Kelly Hanning
History and Criticism of Art
Sarah Andyshak
April 14, 2015
On “Hatshepsut’s Use of Tuthmosis III in Her Program of Legitimation” Vanessa Davies’ “Hatshepsut’s Use of Tuthmosis III in Her Program of Legitimation,” discusses the relationship between Hatshepsut and Tuthmosis III as co-regents. She explains how the study of subtle stylistic trends in the art of an era can give light to the political situation of that time. According to Davies, observance of these trends show that Hatshepsut respected Tuthmosis III as a co-regent, and showed this through the artworks she had commissioned. These include the Small Temple of Mediate Habu, the Chapelle Rouge at Karnak, Hatshepsut’s mortuary temple at Deir el-Bahiri, the Temple of Buhen,
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Both rulers are depicted in a wide variety of headdresses that have many different meanings. Tuthmosis is most commonly depicted in the nemes headdress, while Hatshepsut is most often depicted in the red crown (this is Tuthmosis III’s second most common crown. The double crown, which is a symbol of dominion over the entire land, is worn by Hatshepsut four times, while Tuthmosis III only wears it once. The reason for this is not quite clear, but in one depiction, it is possible that it is a mistake of the carver’s since Tuthmosis III is depicted in a nearby scene in the red crown, and so is Hatshepsut. Also, the depiction of one ruler in a double crown when carving co-regents is not something that was done in Egypt. The very nature of the crown seems to defeat the purpose of having two rulers in the first place. Davies finds that the rulers are most accurately depicted when one was wearing the red crown of the north, and the other, the red crown of the south; this way they unite two kingdoms with two …show more content…
Tuthmosis III is described as “beloved” or “beloved of a [certain deity]” over 50 times, and was referred to as “the good god “56 times, as well as “King of Upper Egypt and Lower Egypt” 46 times, and “Lord of the Two Lands” 29 times. Positioning can also be considered as a meter of equality between co-regents. Tuthmosis III is depicted behind Hatshepsut 62% of the time, and in the other 38% the rulers face together. While it is possible that this ordering was to make Hatshepsut appear more important, it is likely that this was meant to say they were standing side by
In this essay I will be comparing the two pharaohs Khufu (Koo - Foo) and Hatshepsut (haht-SHEP-soot). I will be comparing their achievements what they built and their time period. Come along and explore the depths of Ancient Egypt.
Queen Hatshepsut, who ruled Egypt during the 18th dynasty, was one of a small handful of female pharaohs. Despite her many achievements, her reign is most remembered for the fact that she was a woman. Her unique story has been a source for dispute among scholars, which has led to a number of conflicting views. The small amount of Hatshepsut’s life that has been documented does not allow us to see the more intimate details of her life. Historians have a broad range of opinions on her, but one thing is certain: her reign provided Egypt with a period of peace and prosperity after 100 years of foreign rule. There are a number of theories involving Hatshepsut’s personal and public life.
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
Hatshepsut’s posture of sitting down on the throne gives off great reverence. Her pose gives the idea of royalty and respect as she is sitting rather calmly but also straight up. Hatshepsut’s hands are laid flat on the top of her knees. Her position is very static and still. There is no urgency in her posture, seemingly peaceful and serene. However,...
After her father’s death when she was 12, Hatshepsut became the queen of Egypt when she married her half-brother and he became the Pharaoh Thutmose II. He was the son of her father and one of his second wives. During the reign of Thutmose II, Hatshepsut assumed the traditional role of queen and principal wife. During their marriage, Hatshepsut and Thutmose II were not able to produce a male heir but had a daughter named Neferure. Because she was the first and main wife and queen of Thutmose II, when he died, she proclaimed herself the fifth Pharaoh while denying the old Kings son, her nephew.
Roehrig, Catharine H. Hatshepsut: From Queen to Pharaoh. New York: The metropolitan Museum of Art, 2006. 1-296. Print.
“The pharaoh of ancient Egypt is normally described as the typical example of a divine ruler” (J. Ray, Hatshepsut, Vol 44, Issue 5, 1994) The ancient Egyptian world has seen hundreds of pharaohs; some excelled and some didn’t. Many of the pharaohs were men, only few females succeeded in gaining such great power, yet some did... specifically Hatshepsut. Few pharaohs of the 18Th Dynasty have aroused as much controversy as Hatshepsut. Hatshepsut was the sixth pharaoh of the New Kingdom and set up co-regency with her nephew and stepson, Thutmose III. (J. Lawless, Hatshepsut, a Personal Study, 2010) Hatshepsut created many junctions in history through politics, building programmes and military. This makes her so recognised in modern day studies, though almost all evidence of her existence has been partially or completely destroyed. Due to this many theories have been created about the standard of her reign.
In conclusion, the portrayal of ancient rulers is dependent not only on the style of art popular during the era, but also on the evolution of the political climate. The portrayal of Menkaure, a pharaoh of the Old Kingdom in ancient Egypt, is of complete authority, control and power. His face does not show concern or grief over his people, because he is not challenged politically, the image of control coincides with his sole power over the kingdom. While the depiction of Alexander the Great, in ancient Greek coins is deified. Alexander’s leadership ended with world domination; therefore, his deified portrayal on monetary funds is particularly appropriate. By contrast, Philip the Arab’s portrait sculpture almost resembles a present day photograph with its capture of fleeting expression. This expression of anxiety and sadness is a representation of the political turmoil during the time period of his rule. Taking the progress of ancient cultures into account, how does the art of sculpting improve in the manipulation of the medium used?
"Heilbrunn Timeline of Art History." The Achaemenid Persian Empire (550–330 B.C.). N.p., n.d. Web. 10 Feb. 2014.
In “Hatshepsut: His Majesty, Herself”, by Catherine Andronik, she informs the reader about Hatshepsut and her role as an effective female pharaoh in ancient Egypt. One supporting detail proving her leadership was when she acted as a regent, an adult who can take control of the country. Another detail that supports the fact that Hatshepsut was an effective leader is in paragraph 11 where the text states, “ She appointed officials and advisors, dealt with the priests; appeared in public ceremonies first behind, then beside, and eventually in front of her nephew.” this quote explains that because Hatshepsut’s nephew, Tuthmosis III, was too young to be a powerful ruler, Hatshepsut, who was second in command, ended up doing everything for him. Hatshepsut
The sites touched by Thutmose I and II were expanded in Upper Egypt. Hatshepsut built for Horus of Buhen, which was a temple of a temple common in the mid 18th dynasty. Hatshepsut lined the temple with drawings of her and Thutmose III. Although later, when Thutmose III rose to power, he replaced those drawings with those of just him and his father and grandfather. However, parts of the Buhen temples that were moved to the Khartoum Museum, contains scenes of Hatshepsut’s coronation and veneration of her father, Thutmose I. There are no records of any 18th dynasty kings building before Hatshepsut. Hatshepsut also inscribed a lengthy tale on Speos Artemidos, saying that she was the first person to start to restore temples in the area of Memphis since the Hyksos destroyed the area. She claimed to rebuild temples at Hermopolis and at Cusae. This work was claimed to be overlooked by one of her nomarch named, Djehuty. Djehuty was a general under king Thutmose III, and then a nomarch to Hatshepsut. Djehuty had the titles “king's scribe”, “overseer of troops” and “overseer of the northern countries”. Hatshepsut gave the most attention to Thebes. She had a huge focus on the Temple of Karnak, and worked on restoring and expanding on the once great temple. Djehuty had a large role in this project as well. Illustrated on the walls of this temple, was the Queen’s expedition to
The fundamental features of the Warrior Pharaoh image during New Kingdom Egypt included; leading his soldiers into battle and returning in victory, attacking the enemy in his horse-drawn chariot which was adopted from the Hyksos, wearing war regalia , larger than life expectations and finally offering the spoils of war to the god Amun, the inspiration of his victory. Due to the absence of the their pharaohs on military campaigns, the Queens began to play a more prominent role within the New Kingdom Egypt’s society, however this was a short term consequence of the civil war as it was only necessary when the Pharaoh left to go to war or on a campaign. The rise in roles and prominences amongst the Queen’s slowly decreased towards the end of the war until Hatshepsut comes into power. After this the Queen’s involvement seems to disappear and we begin to no longer hear about
Not only was the royal house rich but there was also a sense of style throughout the palace. He set the standard for beauty and art. He showed discriminating taste by using his money to patronize many craftsmen. The many paintings and statues of this time show that the artists and craftsmen had great confidence in their ability to paint, sculpt, create jewelry and build. This confidence of course came from the king's desire for beautiful art. Paintings depict Amenhotop as a skilled warrior and hunter, even though Egypt was at piece and he di...
An essential characteristic for being a great leader, consistent within many, is confidence. A person may have ideas, but for them to be carried out takes confidence in themselves to bring those ideas to reality. Hatshepsut portrayed herself as a very confident woman by taking the initiative to do things that only Pharaoh’s would commonly do, such as performing certain religious rituals, making offerings directly to the gods, and commissioning various building projects. These actions made it evident that she saw herself as important and powerful, and others soon believed this as well; she was considered as God’s wife of Amen and became a priestess in temple rituals. Hatshepsut also depicted herself as a male—she dressed in a kilt, crown, and wore an artificial beard. This clearly shows that she had great ambition to be King, as she took on the daring task of creating a false persona just so that she could reach her goal. Despite the typical male dominating society, Hatshepsut displayed confidence in herself that she could become ...
He was the first king that was ultimately given credit for bringing together the two kingdoms of Upper and Lower Egypt for the first time in Egyptian history. We were able to gain knowledge of the combination of the two kingdoms through what is known as Narmer’s Palette. Narmer’s Palette has two sides with one side depicting the Pharaoh of the White Crown of Upper Egypt defeating the army of the Lower Egypt. The other side of Narmer’s Palette represents the unification of Egypt as a whole with King Narmer wearing the Double Crown also known as the “Pshent” which was a combination of the White and Red Crowns of Upper and Lower Egypt. He was known as the ruler of the Early Dynastic Period and his unification gave rise to the 1st Dynasty of Kings in