Akhenaten: Dweller in Truth
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In Ancient Egypt
THE ROLE OF THE CHANTRESS ($MW IN ANCIENT EGYPT SUZANNE LYNN ONSTINE A thesis submined in confonnity with the requirements for the degm of Ph.D. Graduate Department of Near and Middle Eastern Civiliations University of Toronto %) Copyright by Suzanne Lynn Onstine (200 1) . ~bsPdhorbasgmadr~ exclusive liceacc aiiowhg the ' Nationai hiof hada to reproduce, loan, distnia sdl copies of this thesis in miaof#m, pspa or elccmnic f-. L'atm criucrve la propri&C du droit d'autear qui protcge cette thtse. Ni la thèse Y des extraits substrrntiets deceMne&iveatetreimprimCs ouraitnmcrtrepoduitssanssoai aut&ntiom The Role of the Chmaes (fm~in Ancient Emt A doctorai dissertacion by Suzanne Lynn On*, submitted to the Department of Near and Middle Eastern Civilizations, University of Toronto, 200 1. The specitic nanire of the tiUe Wytor "cimûes", which occurrPd fcom the Middle Kingdom onwatd is imsiigated thrwgh the use of a dalabase cataloging 861 woinen whheld the title. Sorting the &ta based on a variety of delails has yielded pattern regatding their cbnological and demographical distribution. The changes in rhe social status and numbers of wbmen wbo bore the Weindicale that the Egyptians perceivecl the role and ams of the titk âiffefcntiy thugh tirne. Infomiation an the tities of ihe chantressw' family memkrs bas ailowed the author to make iderences cawming llse social status of the mmen who heu the title "chanms". MiMid Kingdom tifle-holders wverc of modest backgrounds and were quite rare. Eighteenth DMasty women were of the highest ranking families. The number of wamen who held the titk was also comparatively smaii, Nimeenth Dynasty women came [rom more modesi backgrounds and were more nwnennis. -
Queens Egypt
| OF QUEENS | EGYPT A new National Geographic exhibition in Washington, D.C., shines a light on the lives (and afterlives) of the royal women of ancient Egypt. From the founding queen of the New Kingdom, Ahmose-Nefertari, to Cleopatra VII, Egypt’s last queen and pharaoh—a span of more than 1,400 years. Martina Minas-Nerpel from Swansea University tells us that “while the king was the unquestioned political and religious figurehead of Egypt, queens had a complex role with more power than is usually recognized. Wife and mother, the Egyptian queen also had divine status, serving as the earthly embodiment of Hathor and thus ‘a regenerative medium for the king in his role as representative of the sun god on earth’ (Silke Roth, 2009).” Now, let’s have a closer look at some of the fabulous artefacts from Queens of Egypt. REPLICA BUST OF NEFERTITI, CA. A.D. 1913–1932. ORIGINAL: 18TH DYNASTY, REIGN OF AKHENATEN, CA. 1353–1336 B.C. RIJKSMUSEUM VAN OUHEDEN, LEIDEN, NETHERLANDS. CAT. F 1932/5.1. PHOTO BY MARK THIESSEN/ NATIONAL GEOGRAPHIC. QUEENS OF EGYPT EXHIBITION ORGANIZED BY POINTE-À-CAL- LIÈRE, MONTRÉAL ARCHAEOLOGY AND HISTORY COMPLEX AND MUSEO EGIZIO, TURIN, IN PARTNERSHIP WITH THE NATIONAL GEOGRAPHIC SOCIETY. SHOWING AT THE NATIONAL GEO- GRAPHIC MUSEUM, WASHINGTON, D.C., THROUGH TO 2 SEPT 2019. One of the most famous pieces of Egyptian art ever discovered. This replica bust of Nefertiti was produced soon after the original was discovered in 1912. The distinctive, flat-topped blue crown is unique to Nefer- titi, allowing us to identify the face. -
Who Was Who at Amarna
1 Who was Who at Amarna Akhenaten’s predecessors Amenhotep III: Akhenaten’s father, who ruled for nearly 40 years during the peak of Egypt’s New Kingdom empire. One of ancient Egypt’s most prolific builders, he is also known for his interest in the solar cult and promotion of divine kingship. He was buried in WV22 at Thebes, his mummy later cached with other royal mummies in the Tomb of Amenhotep II (KV 35) in the Valley of the Kings. Tiye: Amenhotep III’s chief wife and the mother of Akhenaten. Her parents Yuya and Tjuyu were from the region of modern Akhmim in Egypt’s south. She may have lived out her later years at Akhetaten and died in the 14th year of Akhenaten’s reign. Funerary equipment found in the Amarna Royal Tomb suggests she was originally buried there, although her mummy was later moved to Luxor and is perhaps to be identified as the ‘elder lady’ from the KV35 cache. Akhenaten and his family Akhenaten: Son and successor of Amenhotep III, known for his belief in a single solar god, the Aten. He spent most of his reign at Akhetaten (modern Amarna), the sacred city he created for the Aten. Akhenaten died of causes now unknown in the 17th year of his reign and was buried in the Amarna Royal Tomb. His body was probably relocated to Thebes and may be the enigmatic mummy recovered in the early 20th century in tomb KV55 in the Valley of the Kings. Nefertiti: Akhenaten’s principal queen. Little is known of her background, although she may also have come from Akhmim. -
Who's Who in Ancient Egypt
Who’s Who IN ANCIENT EGYPT Available from Routledge worldwide: Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in World Politics Alan Palmer Who’s Who in Dickens Donald Hawes Who’s Who in Jewish History Joan Comay, new edition revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, new edition revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who in World War Two Edited by John Keegan Who’s Who IN ANCIENT EGYPT Michael Rice 0 London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2004. © 1999 Michael Rice The right of Michael Rice to be identified as the Author of this Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Akhenaton, Nefertiti, and Three Daughters New Kingdom (Armana
Akhenaton, Nefertiti, and three daughters New Kingdom (Armana), Egypt 18th Dynasty 1350 BCE Limestone House altar Changed name from Amenhotep IV (during 5th year of his reign) Informal setting: love, domesticity Stylistic break, curvelinear Ankh: breath of life Nefertiti: pronounced “Nafteta” Located at museum in Berlin He is especially noted for abandoning traditional Egyptian polytheism and introducing worship centered on the Aten (Aton) Akhenaton, Nefertiti, and three daughters New Kingdom (Armana), Egypt 18th Dynasty 1350 BCE Limestone He was all but lost from history until the discovery during the 19th century of the site of Akhetaten, the city he built for the Aten, at Amarna. Modern interest in Akhenaten and his queen Nefertiti comes partly from his connection with Tutankhamun (even though Tutankhamun's mother was not Nefertiti, but a woman named by archaeologists The Younger Lady), and partly from the unique style and high quality of the pictorial arts he patronized, and partly from ongoing interest in the religion he attempted to establish. Styles of art that flourished during this short period are markedly different from other Egyptian art. In some cases, representations are more naturalistic, especially in depictions of animals and plants, of commoners, and in a sense of action and movement. depictions of members of the court, especially members of the royal family, are extremely stylized, with elongated heads, protruding stomachs, heavy hips, thin arms and legs, and exaggerated facial features. Significantly, and for the only time in the history of Egyptian royal art, Akhenaten's family are shown taking part in decidedly naturalistic activities, showing affection for each other, and being caught in mid-action (in traditional art, a pharaoh's divine nature was expressed by repose, even immobility). -
Nefertiti, Devonia, Michael by Ancient Art Podcast on Monday, July 6, 2009 at 8:04Pm
Episode 22: Nefertiti, Devonia, Michael by Ancient Art Podcast on Monday, July 6, 2009 at 8:04pm Complete transcript of podcast by Lucas Livingston, an Egyptologist associated with the Art Institute of Chicago, which discusses Nefertiti/Devonia Evangeline and Miscegenated Family Album in detail. Also a YouTube video with high-quality images. **** Transcript On October 31, 1980 at Just Above Midtown Gallery in New York City, artist Lorraine O'Grady, dressed in a long red robe, debuted her new work of performance art. On a dark stage with a slideshow backdrop and dramatic recorded narration, O'Grady enacted hypnotic, ritualized motions, like the priestess of an ancient mystery cult, incanting magicks over vessels of sacred sand and offerings blessings of protection to the projected images of the Ancient Egyptian Queen Nefertiti and her late sister Devonia Evangeline O'Grady Allen. In the piece entitled Nefertiti/Devonia Evangeline, Lorraine O'Grady confronted her relationship with her sister through the lens of Nefertiti and Nefertiti's own apparent sister, Mutnedjmet -- a relationship which O'Grady felt would have been equally troubled. O'Grady's sister Devonia tragically died just a few short weeks after the two of them had finally begun speaking after many years of a strained relationship. Inspired two years later after a trip to Egypt, O'Grady began researching Queen Nefertiti and her famed family of the Amarna Period. While in Egypt, O'Grady encountered a new found feeling of belonging -- as the artist says in her own words, "surrounded for the first time by people who looked like me" (Art Journal 56:4, Winter 1997, p. -
In the Tomb of Nefertari: Conservation of the Wall Paintings
IN THE TOMB OF NEFERTAR1 IN THE TOMB OF NEFERTARI OF CONSERVATION THE WALL PAINTINGS THE J.PAUL GETTY MUSEUM AND THE GETTY CONSERVATION INSTITUTTE 1992 © 1992 The j. Paul Getty Trust Photo Credits: Guillermo Aldana, figs. I, 2, 4, 8-17, 30, 34-36, 38, cover, 401 Wilshire Boulevard, Suite 900 endsheets, title page, copyright page, table of contents; Archives of Late Egyp Santa Monica, California 90401 -1455 tian Art, Robert S. Bianchi, New York, figs. 18, 20, 22-27, 31-33,37; Cleveland Museum of Art, fig. 29; Image processing by Earthsat, fig. 7; Metropolitan Kurt Hauser, Designer Museum of Art, New York, figs. 6, 19, 28; Museo Egizio, Turin, figs. 5, 21 (Lovera Elizabeth Burke Kahn, Production Coordinator Giacomo, photographer), half-title page. Eileen Delson, Production Artist Beverly Lazor-Bahr, Illustrator Cover: Queen Nefertari. Chamber C, south wall (detail), before treatment was completed. Endsheets: Ceiling pattern, yellow five-pointed stars on dark blue Typography by Wilsted & Taylor, Oakland, California ground. Half-title page: Stereo view of tomb entrance taken by Don Michele Printing by Westland Graphics, Burbank, California Piccio/Francesco Ballerini, circa 1904. Title page: View of Chamber K, looking Library of Congress Catalogmg-in-Publication Data north. Copyright page: Chamber C, south wall, after final treatment-Table of In the tomb of Nefertari : conservation of the wall paintings, Contents page: Chamber C, south wall (detail), after final treatment. Tomb of p. cm. Nefertari, Western Thebes, Egypt. "Published on the occasion of an exhibition at the J. Paul Getty Published on the occasion of an exhibition atthej. -
Chicago Market, Fic11tion of Donaldson
YOL. vru SEATTLE, \VASHINGTON TERRITORY, l\IONDAY, SEPTEMBER 13, 1880. 43. ~ttgd Jottud ~i~tmtdl. \ Administrator's Sale. l...oglc or Jllslol'y. hia one principle of political action is to the public breast and throttle it of its iO with those who will do mAst, OT lead voice, in order that they m1ght establish ~OTI C' J·: is hcre!Jy ;:-lven that in pursunuee The Silver Clill Prospect is a small Colo Published every Monday morning uy uf an Order of tlw Prohatc Co nrt of KHI~ him to think they will do most, to acl-.. a permanent government for their politi .. r!ldn newspaper, but its editor IS a mau t.;uuuty, Wa s btu~tuu T<' rrH,.•ry, made on the vance hie interest. He lias 111 eye to the cal master and themselves. Tiley were :!•Hh tlay of July, I S~, in t he !Hiltter of the who evidently rememhrrs ud thinks. BERIAH BROWN· past, but " much sharper eye te the fu mad with apoll nod drunk wiU1 arro IEst:tte of .John H. Hyau, rl oc<':t>e<l, the undcr- lle is getteng tired of the old cry that all TEJms-$3 a ycnc-, in\·arinbly in ad· si)!n cd Adu.'iuist.r:•tor or the :aid Es~at e. will ture. He has no strong faith in men or ~;ance and pu\Yer, and did not know to >ell at pub he auct1on , to the ln~h es t bidder, on the patrioti~m t\nd love of country in vance. parties, and be will go hither a11d th1ther what a great extent they were u!lmasking Satnrdfl!J, iltc .ttlt dtt?f of St•plcmkr, 1880. -
The New Kingdom and Its Aftermath
A Short History of Egypt Part III: The New Kingdom and its Aftermath Shawn C. Knight Spring 2009 (This document last revised February 3, 2009) 1 The Early Eighteenth Dynasty The expulsion of the Hyksos was completed by Ahmose, thought by most Egyptologists to be the son of Seqenenre Ta'o II and the younger brother of Kamose. Ahmose brought order and unity to Egypt once more and drove the ruling Hyksos Fifteenth and Sixteenth Dynasties out of the land. He also gave great honors to the women of his family: his mother Queen Tetisheri, and his wife Queen Ahmose-Nefertari were regarded highly for generations to come. His son Amenhotep I, together with Ahmose-Nefertari, was actually worshipped as a god centuries later, as the protector of the royal cemeteries near Thebes. Amenhotep was succeeded by Thutmose I, who abandoned the Seventeenth Dynasty cemetery at Dra Abu el Naga in favor of a nearby valley. Thutmose's architect Ineni recorded that \I supervised the excavation of the cliff tomb of His Majesty alone, no one seeing, no one hearing."1 The valley became the burial site of choice for the rest of the New Kingdom pharaohs, as well as those courtiers (and even pets) whom they particularly favored, and is known to us today as the Valley of the Kings. Thutmose was succeeded by his son, Thutmose II. When Thutmose II died, he was succeeded by his second wife, Hatshepsut, the stepmother of the young heir, Thutmose III. Hatshepsut is perhaps the best-known of all the female pharaohs, with the possible exception of Cleopatra VII. -
Activity 1. Meet the Family Research Challenge! 32 33
Activity 1. Meet the Family Research Challenge! Challenge 1. Challenge 2. What can you find out about Nefertiti? Amarna is famous for lots of different Do we know what she looked like? Are reasons, not just people like Nefertiti! The there any famous monuments or artefacts first evidence for an important invention (objects) connected to her? Did she live called a ‘shaduf’ is known from Amarna. to an old age? Where can you go to see Can you find out what a shaduf was? What Nefertiti today? Why do you think she is was it made from? How did it work? Is it King Amenhotep III – Queen Tiye still so famous? Can you find any examples similar to anything we use today? Can you of Nefertiti’s image that are used in find other ancient inventions from Egypt? modern advertising or company logos? What other powerful royal women do you know about from ancient Egypt? Some good places to start researching these questions are museums, libraries and the internet. King Akhenaten – Queen Nefertiti Maybe you can even ask an archaeologist! (who was known as Amenhotep IV when he was young) Akhenaten and Nefertiti’s six daughters Meritaten | Meketaten | Ankhesenpaaten | Nefernefruaten-tasherit Neferfeferura | Setepenra Akhenaten’s son Tutankhamun The mother of Tutankhamun is not known. It may have been Nefertiti or perhaps one of Akhenaten’s other wives (he had more than one, but Nefertiti was the most important). 32 33 Activity 2. Body Maths Ancient Egyptian measurements were based on parts This is an ancient Egyptian cubit rod. It is like a of the body. -
Southampton Ancient Egypt Society
The newsletter of The HOTEP Southampton Issue 16: February 2017 Ancient Egypt 2017 Society Review of the January meeting All our speakers are made well aware On Saturday 21 January we welcomed of the length of our meetings at the time of Alan Reiblein, from Manchester, to talk booking and are asked to prepare a 90- about Egyptian Wall Painting. He started minute presentation. From his website it by explaining how there was a wealth of out- appeared that Alan was an experienced of-copyright material available free of charge speaker but his talk was of barely one hour’s from the American Library of Congress which duration and not as well illustrated as it could had provided him with many translations of have been. When it finished at 3.30 I tried to ancient and Classical texts. Alan used extracts extend the afternoon by means of questions from these to give us an overview of how and some input of my own but I suspect that Egyptian art was viewed by the Greeks and some members of the audience, which how Classical appreciation of non-Greek art included several visitors who had been drawn influenced the way modern scholars have to the Society by the appeal of the subject, interpreted Egyptian styles, especially the will have gone away disappointed. If you have conventions regarding the portrayal of the had a good, or bad, experience with a talk we human figure. He compared the similar would be glad to know because personal conventions of representing three-dimensional recommendation is the best guarantee of objects in two dimensions adopted by other finding the best speakers and avoiding the contemporaneous societies. -
Southampton Ancient Egypt Society
The newsletter of The HOTEP Southampton Issue 17: March 2017 Ancient Egypt Society Review of the February meeting February Quiz Answers: On Saturday 18 February we welcomed Paul Collins, Curator of the This quiz was in two parts. ancient Near East at the Ashmolean Museum, Before you could match the kings to the Oxford, to talk about Egypt and the names of their wives you had to identify Assyrian Empire. Taking the Assyrian point the kings themselves. of view Paul explained how Egypt was seen by the inhabitants of the Fertile Crescent and chronicled the interactions between B th A D Egypt and Assyria from the 18 Dynasty to the end of Dynasty 25. He showed how the two empires vied for control of the Levant, a region of strategic and economic importance, and described their different approaches to the needs of trade and C government. This was illustrated with carefully chosen images backed up by a A: Ramesses II B: Tutankhamun C: Amenhotep III D: Akhenaten range of textual evidence, for example the (Luxor) (Karnak) (BM) (Louvre) Amarna Letters, which showed how international relations developed over the Matching spouses from the list: years as Assyria’s power and sphere of A: Nefertari & Merytamun influence increased. By B: Ankhesenamun matching events described C: Tiye & Sitamun in the Bible, especially the D: Nefertiti military campaigns in Syria- That left the following ladies un-paired. Palestine, to contemporary Ahotep was the name of two queens, wives Egyptian and Assyrian texts of Seqenenre Tao II and Amenhotep I. and by dispelling some Mutnedjmet was the wife of Horemheb.