and tombs; this paper will focus on the analysis and evaluation of the Mortuary Temple of Queen Hatshepsut at Deir el-Bahri, C. 1458 BC. First and foremost, it is important to identify the historical figure who influenced this construction of this temple. Queen Hatshepsut ascended to the throne of Egypt after her son’s passing and was the first and only female pharaoh in about 1473 BC; nearly a thousand years after the construction of the Pyramids at Giza. The

In the Middle Kingdom 2100–1650 B.C.E. Trade was imperative with their neighbors, that included Mesopotamia, Phoenicia, Crete, and Nubia became more widespread. Religion became more democratic in its view of who can go into the afterlife. The New Kingdom began after the defeat of the Hyksos invaders in 1500. It lasted through the years of imperial wars in opposition to the Hittites and other for the control of Mesopotamia, which ended with the retreat of Egypt that caused the Egyptian civilization to support the invasion of

Hatshepsut is not only known for being a rare woman ruler during this archaic time period, but also for the representation of her in art- blending imagery of a male king with presentations of herself as a woman. During the early years of her reign, Hatshepsut had herself portrayed in the traditional garb of a woman. However, in the seventh year of Thutmose III’s reign, the year that Hatshepsut took over, she began to be portrayed in male attire, still attempting to further her legitimacy as Egypt’s ruler. The surviving representation in art varies on this masculine and feminine

Hatshepsut was the first woman pharaoh ever recorded in history. Although there are a few obvious breaks, this granite sculpture was put back together nicely. Because this piece is so important, the Metropolitan Museum of Art has to be careful of what to light up on the sculpture. This does not look easy because the statue is so massive, but the Met did a good job capturing the face with light, and the top of the orbs. The shadows also reflect how angular this statue really is, and the unrealistic body of the woman pharaoh Hatshepsut.

One of the most famous pharaoh of that time was Thutmose I who was the son of unknown warrior and queen Ahhotep’s daughter. He earned control over the Nubians’ gold mines by sending them to the south and penetrated deeper into Palestine and Syria. Thutmose I during his leadership expanded Egypt territory; the country prospered.

The Hyksos invaded and occupied Egypt from the 15th - 17th dynasties known as the second intermediate period, before their eventual defeat by the Egyptians which started the 18th dynasty.

Senenmut, an excellent architect within Ancient Egypt who came from a large educated family, was appointed by Hatshepsut to oversee any royal works, as well as overseeing slaves, fields, and gardens. It is said by some Egyptologists that he initiated a very personal relationship with her—he was even a tutor for Hatshepsut’s daughter. This suggests that Hatshepsut befriended Senenmut for her own advantage, in order for her building plans to be carried out as she pleased. Not only did she effectively choose a skilled architect, but she kept high standards for the location for her memorial tomb. This was at a natural bay near the Theban Mountains, facing the entrance to the Amen-Re Temple at Karnak. This location was especially chosen because it was the existing tomb of her father, and had great importance as it was previously a cult center for Hathor (goddess of ruling kings). A new entrance was created with a staircase leading to a new burial hall carved out of rock. Although her choice called for those extensive alterations of the existing tomb, Hatshepsut wanted to be remembered as a highly regarded leader and appointed Senemut to carry out with those building plans. Hatshepsut’s choice resulted in one of the most beautiful temples in Egypt, known as Djeser Djeseru, meaning holiest of the holy. This specific project displayed Hatshepsut’s creativity

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

In the Sarcophagus of Ramtha Vishnai (Figure 1)and Sarcophagus of Larth Tetnies and Tanchvil Tarnai (Figure 2) the sculpture represents a relief of a man clad in a bracelet and woman embracing on their marital bed. The couple covered by a sheet, possibly the husbands cloak or tebenna that serves as a symbol of their marriage. The sarcophagi are two generations of the same family. An inscription on the sarcophagus indicates that one coffin contains the parents the other sarcophagus contains their son and his wife. The parents sarcophagus, carved in a local volcanic stone, show the more naturalistic character of Etruscan art. The middle-aged man and his wife are pressed close together, their feet poking out beneath the covers. ("Conservation in Action: Etruscan Sarcophagi.") A long relief on the side depicts their wedding procession with the couple at the center. The son’s sarcophagus shows the influence of Greek art and styles in this beard and his wife’s hairstyle, as well as in their idealized appearance and prose. The sides of the sarcophagus are carved with less personal scenes of Greek and Amazon and horsemen attacking armed men on foot. Although the sarcophagus depict a couple on its lid the coffin is designed for a

The Egyptian Mummy Mask from the early Roman Period is unique and beautiful in every way possible. This mask that is on display in the Museum of Fine Arts Boston is about 3 feet tall to about 2 feet wide. This certain piece of magnificent art is extremely detailed with intricate designs covering it all around. The Museum of Fine Arts makes it easy to pay attention to, because of its detail and how the mask is displayed. The Mummy Mask has it’s own small alter with a spot light shining down on it creating dramatic shadows in a very dim room. The decorations include inlaid glass eyes, a gold leaf and is hand-painted and gilded glass. This mask is not paper maché like the masks that were made in this era; this Mummy Mask had been created out of cartonnage . The Egyptians decorated this masterpiece with bold vertical and horizontal lines representing rows of beads to go along with the story it tells. The Egyptian Mummy Mask from the first half of the first century A.D illustrates a gaze of innocence and acceptance while looking into the bright future of whom the mask was made for. Perfectly painted images covering the mask tell a story of the traditional funerary practices and the after life Egyptians believed in. Egyptians would create these pieces to fit over the heads of the lost lives wrapped inside the mummy. The mask represents the deceased transformed into a God . Although the face of the mask is idealized and emotionless, the decorations say and express more than a