Classics 2908: Egyptian Art & Architecture

Front 1

What dynasty is it from?

What culture is it from?

What is this?

Why is this important?

Back 1

PreDynastic Period

Merimda, Lower Egypt

Human idol

Evidence for artistic and cult activity

Front 2

What dynasty is it from?

What culture is it from?

What is this?

Why is this important?

Back 2

PreDynastic Period

Merimda, Lower Egypt

Potsherd

Evidence for artistic and cult activity

Front 3

What culture?

Where is it from (Delta or Valley)?

What dynasty?

Why is this important?

Back 3

Ma'adi Culture

Delta

PreDynastic Period

Maadian culture spread around Delta

Front 4

What culture?

What dynasty?

Where is it from (Delta or Valley)?

Why is this important?

Back 4

Ma'adi Culture

Delta

PreDynastic Period

Fetal position was popular at this time; not sure what this position represents

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What culture?

What dynasty?

What is this?

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Badarian culture

PreDynastic Period

ivory hippopotamus
- hollow opening for cosmetics, perfume, etc

- crafts become more important

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What culture?

What dynasty?

What is this?

Back 6

Badarian culture

PreDynastic Period

fine pottery made to look like metal; crafts become more important

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What culture?

What dynasty?

What is this?

Why is it important?

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Badarian culture; PreDynastic period

female idol (small sculpture) : we don't know what she represents or who she is; there is some sort of ideology involved (where they Gods or ancestors?)

first time idols start to appear

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What culture?

What dynasty?

What is this?

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Naqada I; PreDynastic

A pot-- big man with his arms up wearing stick crown and two guys on either side stuck together by their necks

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What culture?

What dynasty?

What is this?

Why is this important?

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Naqada I; Predynastic

pottery is distinctive of the Naqada I culture (bright red clay with the black lace)

we find this pottery spreading north an south over time= spread of people, ideas, things

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What culture?

What Dyn?

What is it?

Importance?

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Naqada I

PreDyn

Pottery (dish)

We start to see depictions of ppl and animals on pottery

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What time period is this from? What can they tell us about that culture?

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Naqada I, PreDyn

coned beard; may represented later Egyptian cultures ("kingship"; protoking or protoGod)

Front 12

What time period is this from? What can they tell us about that culture?

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Naqada I; PreDyn

imported pot from Maadi culture in Delta= trade

Front 13

What time period is this from? What can they tell us about that culture?

Back 13

Naqada I; Pre Dyn

Female idol-- continues to be popular

Front 14

What time period?

What are the details and what do they mean?

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ships very popular: symbolic meaning?
triangles= mountains
boat has a "standard"= pole with representation of regional symbol

- boats were their main mode of transportation, may also be where people lived

- standards continue to be seen in the dynastic periods; they represent the family or place that the person is from

- woman with arms raised above

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What time period?

What are the details and what do they mean?

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see how identical the pots are; same boat with cabin, women with raised arms

Front 16

Time period?

What are they?

What can they tell us?

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Naqada II; PreDyn

stone vessels: very popular in this period; used for perfume

- Evidence for specialized workshops (advanced craftsmanship)

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What time period?

What are they?

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Naqada II; PreDyn

- these are palettes
- rhino, elephant, and turtle
- used to mix cosmetics on

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What time period?

What is this?

why is it important?

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Naqada II; Pre Dyn

- idol: staff with carved head of bearded man. Ivory. Case to hold instruments?

Front 19

What time period is this from? What is it? What can they tell us about that culture?

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Naqada II; PreDyn

- Female idol with her head shaped like a bird, broad hips, raised arms.

- New for this time period (animal heads are not uncommon overall in Egyptian art)

Front 20

What time period is this from? What can they tell us about that culture?

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Naqada II; PreDyn

- we see ppl with more lavish goods than others; class differentiation

- indication that there's an afterlife

Front 21

What time period is this from? What can they tell us about that culture?

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Naqada II; PreDyn

new style of pottery; mix of north and south (blending of valley and delta culture)

pot with ear= delta style

third pot= imitates stone pot (poor person can have a clay pot that looks like stone)

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What time period is this from? What is it? What can they tell us about that culture?

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Early Paleolithic; PreDyn

stone tools, shaped by humans into something useful, axes, arrowheads, blades, mills, knives

One of the first evidence of the earliest people in Egypt

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What time period is this from? Where? What is it? What can they tell us about that culture?

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Naqada I; PreDyn

Hierakonpolis

first representation of painting on a wall

Battle

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What are the motifs?

What's the importance of these?

Where are this depicted?

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Smiting scene= continuity (starts in this phase); a powerful guy taking a club and bashing someone over the head

man fighting two lions (or vicious animals)= "master of animals motif"; borrowed from Mesopotamia

- ideas are starting to move form Mesopotamia to Egypt

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What time period?

Where?

What?

Importance?

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Nubia; PreDyn

Pottery

they have an entirely different culture

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Where? Time period?

What? Importance?

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Abydos, Late PreDyn

items (imported jars, like oil and wine) in tomb had labels (we have hiergraphic writing system near the end of the predynastic period); first time writing shows up

Beginnings of kingship

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Time period?

Who's?

Main features?

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Dyn 0

Image on King Scorkpion's macehead; beginning of kingship

biggest figure is the King, wearing a white crown (named King Skorpion)
- white crown= South= Upper Egyot

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What is it?

Main motif?

Importance?

Time period?

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Gebel el Arak knife-- Stone knife with ivory handle

the master of beasts

style of knives and the outfit of the master of lions is from mesopotamia. artist came from mesopotamia to egypt or it was imported

Late Predynastic

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What is it?

Main motif?

Time period?

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Two Dogs Palette; Hierakonpolis; Late PreDyn

motif: animals, animals fighting, fabulous creatures (here=snake-necked panthers?)

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What is it?

TIme period?

Motif?

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Battlefield Palette, Late Predynastic

Common motif: battle scenes and war. Here captives taken by personified standards (holding bond captives together)

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What is it?

Time period?

What does it depict?

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Cities Palette, Late Predynastic

Animals and orchard labeled “Libya” = booty from conquest?

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What is it?

Time period?

What does it depict?

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Cities Palette, Late Predynastic

King’s animals attacking symbolized cities (each square is a different region, attacking the cities are standards, and animals that are dear to the king)

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What is it?

Time period?

What does this tell you about the culture?

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Statue of the god Min, late Predynastic Period

the idols are now much bigger (first evidence for structures on a bigger scale)

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first column: lower egypt (delta), sedge (nesut), red crown (deschret), wadjit (snake goddess), tell el- Farain/ Buto (pe and dep)

Second column: upper egypt (nile valley), bee (bity), white crown (hedjet), nekhbet (vulture goddess), El-Kab and Hierakonpolis (Nekheb and Nekhen)

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Dyn 0; Narmer; Palette (ceremonial(

first time all these elements are depicted together: smiting scene, serekh, crowns of upper and lower egypt, royal standards, control of chaos

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Dyn 0; Narmer; Palette (ceremonial(

first time all these elements are depicted together: smiting scene, serekh, crowns of upper and lower egypt, royal standards, control of chaos

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Dyn 0; Narmer; Macehead

• Vulture=goddess
 Nekhbet
 (Upper
Egypt)


• Boundary 
markers 
with 
runners: 
later
 boundary
ritual?


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Dyn 0; Narmer; Macehead

• Vulture=goddess
 Nekhbet
 (Upper
Egypt)


• Boundary 
markers 
with 
runners: 
later
 boundary
ritual?


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Dyn 0-1; ivory royal figurine

posture and robe is reminiscent of a later robe that is associated with Sed festival

not sure if Sed festival was performed at this time

- aspects of Kingship

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Tomb of Den; Abydos; Dyn 1

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Tomb of Den; Abydos; Dyn 1

the Ka (spirit) lives on forever
like a "shrine"
other kings started to do this after Den (they would get more elaborate over time)

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Dyn 1- label of Den

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Dyn 1; funerary stelae; Wadj (Djet); Abydos

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Dyn 1; funerary stelae; Queen Merneith; Abydos

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Tomb of Qu'a; Abydos Dyn 1

he made himself a stairway that they can build the tomb, put the body in, and they can still access the burial chamber after it was done (until they seal it)
- advance in building technique

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Dyn 1-2; ritual/ valley precincts; Abydos

where rituals took place (no real clue what happened; it is associated with the tomb

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Back 47

Dyn 1 Kings; Saqqara; cenotaphs

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Niched mastaba, Saqqara, Dyn 1

“Palace 
façade”=relation 
to 
palace
 architecture
and
 Near 
Eastern 
prototypes
 (same 
design 
as
seen 
on 
the
serekh)


they are still buried underground but there is a landscape

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Nicked mastaba, 1st Dyn, heads of cattle on base course

sign of wealth
the more cows you have, the more you have to kill when you died (for sacrifice or rituals for example)

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stone vessel in shape of basket, north Saqqara, Dyn1

petrifying things so that they last forever

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Tomb
 of 
Hetepsekhemui,
first
 king 
of

 2nd
 Dyn., Saqqara

Gallery tomb-- rooms for extensive quantity

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Back 52

Stela 
from 
tomb
 of 
Nebre,
 2nd
 king 
of
 2nd
D.,
 Saqqara

We have never found the associated tomb

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Tomb
 of
 Khasakhemwy,
 Abydos,
 end 
Dyn.
2,

entire complex built of brick inside a single sunken pit (instead of cut out of rock like Saqqara)

influenced by gallery tombs

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Back 54

Statue 
of
 Khasakhem(wy),
Hierakonpolis,
late
Dyn.
2,


early known statuary, white crown and robe

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Back 55

King’s
name
on 
the 
base ,
upside 
down
 to 
viewer


• Fallen
 enemies 
around
 the 
base 
with 
one
 that
 has
 papyrus 
reeds
 and 
the 
number
 47,209
 which
 may 
be
 the
 number 
of 
people 
taken


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Funerary niche stone with offering list, Saqqara; Dyn 2

- offering stone, deceased sitting down on a bench facing a table with bread and a list (offering list)
- list of things that he wants to be brought to him when he's in the afterlife

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• Peribsen:
second 
to 
last
 king
 of
 Dynasty 
2.



• Breaks
 tradition 
and 
changes 
royal 
ideology:
why?


• Serekh
 topped 
by 
Seth 
animal
 not
 Horus 
falcon
 • Later
 ideology
 of
 god
 Seth:
foreigner,
desert,
chaos,
over‐thrower;
 does 
this 
apply 
now?


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top: niched mastaba with shaft and internal mound

middle: niched mastaba with stepped mound

bottom: stepped pyramid with niched enclosure wall

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Mortuary complex of Djoser; dyn3; saqqara

first project built entirely of stone

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Djoser's pyramid complex; dyn 3; saqqara; modeled after palace (some buildings were non-functional)

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know the features

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Djoser's pyramid complex; dyn3; saqqara

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Djoser's pyramid complex; dyn3; saqqara

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Djoser's pyramid complex; dyn3; saqqara

- 14 "false" entrance, one real one (here)
- looks like serek design (why we call it palace facade"

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Djoser's pyramid complex; dyn3; saqqara

enter thorugh colonned hallway lined with half- columns resemble bundles of reeds

pathway is narrow and dark (resembles journey to underworld) only to enter a bright, spacious courtyard (facing the South tomb)

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Djoser's pyramid complex; dyn3; saqqara

this border is an uraeus frieze (the cobra symbol that is aligned on top of the tomb); it meant something, but we don't know what

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Djoser's pyramid complex; dyn3; saqqara

opening to that first mastaba

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Djoser's pyramid complex; dyn3; saqqara

layer cake of mastabas
underneath of mastaba is a shaft tomb

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Djoser's sed festival courts; dyn3; saqqara

Sed festival// two thrones representing upper and lower, performed rituals at shrines representing provincial deities of upper and lower Egypt

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Djoser's serdab room; dyn3; saqqara

Serdab= cellar (a room with a statue with no doors to get to it); building against a pyramid (mortuary temple)

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Djoser's serdab room; dyn3; saqqara

- the discoloration are from ppl putting their hands onlooking into the holes to see the King's statue (over centuries)

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Djoser's Ka statue; dyn3, saqqara

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Djoser's Ka statue; dyn3, saqqara

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Djoser's pyramid; dyn3; saqqara

there was a maze of chambers under his tomb
- stuff was for him and his family

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Djoser's south tomb; dyn3; saqqara

Raised relief panel (false doorway) showing boundary ceremony, under south tomb

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Djoser's south tomb; dyn3; saqqara

Raised relief panel (false doorway) showing boundary ceremony, under south tomb

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djoser's pyramid; 3rd dyn; saqqara

walls under the pyramid and south tomb were decorated with blue titles

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Stepped Pyramid of Snefru; Meidum; Dyn 4

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Stepped Pyramid of Snefru; Meidum; Dyn 4

added a casing outside that made it look like the sides were straight; burial chamber was corbelled

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Stepped Pyramid of Snefru; Meidum; Dyn 4

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The Bent Pyramid of Snefru; Dahshur; Dyn 4

he went straight to making straight sides (instead of making a casing after making a layer cake)
- stones were angled (slightly declined) inwards, so we get an angled pyramid
- but that is not structurally sound (the weight was distributed inwards; it started to collapse)
- the base of the pyramid is also not strong (sandy)
- upper half of the pyramid was laid like our bricks (flat)

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The Bent Pyramid of Snefru; Dahshur; Dyn 4

- corbelled vaults= open spaces created by layering stones slightly inwards until there is no more space to go (and then they cap it off)

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The Bent Pyramid of Snefru; Dahshur; Dyn 4

the stones started to crack after subsidence
- then they changed the angle and started to build A in hopes that it'll stay
- but it still collapsed (more harm than good), and it was abandoned

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The Bent Pyramid of Snefru; Dahshur; Dyn 4

chambers built as they were building up the pyramid; it wasn't carved out

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Valley temple of Snefru's bent pyramid

- fragment of the decorations in the niches (cut out of the set back area)
- each niche had a statue of the King embracing deities

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Valley temple of Snefru's bent pyramid

- called the Valley temple because it was located closer to the Valley

- a lot of prep took place (the wrapping of the body, rituals when they took the King to the actual tomb)

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east wall of Valley temple entrance hall; Snefru's Bent pyramid; dyn 4

- when Ancient Egyptians depicted things on their walls on their tombs, it was "real" (it comes to live) and last forever
- there will always be people providing offerings to the King

these ladies represent the different estates
- egypt was broken up into nomes (like provinces)
- each nome was depicted as a female
- they bring offerings to the deceased King

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Snefru's red pyramid; Dahshur; Dyn 4

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Snefru's red pyramid; dahsaur; dyn 4

- more simplified in the interior
- the 3 chambers were built on the underground before the pyramid was built (wanted to prevent them from cracking if they were placed in the center)

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Pyramidion from Red Pyramid; Sneferu; Dyn 3; Dahshur

- the "point" on the pyramid = usually covered with a shiny metal so that it comes a becon when the sun hits it

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Burial chamber of Red Pyramid; Dyn4; Dahshar; Sneferu

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Pyramids of Giza, 4thD

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Khufu's Great Pyramid, Giza, Dyn 4

- the notion that the pyramids were built by a slave labor force imported from elsewhere was a false mythology

- based on archelogical excavation, it takes about 10 thousand ppl at all times (less than 1% of the population of Egypt at the time

- during the growing season, farmers were hired to work on pyramids for extra money or to pay off a debt

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Khufu's pyramid plan

- relieving chambers; don't have corbelled vaults
- mechanism so that the building doesn't collapse --> so that the stones don't give it to that open space

- started to build underground (represents underworld)

- Queen's chamber was originally for the king, but he decided it was too small

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Khufu's pyramid

Grand Gallery corridor leading to burial chamber

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Khufu's sarcophagus

- tomb was too big for the door
- it must have been placed before the tomb was finished (for lowered in)

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Khufu's ship (probably actually used in real life)

was disassembled and buried

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Hemiunu, one of Khufu's princes

- building manager of the pyramids

very life like (unusually for 4th dyn elites)

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Khafre's pyramid dyn 4

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Khafre's pyramid

- some ppl they think this is too simple for the King
- they predict that the true burial chambers are hidden up there (in the middle)

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Burial chamber of Khafre

S. Belzoni discovered it

- sarcophagus was built into the stone

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The Great Sphinx

- sphinx was probably already there (his father did); King Khafre re-purposed it to look like him

- causeway was angled

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Valley temple of Khafre

- located in the valley from the causeway
- solid looking mass of a structure (block)
- located next to the Sphinx
- close to valley, so we call them valley temples (close to the land of the living)
- it is the transitional space b/w the land of the living and the land of the dead (we think this is where rituals regarding the burial took place (but we don’ t know for sure)

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Pillared hall in Khafre's valley temple

- inside walls made of black stone
- they found the seated statue of Khafre inside (buried in the floor)

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Seated statue of Khafre

- buried in the floor is 23 seated statues of King Khafre

Both sides of the seat between the chair legs has the sema-tawy motif: symbolizes unification of the two lands: papyrus and lotus tied together around a windpipe and human lungs: word had same consonants as “to unite”

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Khafre

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Menkaure; dyn4; giza

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Menkaure diad with his wife

- still has his features although idealized (depicted as athletic)
- wife would have similar features to the King in statuary to show unity

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Menkaure's pyramid entrance and red granite facing

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Menkaure's pyramid plan

- he went underground again
- father and grandfather had burial chamber inside the pyramid structure
- easier to make and has to do with the connection with the underworld

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Head of Menkaure, valley temple

•A Saite period (2000 years later) coffin inscribed with Menkaure’s name found inside pyramid •Original stone sarcophagus lost at sea on the way to England. Doh!

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5th dyn pyramids at abusir

- not as nicely made and not as big

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Typical pyramid complex of Sahure, 5th dynasty

- valley temple, causeway, mortuary temple, and pyramid

grand building that starts with an entrance way to an open court with columns (sun will come down)... then we get a separate corridor that is entire roomed and closed (dark)--> going from light to dark (obsession for duality)
- And then we have storage areas and a holy place would hold the Ka’s statue and where cult activity happened

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Pyramid and mortuary temple of Sahure, 5th dyn

•Continued the theme of using multiple colors of stone as a form of decoration: basalt (black) paving, red granite paving and columns.
•Mortuary temple decorated with painted and inlaid reliefs.

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The Great Green One

mortuary temple of Sahure

procession of fertility gods

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Deities with captives (in a more active role)

Mortuary temple of Sahure

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Solar temple of Niuserre, Abu Ghurob, 5th dyn

Ra got his own temple, the king was always important and worshipped (since 4th dynasty) but not to this degree
- separated from the King's pyramid

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- outline of what is left of the enclosing wall of the obelisk
- solar temples haven’t been preserved well
- they would have been decorated like a mortuary temple but, the depictions that were displayed had to do with what the Sun liked

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Reliefs from solar temple of Niuserre, Abu Ghurob

had to do with what the Sun liked:
farming, growing seasons, harvest, cycles of agriculture

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Pyramid texts of Unas, Saqqara, Dyn 5

- pyramid texts were directly connected to Osiris
- road map on how to get to the underworld, how to interact with the gods
- what you have to do to get there
- trend continued into Middle Kingdom
- some where mystical spells (protection spells) to help protect the King

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Red granite gateway into mortuary temple

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Mortuary temple of Unas; Saqqara

- sign of legitimization
- “he too is a deity”— he is so much the son of a goddess in order to suck on her breast

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Pyramid of Pepi II, south Saqqara, 6th dyn

last pyramaid complex of OK

- we believe he's one of the reason why the Old Kingdom collapsed in the end
- rubble construction
- used small stones
- didn’t last long

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Pyramid complex of Pepi II

although poorly built, it still had the basic structures.

- gigantic mortuary complex in comparison to the pyramid

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The mastaba

• Most common elite tomb type
• Developed in the Predynastic period, then continued by elites throughout Old Kingdom
• Made of solid mud-brick or mud-brick casing with rubble. Later limestone casing used.
• Burial chamber located underneath via a cut shaft. • Main cult area originally outside, then moved inside the mastaba.

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Saqqara, mid 5th D.,

Rock-cut tomb behind traditional mastaba.

Used when topography did not allow for mastaba, but cult chambers and their decoration followed same schemes

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Entrance to tomb; OK

• Entrance to tomb chapel had all the elements of a house door: door jamb, lintel, frame and rounded drum for hanging a curtain

• Deceased is shown entering his tomb (on both sides), accompanied by adult sons (but very small)

• Entrances to elite tombs normally had an offering formula to Anubis over the doorway.

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Funerary repast scene; elite; started in 2nd D

• Determined what would be brought to him every day

• Deceased shown seated facing right with right arm pointing to a table in front with half-loaves of bread.

• Above the deceased are his names and titles as well as offering lists and depictions

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Offering niche; elite

• Here the repast scene is flanked by two depictions of the deceased, facing those who would be performing the rituals.

• Not mirror images: staff (LH), hands, scepter (RH), and body- type (one older/heavier than other=two different periods of his life)

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False door; elite

• Typically, the repast scene was placed above the chapel’s false door • False door stood between the participants and the serdab room. • The liminal space where only the ka could pass through and receive the offerings. The boundary between the living and dead

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False door; elite; OK

cavetto cornice and torus molding.

• 5th Dynasty onwards • Mimicked entrance to

cult building

• This one mimicks sandstone with brown paint

• Deceased was a vizier to the king

• The repast scene then spawned the decoration for the other walls of the chapel: what if these things stopped coming?

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Serdab openings; elite; OK

• Serdab room located behind this wall: three horizontal slits allowed the ka’s statue to observe the rituals taking place.

• Main image is the deceased receiving the offerings with three brothers behind him and wife at his feet.

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the four walls of the tomb; elites; OK

- we will have everyday life scenes in different registers along the wall, all facing the person

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prince’s mastaba; OK: elite

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elite; OK

- the people are depicted flat (not muscular) in contrast to the natural imagery (they are perfectly depicted with a lot of detail)

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Western cemetry of Giza

Elites built their tombs near the king they served or whose cult they participated in.

• During 4th Dynasty this was mainly at Meidum, then Giza.
• 5th Dynasty moved to Saqqara

• 6th Dynasty elite began building their tombs away from the king, in their own nomes (territories)

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False door; elite

• Other false doors were more elaborate, modeled after the palatial niched façade.

• From the 4th Dynasty onwards, rarely found because it implies royal connections; also combined with standard false door

• This one is the primary false door for the “leader of singers, Khenu”

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Relief; elite; OK

- the people are depicted flat (not muscular) in contrast to the natural imagery (they are perfectly depicted with a lot of detail)
- it’s a choice (not that they didn’t know how to draw depth)
- it was the action that mattered and not the person (that person can be a slave)

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Relief; elite; OK

- this would be where the deceased person is; person in charge is giving the deceased person the papyrus record of what they did in the day
- offering within the offering scene

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Relief; elite; OK

scenes of everyday life

- dancing, etc.

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Relief of animal sacrifice; OK; elite

cows being sacrifices (daily)
- leg shank and heart would be carried to the deceased person and offered to them (heart is circled in red)

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Display of cattle for sacrifice; OK; elite

cattle= wealth

depicts ppl in injury= everyday life

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Back 142

relief; OK; tradesmen and market

comic book style conversations

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Back 143

relief; OK; Cattle rearing

- a lot of scenes of cows giving birth
- a lot to do with death, rebirth, life
- the tomb is where you hope to be reborn in the afterlife

Front 144

Back 144

Relief; elite; OK

scene of tradesmen (sculptors and statues, metal workers with furnance, jewelers knotting broad collar necklaces)

- there were inscriptions of their activity, titles, products, and conversations

Front 145

Back 145

relief; OK; Cattle rearing

- a lot of scenes of cows giving birth
- a lot to do with death, rebirth, life
- the tomb is where you hope to be reborn in the afterlife

Front 146

Back 146

Elite Mastaba; OK

- huge mastaba that has a lot of interior chambers (for storage for example)
- so big they needed internal support (columns)
- can be for the whole family

Front 147

what is it?

features?

Back 147

Elite; relief; OK

Hippo Hunt

- famous picture of the Hippo hunt (remember: life, death, rebirth)
- fish and grasshopper are very large in comparison to the hippo
- papyrus thicket (forest-like place)
- sacred ideology (for the afterlife) because papyrus thicket has to do with a myth having to do where Horus was born (Horus was born in a papyrus thicket in the Delta)
- because they are not royalty, they can't depict deities and Horus on their wall art, sarcophagus; they can only gesture/ refer towards that

Front 148

Back 148

elite; OK; relief

Journey to the "beautiful west"

- symbolic journey in a boat (crossing from the land of the living to the land of the dead)
- owner and mummy are making their way to the tomb (final place to resting)

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Back 149

elite; OK; relief

Decorated burial chamber with checkered offerings and formal offering list

Front 150

Back 150

Coffin; elite; OK

- coffin for normal people were made of wood or stone
- they were still rectangular shaped sarcophagus
- inscriptions drawn on them
- Wedjat eyes were symbols of "mystic stuff"; like the evil eye (letting the mummy look out; their head would have been there); also wards from evil

Front 151

Back 151

Private tomb staute (Serdab)

• Inscribing the statue with his or her name and giving individualized features directly identified the statue with the deceased. Only then could the ka use is.

Front 152

Back 152

Private tomb statue (ship builder); OK

- those identifying features on statue can come from supplementary features (like a tool that he used a lot in his life)

- 3rd Dyn.... because he is not as athletic as the 4th D kings

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Back 153

husband and wife statue; elite; OK

-stone covered in plaster and painted
- we think the other stone statues were painted and plaster but the colours faded over time

- kilt is the fashion of the 4th dynasty
- women were more covered up (but depicted very tight so you can see the feminine form)

Front 154

Back 154

Family statue; elite; OK

• Man show much taller than woman because he is seated and she is standing (but their heads are same height).
• The son is depicted nude with finger to his mouth=symbol of childhood, very common.

Front 155

Back 155

Group statue; OK; elite

- man is still taller than woman

- her arm around his waist to know they are united

Front 156

Back 156

Group statue; OK; elite

• This is important because the woman is actually shown taller than the man—very rare. Possibly her two sons instead of husband.

Front 157

Back 157

Group statue; OK; elite

• Sometimes women could have their own statues
• Son is depicted as a typical child: nude, finger to mouth, “side- lock of youth”

Front 158

Back 158

Statue of scribe; OK; elite

• Know he is a scribe because of: • “scribe’s pose”=cross- legged
• Holding an open papyrus • And used to hold a stylus (pen) in his right hand (it is no longer there)

• Notice individualized features of the face, but idealized body.

Front 159

Back 159

Statue of scribe; OK; elite

• Know he is a scribe because of: • “scribe’s pose”=cross- legged
• Holding an open papyrus • And used to hold a stylus (pen) in his right hand (it is no longer there)

Front 160

Back 160

Alabaster statue of elite; OK

position: "manager of all the King's works"

Front 161

Back 161

Bust; elite; OK

Unique Old Kingdom statue because of its realism, high degree of individuality. But it is not a normal tomb statue: it is a bust and the material is different (

Front 162

Back 162

Servant figurines; elite tombs; OK

- 3d representation of their everyday scenes that were drawn on the walls
- they are much smaller (not life sized)
- safeguard to what you want to be offered in the afterlife
- their actions are more important than than their actual being as a human

Front 163

Back 163

Servant figurines; elite tombs; OK

- 3d representation of their everyday scenes that were drawn on the walls
- they are much smaller (not life sized)
- safeguard to what you want to be offered in the afterlife
- their actions are more important than than their actual being as a human

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Servant figurines; OK: elite tombs

Making bread

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Back 165

Wooden statue of elite; OK

Elites not normally shown nude. 5th and 6th Dynasty see this new type

This does not mean lack of status. Perhaps they deliberately refer to nude image of child to symbolize rebirth. But they are not children since they are clearly circumcised whereas young boys are not.

Front 166

Back 166

First Intermediate Period

- Dynasty 11 is separated from Dynasty 9 and 10 geographically —> war between 11 and 9/10
- those numbers represented location (they all occured at the same time)

Front 167

Back 167

Stealae; FIP

- sunken relief (a lot of contrast)
- Repast scene is depicted as standing (which is a no-no).
- have more artistic license because they were cut off from the North--> new intermediate style

Front 168

Back 168

Saff Tombs; FIP El- Tarif; Intefs

- abandoned the pyramids and built open courts and their tombs against rocky cliffs behind it

- the King in the intermediated period was elected (out of a bunch of nomarks) was more egalitarian (hierarchy was not as distinct)
- the ppl who are close to the King and power were also allowed to have their tombs around the King’s

Front 169

Back 169

Statue of Mery, Thebes, FIP; elite

- Theban Pre- unificaton style

- facial features are exaggerated
- body looks longer and look less athletic (reduced musculature)
- still maintain the solid stance

Front 170

Back 170

Statue of Mery, Thebes, FIP; elite

- Theban Pre- unificaton style

- facial features are exaggerated
- body looks longer and look less athletic (reduced musculature)
- still maintain the solid stance

Front 171

Back 171

Montuhotep; Dyn 11; Deir el_ Bahari

- won the civil war against the North
- separates intermediate period from the middle Kingdom

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Back 172

Montuhotep's mortuary complex; Deir el- Bahari; Thebes; Dyn 11

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Mentuhotep; Dyn 11

- he straddled both periods so, he has two artistic styles that represent him
- one of those styles is the pre-unification style where they used exaggerated features (he was King before the unification)
- the raised relief gives it a 3D affect (although it’s drawn in 2D representation)

Front 174

Back 174

Mentuhotep; Dyn 11; Deir EL- Bahari

- long causeway which leads to an open court yard, which was planted with trees
- ramp led up to ambultatory (covered court) that ran around a solid core (which is predicted to be a solid mound or a solid pyramid)
- the actual (burial) tomb was cut into the rock (underground) to protect it (but not really, it was robbed)

Front 175

Back 175

Mentuhotep; Dyn 11; Bab el- Hasan

king's first burial chamber before he decided to build the huge complex

Front 176

Back 176

Mentuhotep; Dyn 11; Deir EL- Bahari; pyramid complex

6 tombs that were build for 6 of his Queens; but they decided built the big temple area)
- so they built those tombs into the outer wall
- #6 was a solid: could have been a pyramid or it would have presented the mound that came out of the chaotic waters

Front 177

Back 177

Mentuhotep; Dyn 11; Deir El- Bahari

these were all great places for decoration
- a lot of painted wall relief

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Back 178

Montuhotep II; Dyn 11; Deir El- Bahari; postunificaiton style

- because he won, he had to legitimize himself in the eyes of the people in the North
- must conform to the Kings of the Old Kingdom
- flat style relief and similar facial feature while still retaining some of that “jazz” that was created in intermediate period

Front 179

Back 179

Montuhotep II; Deir el Bahari; mortuary complex

• Interestingly, statuary remained in the pre-unification style with large lined eyes, large ears, wide nose, large lips, little musculature. • Here, King Nebhepetra Montuhotep wears the sed-festival robe, the red crown of Lower Egypt, and once held the royal crook and flail.

• Skin painted black-the color of Osiris, god of the dead. Found in an “Osiris tomb” under the burial structure.

Front 180

Back 180

Montuhotep II; Deir el Bahari; mortuary complex

• Skin painted black-the color of Osiris, god of the dead. Found in an “Osiris tomb” under the burial structure.

Front 181

Back 181

Standing figure of Montuhotep II, Deir el Bahari, Dyn. 11

This statue and many like it would have lined the processional way up the forecourt to the temple.

The Red crown of Lower Egypt statues would have probably been place on the northern side

Front 182

Back 182

Head of Nebhepetre Montuhotep, funerary complex at Deir el Bahari, painted sandstone, 11th Dyn.

The opposing statue to the previous figure: the king wears the white crown of Upper Egypt here.

These statues would have been place along the southern side of the processional way

Front 183

Back 183

Relief fragment of god Montu embracing Montuhotep II, Deir el Bahari

Low, flat relief with little incised detail; contrast with the pre-unification style (eye is still in preunification style)

Front 184

Back 184

Painted relief fragment of fallen Asiatics, mortuary temple of Montuhotep II, Deir el Bahari, 11th Dyn

Return to Old Kingdom themes: control of chaos=defeating foreign enemies

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Back 185

temple complex of Montuhotep, Dyn. 11

• Still post-unification style, but changing: change from the flat, plain relief of the later years of the reign of Nebhepetra to one where there was more modeling and incised detail.

middle kingdom style is in between Old Kingdom and Intermediate
- wanting to do what is in between traditional and doing your own thing

Front 186

Back 186

Relief
 of
 Amenemhat 
I,
 Pyramid
 complex
 at 
el‐Lisht,
 Dyn.
12

• Relief
 from 
funerary 
temple.



• Temple 
itself 
is 
very 
badly 
damaged.



• This
 is 
the 
upper 
half 
of 
a 
lintel 
(top
of
door).



• Amenemhat 
I 
is 
in
center 
wearing 
curled 
wig
with
 uraeus 
and
 ceremonial 
beard.


• Upper 
Egypt
 goddess 
Nekhbet,
 then
 Horus
on
left

• Lower 
Egypt
 goddess
 Uto,
 then
 Anubis
on
 on right.



- not as flat as theh Old Kingdom (popping out effect)

Front 187

Back 187

12th DYn: return of pyramids

- they were not built the same way as the ones in the Old Kingdom
- they were not made from solid stone (therefore, they weren’t preserved well)
- they varied in size

Front 188

Back 188

Pyramid
 of 
Senwosret 
I, 
el‐Lisht, 
Dyn.
12

• Senwosret 
I 
pyramid: 
badly
 preserved
 mortuary 
temple 
and
 causeway,
valley 
temple
not
 excavated.


• Pyramid 
designed
 with 
a
 star‐ shaped
skeletal
 structure
 then 
filled
 in
 with 
unworked
stone
 and
 stone
 stolen 
from
 Giza.


•It 
fell
 apart
 when 
the 
outside
 casing
 stones
were 
robbed
 in 
the 
Medieval
 period.

Front 189

Back 189

Senwosret
 I 
Pyramid
 Complex; el-Lisht; Dyn 12

Decorated with mummiform statues of King

- similar mortuary temple plan to OK

- unique inner enclosure wall: decorated with panels showing king's serekh with Horus wearing double corwn and fecundity figure

- walls indicate that they start to want privacy

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Back 190

Senwosret
 I 
Pyramid
 Complex; el-Lisht; Dyn 12

- niches would have statues

- inner enclosure wall would have been decorated with the Serekh

Front 191

Back 191

Limestone 
panels
 from 
inner
 enclosure
 wall,
pyramid 
complex
 of
 Senwosret 
I,
 Lisht,
 Dyn.
12


- horus carved in high relief, wears double crown

- king's horus name + alternating throne name and given name

- palace facade below

- fecundity figure: represents prosperity of Egypt

Front 192

Back 192

Limestone 
panels
 from 
inner
 enclosure
 wall,
pyramid 
complex
 of
 Senwosret 
I,
 Lisht,
 Dyn.
12


- horus carved in high relief, wears double crown

- king's horus name + alternating throne name and given name

- palace facade below

- fecundity figure: represents prosperity of Egypt

Front 193

Back 193

Limestone 
panels
 from 
inner
 enclosure
 wall,
pyramid 
complex
 of
 Senwosret 
I,
 Lisht,
 Dyn.
12


looks like the fecundity figures are walking around the perimeter of the pyramids

Front 194

Back 194

Pyramid
 of 
Senwosret 
I, 
el‐Lisht, 
Dyn.
12

- resources belonged to 4th dynasty Kings (Khufu’s)
- robbed from the Old Kingdom Kings (in this particular example, it’s Khufu’s) to make new pyramids
- this was a big no-no (you don’t rob from your ancestors); possible that the supervisor had no idea this is happening and the workers went to get these stone because it’s closer and easier than having to get their own OR it could be a deliberate decision to rob from previous pharoahs
- a possibility that these pyramids are shabby because they don’t have enough resources

Front 195

Back 195

Mummiform statue of Senwosret I, pyramid complex at Lisht, Dyn 12

- from niches carved into interior walls of causeway

- arms are crossed across the chest
- always wrapped in a solid cloth
- response to the promanance of Osiris (this is a way for Kings to associate with Osiris)
- Osiris is always depicted as a mummy
- Osiris became a more important figure in the Middle Kingdom and retains that importance into the New Kingdom
- they “discovered” Osiris’s tomb in Abydos
- one of the tombs in the 1st dynasty kings was labelled as the tomb ofOsiris. So when that tomb was discovered, Osiris had a revival in cult worship (and Abydos became his place)

Front 196

Back 196

Raised relief showing offering bearers, offering chamber, funerary temple of Senwosret I, Lisht, Dyn 12

Front 197

Back 197

Statues of Senwosret I, pyramid complex of Lisht, Dyn 12

Pronounced musculatore (back to OK style) but no cankles)

- these stautes were found in a pit outside the temple, maybe he didn't like their youthful appearance

Front 198

Back 198

Statues of Senwosret I, pyramid complex of Lisht, Dyn 12

possible he died much older so his youthful appearance in these statues may not be a true representation of him

Front 199

Back 199

Statue of Senwosret III from funerary temple of Montuhotel II, Deir el Bahari

- face looks aged, body does not

- he's in a suppliant pose (worshiper)

Front 200

Back 200

Pyramid of Senwosret III, Dahshur, Dyn 12

- completely of mudbrick, but faced with limestone

- N/S orientation

- 12 princesses buried around pyramid, all intact

Front 201

Back 201

Pyramid of Senwosret III, Dahshur, Dyn 12

love of walls for protection
- has a palace fasade wall like Djoser’s
- trying to emulate Djoser a bit

- although it's mainly N/S, there's a mix of E/W as well

Front 202

Back 202

Senwosret III's red granite sarchophageus; Dahshur; Dyn 12

Front 203

Back 203

Pyramid of Amenemhat III, Dahsaur, Dyn 12

- called "black brick pyramid (core of brick and limestone facing)

- only used for burial of queens and princesses

- King was buried in Hawara

- with one of the princesses is King hor from dyn 13

Front 204

Back 204

Pyramid of Amenemhat III, Dahsaur, Dyn 12

Added mazese and dead ends to keep ppl out

it didn't work, it was still robbed

Front 205

Back 205

Head of Amenemhet III

- resembled his father
- softer features so you can tell who was who (distinguished from the father)

Front 206

Back 206

Pyramidion of Amenemhet III; Dahshur, Dyn 12

decorated with King's eyes: he observes the journey of the sun in teh sun barques

Front 207

Back 207

Pyramidion of Amenemhet III; Dahshur, Dyn 12

(specifally the King's eyes)

these are the King’s eyes were he can look out and survey the land

Front 208

Back 208

Pyramid of Amenemhat III, Hawara; dyn 12

built after pyramid at Dahshur (limestone brick)

- extensive complex of chapels and courts around it (like a Labyrinth)

Front 209

Back 209

Double figure of Amenemhat III, Tanis (originally Hawara), dyn 12

- pictured as god of the Nile

- fish offering state

hairtstyle is unusual-> thick braids and shield shaped beards

- symmetry of two states refelct dualism of Upper and Lower Egypt

Front 210

Back 210

King Hor, 13 D, Ka stature (and body) found in burial shaft with Amenemhat III's daugher

Front 211

Back 211

Relief; FIP; elite

Intermediate style: huge eyes, very high raised relief that is modeled, men slender, un-muscled

Front 212

Back 212

Rock Cut mastaba; FIP; elite

- coloumns were carved out of the rock
- they become a canvas for carvings
- they are symbols for house structure (they didn’t have a structural function); are purely decorative

Front 213

Back 213

Papyrus thick; elite tomb; FIP

- in old Kingdom, no overlap
- in MK, there is overlap (sense of spacial movement and depth)

- scale is dependent on the importance of the scene or who is in the scene (fish are not to scale and there is no overlap (allows fish expects to determine what time to fish it is)

Front 214

Back 214

FIP; "folding" perspective

Donkey carries two wicker baskets on either side of his back, but the one on the other side is flipped up so we can see it!

Front 215

Back 215

Rock cut tomb; elite; modelled after royal tombs; MK

- scenes of everyday life drawn on the front

Front 216

Back 216

elite tomb; MK

funerary repast scene
- everything else is not decorated
- when you cut the stair, we get a central feature (don’t want to distract viewers from that image with more decorations)

Front 217

Back 217

Return of the traditional repast scene; MK

Amenemhat II cartouches twice.

Elephant heiroglyph

Front 218

Back 218

Again, domestic architecture being copied in stone: all carved out of solid rock, not put together.

Vaulted ceiling

Focus on statue niche in center with Amenemhat, his wife and his mother

Front 219

Back 219

elite tomb; Beni Hasan

Two rows of three columns, in form of bunches of lotuses

- not functional supports
- used to create the aspect of the house

Front 220

Back 220

Portico façade, tombs at Beni Hasan, Dyn. 12, ca. 1930 BCE

Tomb architecture borrowed from houses: porch with columns=wooden veranda. Ceiling beams are even imitated, sticking out.

Front 221

Back 221

Floorplan of tomb of Amenemhat, Beni Hasan, Dyn. 12,

Statue niche--> Burial chamber (off to the side)--> Columned portico--> Outer court

Front 222

Back 222

Wall painting; Beni Hasan; MK

59 pairs here, sequences of movements

Opponents are in two different tones of brown so yu can see them

Egyptian soldiers and Libyans with colorful kilts and beards

Journey to Abydos: oldest depiction of this=trip to Osiris’ tomb

Front 223

Back 223

Wall painting; Beni Hasan; MK

Individual birds can be easily recognized.

Complexity of the scene, but harmonious

Front 224

Back 224

Wall painting of special event; Beni Hasan; MK

- special events in someone’s life
- in the Old kingdom, we see typical scenes for everyday life
- in MK, we still have everyday life but we have an addition of special events

- group of men (called Hyksos) from the far east that are known that took over the Delta in the 2nd intermediate period (different style of beard and dress) and they are bringing gifts to a nomarch
- rich enough to get a caravan to trade with him

Front 225

Back 225

relief with gridlines; elite; MK

Grid lines used as a guide, but never precisely. Provided a general orientation

- allowed regularity to wall painting

Front 226

Back 226

Wall painting; MK; elite

- completely painted (no relief)
- interesting positions of ppl that would have been difficult to carve into rock can be done with painting--> allows creativity in movement

Front 227

Back 227

Painted relief; MK; elite

when trying to do a rock relief, we get more static pictures
- this is why there was a new appreciation for pure paintings

Front 228

Back 228

Painted rock relief; MK; elite

very thin relief, almost flat. Stiff stances. Fashionable wigs.

Front 229

Back 229

Wall painting; MK; elite

- justaposition between relief and paintings

- they are painted but they looked stiff
- painters in Thebes did not experiment to get the dimensions right

- -they are painted but they looked stiff
- painters in Thebes did not experiment to get the dimensions right

Front 230

Back 230

Cuboid statue; Dyn. 12, MK

daytime journey of the sun

- in the MK, we get new ways to expressing connections to the afterlife

Front 231

Back 231

Standing statue of elite in garment

very different from previously traditional garb (kilt)

- connection with the new government position (position requires a different dress)

Front 232

Back 232

Seated statue of elite in enveloping garment, late MK

• Face: non-idealized, represents mature official, derived from Senwosret III and Amenemhat III

- might have to do with the person’s rank
- or has to do with the change in fashion at this time
- extended boundaries of Egypt (connections to other cultures; fashion can be influenced by other cultures )

Front 233

Back 233

Unfinished stealae of sculptor; MK; elite

in MK, we get more family orientated sculptures, stelae, relief

• Offering formula, prayer to the living (asking for things) • He has two wives... polygamy?

• Also includes his parents on the right.
• Below, 8 family members face the parents, unfinished.

Front 234

Back 234

Unfinished stealae of sculptor; MK; elite

- 14 blocks when you’re seated
- 18 blocks when you’re standing from hairline to the foot
- they are guidelines (there is some variation)

Front 235

Back 235

MK; gridlines

Although they are all 18 grid squares tall, they are still not exact replicas...small of back at different heights.

Front 236

Back 236

elite; steale; MK

- an elite person depicting God alongside themselves
- not interacting directly but they are placed on top (for respect)

- located at Abydos (marker for this person’s presence at Osiris’s tomb)

Front 237

Back 237

Group statue; elite; MK

• Two wives and daughter. • Wedjat eyes.
• Hairstyle and clothing show contemporary fashion. • Proportions of bodies also typical for late 12th D: Slim, very high, thin waist and exaggeratedly long limbs=Barbie style!

Front 238

Back 238

Stealae of King in Dyn 13

• He must have lacked resources, very crude style and small. • Winged sun disk with uraei (cobras). • Hieroglyphs have his four names.
• Reversed orientation: god is normally right- facing

Front 239

Back 239

One of pair of model offering bearers; MK; elite

• Descendents of female personifications of estates from OK pyramid complexes and private tomb chapels.
• This one is very high quality. Made of wood, then plastered and painted. • Carries duck and basket with food

Front 240

Back 240

One of pair of model offering bearers; MK; elite

The other, carries duck and drinks: jars sealed with conical lumps of clay

Front 241

Back 241

Cuboid statue; MK; elite; nighttime journey of the Sun

• One of the earliest of this type
• This statue type=concept of resurrection • Represents the moment in which the deceased frees himself from a compact form. Compact=primeval mound

Front 242

Back 242

Very elaborate tomb model; elite; MK

cattle count for tax purposes. Scribes, officials, the deceased on platform; delinquent herdsman being flogged!

Front 243

Back 243

Very elaborate tomb model; elite; MK

bread making

Front 244

Back 244

Very elaborate tomb model; elite; MK

cow birth scene that was drawn in 2D in OK and now made in 3D in MK

Front 245

Back 245

Shabti; elite tombs figurine; MK

They are “answer figures” who must respond to their master’s order to work and take upon themselves unpleasant tasks. They represent the owner of the tomb, not a separate servant.

Front 246

Back 246

Apotropaic “rod” with protective animals.

Intended to be used by both the living and dead

- symbolizes with the sun being reborn; we associate with this because we’re supposed to be reborn into the afterlife
- the deities are supposed to protect the Sun as it is reborn
- these animals are scary and nasty but, if they are on your side, that provides you protection (good allies)

Front 247

Back 247

Apotropaic “wand” with deities, animals, fanstic creatures.

looks like a boomerang
- in real life, used for birthing rituals
-midwifes and pregnant mothers will carry this to protect themselves and their baby during pregnancy and birth
- not just used in tombs (they were used by the living as well)
- but they were also placed in tombs

Front 248

Back 248

Fertility figurine of faience, Thebes, Dyn. 12-13,

used by living and dead for notion of fertility and family continuity. Also protection of dead as they are reborn into the next life.

- there's protective writing on them

Front 249

Back 249

elite coffin; MK

This is the foot- end of the interior of the coffin-the exterior only painted in hieroglyph bands. Here: coffin texts, storage silos, columned front hall, heavens (stars)

- hieroglyphs says "Isis at your feet"

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Back 250

MK; Interior of outer coffin of elite, false door at north end facing east, Bersha, cedar wood, Dyn. 12

deceased would have been facing this door (facing east towards the rising sun)

Front 251

Back 251

more elaborate exterior of coffin; MK; elite

Front 252

Back 252

coffin; MK; elite

Isis’s sister is on the other side (Isis is on this side)
- both sisters resurrected Osiris
- connection to both Osiris and Amen Re

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Back 253

elite; MK

coffin as home: architectural details, base and posts of the wooden home, doors with two leaves, finely patterned mats. (wedjat eyes)

Front 254

Back 254

Inner wooden coffin of elite, wedjat panel on north end of east side, Dyn. 12-13,

Front 255

Back 255

coffin; elite; MK

Wedjat eyes allowed deceased to look out from the coffin towards the rising sun and land of the living

Front 256

Back 256

New form of coffin towards end of MK: Anthropoid Becomes very important in New Kingdom

- we will never find JUST the anthropoid coffin—> it will be placed in the rectangular coffin (the house)
- preservation and connecting with Osiris
- don’t know where or why the anthropoid coffin came to be

Front 257

Back 257

basic temple plan:
 


entrance porch (open section with supporting columns), offering chamber, cult statue niches

walls are all decorated with images

Front 258

Back 258

Scene from king’s chapel, Montuhotep II, Dendera, Dyn. 11: legitimization of rule

vulture goddess holding the symbol of life above the King, protecting him

flail is a the divinity of kingship

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Back 259

Scene from king’s chapel, Montuhotep II, Dendera, Dyn. 11: legitimization of rule

vulture goddess holding the symbol of life above the King, protecting him

flail is a the divinity of kingship

Front 260

Back 260

Mentuhotep II – 11th D., Armant state temple – King before goddess Yunit, companion of Montu; interaction between king and gods

- similarity of facial feature between the king and goddess (god is remodelled to look like the King)… s way to visually connect the tw

Front 261

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Nebhepetre Mentuhotep with the god Montu and goddess Neith (wears red crown—main cult place in Delta).

King giving gifts to gods: performing rituals

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"White Chapel"/ barque shrine of Senwosret I, Karnak, Dyn 12

not much of MK contributions of temple in Karnak is left… we only have this boat shrine… this is our best guess of what happened here (we actually don’t know for sure what happened here)

4 pillars on each outside, 4 pillars on each side of the inside. Two ramps on either side.

Reconstructed from small blocks found around the site

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"White Chapel"/ barque shrine of Senwosret I, Karnak, Dyn 12

- fully covered in king interacting with gods with hieroglyphs describing the situation
- not sure what was done here (boat shrine is our best guess)
- this is what we think happened: during festivals and processions, they would take the cult image of god out of the temple, placed him on boat, ppl would carry the god on the boat through the temple sanctuary and they would stop at little shrines (like this one), put the boat down and perform different rituals

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Amun-Re offering life (ankh) to Senwosret I, embraced by Montu – White Chapel – Karnak temple

Located on one of the pillars inside the White Chapel. Inscription says this takes place in conjunction with king’s festival of renewal. =cultic perpetuation of this act; built during his sed festival year

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Atum offering life (ankh) to Senwosret I, Standing statue of Amen-Min/Ra – White Chapel - Karnak

Very high relief and subtly modeled (notice stomach muscles and legs)
Many carved details: on hieroglyphs, king’s crown, jewelry and clothing.

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Karnak block with statue niche of Amen-Re offering life to Senwosret I – Karnak temple

Notice difference in carved relief styles: surface is less modeled and few details incised. Two royal workshops perhaps?

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Obelisk of Senwosret I – red granite – Heliopolis Atum temple – for sed festival

We know that MK Kings built temples in other cult centers, but we have very little left. !
Obelisks symbolized close link between king and the sun god and so ensured the perpetual regeneration of creation
Development of the obelisk started in OK solar temples.
Final form in MK with stall shaft and Pyramidion point (like pyramids)

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mummiform pillar statue of Senwosret I – Karnak temple

Found reused at Karnak in foundations of the sixth pylon (gate) built during 18th D.
Typical mummiform figure: arms crossed, ankh signs,. Face is bland and youthful=traditional (still beginning of 12th D).

Still has some elements of the FIP period: cosmetic lines and fleshy nose and large lips.

=connection to Osiris

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Sphinx of Amenemhet II

king’s nature as deity (being able to transform from a human body into an animal (lion))
- don’t be too comfortable because he’s not actually human… like a god, he has an animal form

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Statue of Senwosret III from Hierakonpolis, Dyn. 12,

- when he was younger (more youthful looking)
- king as a receiver of visitors, offerings, praiers, priests

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“Priest” figure of Amenemhet III –12th D

•Found at Shedit: cult site of crocodile god Sobek.
•Costume is unique: heavy braided wig, animals kin, chain around neck.

•Up against wig : two narrow divine staves with falcon heads= prototype for royal staff bearer statue type in NK •Must be statue referring to a particular cult ritual

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Senwosret I and Min, Coptos

King performing cult activities: running the boundaries

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"Horn of Qurna”

Highest elevation in the valley (450m)

Became the “pyramid” for royal tombs in the Theban valley

- Kings are now located in Thebes

- tombs were buried deep into the cliff

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Hatshepsut􏰀s mortuary temple at Deir el Bahari, Thebes (Montuhotep II’s is next door)

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Mortuary Temple of Hatshepsut at Deir el Bahari

Oriented toward the west • Three ascending terraces or levels
• Each level arranged as a courtyard, separated by narrow halls placed in front of the steps • Centrally placed ramps lead to the two higher terraces.

• Large front courtyard with pools, trees

• Two halls: representations of ruler’s guarantee of a cult, mythic and real.

• Lower terrace: second courtyard with pillared halls

• Divine lineage of Hatshepsut, expedition to Punt
• Anubis (R) and Hathor chapels (L)

• Upper terrace: altar, false palace for ancestors and sun court for Re-Horakhty

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Mortuary Temple of Hatshepsut at Deir el Bahari

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What is this?

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Upper terrace, Mortuary Temple of Hatshepsut at Deir el Bahari

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Mortuary Temple of Hatshepsut at Deir el Bahari

one of the most famous carving is the carving along the second open court towards the South— expedition to Punt
- Punt is a mythological place (but real, located at the start of the Nile, very south)
- it was a place pp would go for months and bring back exotic things

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Punt- place where ppl would travel for months and bring gold, animals, leather skins, inscents things you can’t get from Egypt

Transportation of myrrh trees

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Punt- place where ppl would travel for months and bring gold, animals, leather skins, inscents things you can’t get from Egypt

King and Queen of Punt

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Mortuary Temple of Hatshepsut at Deir el Bahari

Table of Offerings from Anubis chapel – middle terrace, north side

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Hathor column, from Hathor Chapel – middle terrace, south side

Hathor: godess of Western Thebes

Modeled after a “sistrum”: musical instrument used to appease the gods; especially associated with Hathor’s cult

Hatshepsut's mortuary complex; Dyn 18

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Inlaid Hathor head from cult statue in the Hathor chapel (within Hatshepsut’s mortuary temple)

made of alabaster

once part of a cult statue of Hathor manifested as a cow. Eyes inlaid with rock crystal and lapis lazuli (blue).

Hatshepsut's mortuary complex; Dyn 18

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What are the features (in terms of art)?

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1) Osiride pillar

2) found most the fragment of statuary here; images of the King performing offerings throughout this cult area

Hatshepsut's mortuary complex; Dyn 18

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Hatshepsut; Fragment of Osiride pillar statue, originally fronting pillars of upper court

- very life like, modelling of the nose (made of stone); high artistry (like OK) but maintained some features of MK
- thick eyebrow and eyeliner

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- images of her father, Thutmose I (in upper terrace, offering to AmenRe)
- new crown (composite crown)… everything (royalty related) piled together…cobras, ramped hors of Ra, sun disk, ostrich feathers… it’s a bunch of everything together
- father was deitified after death
- Kings became more godlike when they died

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Enthroned Hatshepsut as a woman with nemes, red granite

- very feminine looking (wears a dress) except for the head dress that’s a king’s
- statue of her early in her reign
- titles are feminine but throne name is masculine

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Enthroned Hatshepsut, perhaps from mortuary cult place on upper terrace

Wearing ceremonial costume of a reigning pharaoh.

Unites her official status in an ideal manner with physical form of a woman. May have been originally situated in room for mortuary cult offerings.

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- this is Hatshepsut depicted as a male
- She is shown to have a bare chest with pecs and not breasts, ceremonial beard, nemes headdress
- she decided to be taken seriously as a King, she needs to depict herself as a male
- this was a way for her to legitimize to the ppl that she is taking the role of King (that’s why we called her King… because she has a “King” role)

One of eight that were set up in the upper court to line the way to the entrance of the sanctuary.

She offers two nu-jars, associated with the offering of wine.

Gesture can also symbolize the notion of offering

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Kneeling Colossal Hatsepsut, offering to gods a water jar, one of 8 in Upper Terrace lining entrance to sanctuary

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Statue niche with removal of Names (Hatshepsut)

- her co-regent (step son) has some issues
- don’t know what those issues were
- when she died, but not right away, he decided he hated her… he ordered for all of her work, titles, and images to be destroyed so that no one will know the name “heptepsut” ever existed
- left is her’s, right is his’s

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Hypothetical plan of the mortuary temple of Amenhotep III

- we know the footprint and where the pylons were (the monumental gate)
- temples of other gods
- central temple that would belong to the King

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"Colossi of Memnon􏰂 – Mortuary temple of Amenhotep III

- only things standing at the mortuary temple of Amenhotep III

- ppl believed these two statues were of memnon and not the King (amenhotel III)…. when the sun rose, the statue will start to squeak… so they think when the sun (so when Eos came up) and the statue starts “crying” (what ppl taught the

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Colossal quartzite head of Amenhotep III wearing red crown – one of 18 statues on North side of great sun court

Facial features show characteristic traits for Amenophis III: almond-shaped eyes with band for upper eyelid, broad- ridged small nose, full mouth with sharp ridge.

- mid 18th D, simplification of features again

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Stela of Amenhotep III from sun court of his mortuary temple

- blue crown- war crown
- “khepresh in egyptian”
- first time we see it
- might have been worn in war

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statues of Amenhotep III

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colossal statue of Amenhotep III from Kom el Hetan

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Entrances to the tombs at the "valley of the Kings"

would have been covered in the dirt
- these would have been far to find (except for the main entrance)

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Entrances to the tombs (they were originally hidden)

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- plan of the tombs that we have found so far in Valley of the Kings

- we will look at the main features that these tombs shared… trends than individual

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Plans of 18th D royal tombs; valley of the kings

18th Dynasty tombs are relatively small compared to those from Horemheb onwards(19th/20th Dynasties)%

corridor height in 18th D= 2m; ramesside 4m

Right angle turn in axis of 18th D symbolized winding path through the underworld

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burial chamber of Amenhotep II

Made of look like stretched papyrus parchment

- relatively simple
- big pillars decorated with King and Gods
- stars on the celing
- at the back, we have sarchoagus
- on the walls, the hours

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Burial chamber of Amenhotep II

painted to look like papyrus is being glued on to the wall (and looks like the drawings are drawn on papyrus)

Amduat displayed on the walls in the form of a series of registers and sections, each depicting one hour out of 12 that the sun god has to pass through

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Hour 4 from the Amduat-- tomb of Thutmose III

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Hour 6 from the Amduat-- tomb of Thutmose III

- merges with his ba (or with Osiris’s soul, depends on the version)

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Hour 7 from the Amduat-- tomb of Thutmose III

this is Apopsis (the huge enemy)
- we usually see his friends killing and not Ra
- the saviour is usually Seth in these stories (he saves Ra in his nighttime journey

Osiris thanking the friends for protecting Ra (of the 12 hrs)

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Hour 12 from the Amduat-- tomb of Amenhotep III

Ra gets out of boat, transforms into a snake, then a bettle, and that’s how he’s reborn into the eastern sky
- bettle is symbol of morning sun
- sometimes the bettle is shown a baby

amenhotep waiting for the Ra to be reborn so he can too be reborn
- amenhotep follows Ra’s journey

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Antechamber of Tomb of Thutmose IV

- repeated king with different deities (interaction with the Gods)
- each deity gives him life
- they are all on the same level (height and similar clothing)

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Sarcophagus of Thutmose I (early D. 18)

- simple, square boxes, probably an anthropoid inside (they could be taken away while sarcophagus are heavy)
- new: we have long side decorations, the gods (canopic), wedga eyes
- head and foot have isis and her sister

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Sarcophagus of Thutmose IV- mid d18

- canopic gods

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Relief of King Tut at Luxor

he reigned for a while before he mysteriously died at some point early in his life (speculated that he was in a chariot accident but the mummy doesn’t show this)

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Plan of the tomb of Tutankhamen, Valley of the Kings

Tomb was not 􏰁proper􏰂 because he died early and unexpectedly (many of the items not made for him originally)

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tomb of Tutankhamen, Valley of the Kings

ante- chamber of Tutankhamen during 􏰁excavation􏰂 ...more like removal

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tomb of Tutankhamen, Valley of the Kings

ante- chamber of Tutankhamen during 􏰁excavation􏰂 ...more like removal (some things were those he used, some were bought just for him)

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tomb of Tutankhamen, Valley of the Kings

The second shrine:
found with the original seal

- seal was a lump of clay with a stamp on it… indication whether it was tampered with

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tomb of Tutankhamen, Valley of the Kings

Howard Carter opening it for the first time, 1924 (second shrine)

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tomb of Tutankhamen, Valley of the Kings

2nd of 4 wooden shrines containing the body

the doors are covered in Gold
- Gold is carved or etched images and inscriptions on shrines from the Amduat and spells from Book of the Dead

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Quartzite sarcophagus of Tutankhamen

- stone sarcophagus
- changed from plain to elaborate
- covetto cornice
- guardian goddesses on the edges with their arms outstretched
- the lid was broken, so we think that it broke on the way to the tomb (so they left it the way it was.. no time to make a new one)

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King Tut's outer coffin

3 anthropod coffins
- flower wreath around cobra and vulture (upper and lower egypt)

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King tut's middle coffin

middle coffin was covered with a cloth, and covered with ointments, fragrances, garlands, etc.
- reminience of ritual

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King tut's middle coffin (after you take away the ritual items)

middle coffin was covered with a cloth, and covered with ointments, fragrances, garlands, etc.
- reminience of ritual

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King tut's inner coffin

inner coffin is made of gold
- inlayed with semi precious stone
- 110 kg

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King tut's inner coffin

inner coffin is made of gold
- inlayed with semi precious stone
- 110 kg

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Gold mask of Tutankhamen

- the ointments degraded the mummy

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Gold mask of Tutankhamen

writing on the back compared his facial features with the gods (for relativeness)

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- canopic shrine of kIng tut

- statue of Jackyl guarding the canopic shrine
- inside this shrine is the canopic chest

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King Tut's Canopic shrine and inner calcite canopic chest

Purpose: keep organs intact (mummified)

Calcite alabaster was used for the chest
Four protective goddesses surround the shrine

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King Tut's Canopic shrine and inner calcite canopic chest

Purpose: keep organs intact (mummified)

Calcite alabaster was used for the chest
Four protective goddesses surround the shrine

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King Tut's Canopic shrine and inner calcite canopic chest

Image of protective goddess Selket from canopic shrine

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King tut

Calcite inner canopic chest with four lids, bearing face of king

heart, lung, intestine, stomach

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King tut

Calcite inner canopic chest with four lids, bearing face of king

heart, lung, intestine, stomach

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King tut

1 of 4 Canopic coffins for lungs, stomach, liver, and intestines

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Ba bird amulet of Tutankhamen

Found on the linen bandages of the mummy. Holds shen rings. The ba was an aspect of human existence: ba soul could leave the tomb in form of a bird and contact the living world, then return to the mummy.

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Scarab pendant of spelling the name Neb-kheperu-Re

"􏰁Lord of the Manifestations of Re"=􏰂 his throne name.

winged scarab was also the sign of the morning sun god

Khepri=integration of the king and the cyclical course of the sun

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Chest of Tutankhamen

him and his wife when he got married (he was married as a child)
- he died when he was 17

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Chest of Tutankhamen

him and his wife when he got married (he was married as a child)
- he died when he was 17

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King tut's sandal chest

king and ordered army against the chaos of the enemies around them (this is a sandal chest)

- not a real battle

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Sandal chest of Tutankhamen – with scenes of war on one side and hunting on the other

- not a real battle (shows theme: order vs chaos)

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Throne of Tutankhaten (original name of Tutankhamen)

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Throne of Tutankhaten (original name of Tutankhamen)

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North wall in burial chamber of King Tutankhamun.

King Ay, his successor shown performing the opening of the mouth ritual on the mummy; also Tutankhamun with his Ka welcomed into the underworld by Osiris

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South wall of burial chamber of King Tut

Tut with Hathor and Anubis. Similar style, but different artist

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Horemheb's tomb

Horemheb offering wine to Hawthor

flat, monochrome, colour blocked style
- tomb was very simple

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Burial chamber in tomb of Horemheb. Incomplete images in the pillar room clearly reveal the working method employed: red-lined preliminary drawings with corrections in black. Progressed from bottom to top. Final stage was painting

- weird: he lived long enough to complete it
- a lot of tombs are left uncompleted

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Sarcophagus of Horemheb- late d18

Now customary to show protective goddesses Isis, Nephthys, Selket and Neith with wings on corners in addition to canopic gods.

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- the three triad gods: Montu (war god), underneath Montu’s temple is Amun, Mut’s temple is beneath Amun’s
- causeway attaches Karnak to Luxor
- important for the festival (people take statues on the boat shrines, travel down, and go back)

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Karnak Temple

- 3 precinct: AmenRe (main precent), Mut (consort, South), Montu (north)

- began in MK

- expanded considerably in D18

- wealthy administrative center of Theban region

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Important feature:

Began with East-West axis; North-South axis created over time with adding more and more pylons

temple has multiple pylons (it’s a gate way)

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Sacred Lake at Karnak Temple

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View of Karnak during the Napoleonic campaigns

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Karnak during the reign of Thutmose III

Arrow: Possible site of Amenhotep I’s Alabaster Chapel

Circle: pylon dates to king Thutmose III’s reign (made of two parts: amenhotep built the first part, thutmose III did the second part)

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Alabaster barque shrine of Amenhotep I

Started by Amenhotep I, finished by Thutmose I, blocks reused in Amenhotep III’s Third pylon

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image of Amenhotep I on his alabaster chapel. Shown participating in a cult procession. Distinctive portrait: large, hooked nose with smaller eyes, ears, mouth and chin. Diverged from the harmonious ideal in fashion at the time

- distinctive portrait doesn't translate to statuary art

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What did Thutmose I add?

What is the red arrow pointing to?

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Arrow: Hatshepsut's obelisks

Thutmose I added: fifth, fourth and column hall between obelisks in front of fourth, surrounded area with an enclosure wall

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Hypostyle hall of Thutmose I. Between the 4th and 5th pylons.

Carved from sandstone, 5m high.

36 Osiride pillars stood along the walls in deepened niches.

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Who's obelisk on the left, right?

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Obelisks of Thutmose I (in front of 4th pylon) and Hatshepsut (5th pylon). Red granite.

Thutmose I’s had gold on the top and Hatshepsut’s had electrum (mix of gold and silver).

left: southern one of Thutmose I
- the other one has collapsed (gone)

right: Hatshepsut’s

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Hatshepsut, detail from top of one of her obelisks, placed in Thutmose I’s (her father’s) hypostyle hall.

Distinctive profile with very prominent nose (Thutmose III, her co-regent would do the same)

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Block from Hatshepsut’s “Red Chapel”. Originally located in front of central shrine of Amun-Re for his barque. Long sides of chapel tell of the dedication of the obelisks and the sanctuary.

dedicated to the sanctuary and Gods, Amun, how he’s so great, and why Hatshepsut should be legitamized

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Red arrow?

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Location of the original “Red Chapel” aka barque shrine of Hatshepsut

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Red Chapel of Hatshesut

- the smooth stones are “fake”
- the rocky ones are real
- this building was originally dismantled to used in other buildings, and modern ppl put it back together in order to have an idea what it looks like

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Red Chapel of Hatshesut

the different coloured stones are intentional

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Red chapel of Hatshepsut – quartzite – coronation - Karnak

Hatshepsut kneeling before Hawthor and Amun

Hawthor pushes ankh symbol to her nose, Amune gives her the crown (to legitimize her... Egypt is her's to rule)

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Red chapel – Opet Festival

god on boat, carried by ppl from Karnak to Luxor
- only time where commoners can give offerings to the Gods

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Hatshepsut’s extension North-South to temple of Mut

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8th pylon of Karnak built by Hatshepsut

She extended a series of pylons north- south axis leading to the temple of Mut

- pylons - usually smiting scenes on these, or king interacting with the gods

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Southern façade of Hatshepsut’s Eighth pylon with colossal figures of herself. Six total seated figures, very badly damaged. Statues of Hatshepsut, Thutmose III and some predecessors

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Hatshepsut's teacher (Senenmut)

- there's a lot of art of them in Hatshepsut's mortuary temple and at Karnak

- his name was eventually erased from the statues (Hatshepsut and the teacher ended up hating each other

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Hatshepsut's teacher (Senenmut) and Hatshepsut

- Karnak

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Who made these innovations?

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Karnak

Thutmose III: added 6th pylon, more columns in Thutmose I's hall, added 2 more obelisks in front to 4th pylon, built seventh pylon and added another pair of obelisks, festival hall

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Akhmenu Sed Festival hall of Thutmose III, Karnak

Built to the east of the inner sanctum of temple of Amun. Name refers to this establishment’s function as the place of “transfiguration” where divine and royal power combine

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Arrow?

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Akhmenu festival temple

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Botanical scene – Thutmose III- festival hall; Karnak

- important because we’ve never seen plants drawn
- flora, fauna
- shows regeneration, king’s ability to make the world grow and work properly.. through he ma’at he upholds

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Standing statue of Thutmose III – from Karnak sed festival hall

Classical standing pose with left foot forward.

Extremely high quality and symmetry of proportions, surface treatment and classical musculature

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Thutmose III (karnak?)

in different style, less ideal (small features are there)

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Emblematic columns of Thutmose III – Karnak – red granite in front of barque shrine

He redesigned the central section of the temple of Amun in this final year of reign

In front of the barque sanctuary he erected two monuments: the “emblematic columns”

Northern and southern sides they have raised relief of papyrus and lotus (shows the regeneration and that the world came up from this mound; the King is building things that are lifting life from the ground because he’s going what he should be going).

Eastern and western sides show the king in sunk relief being embraced by the divine triad.)

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arrow?

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Tutmosis III’s Emblematic columns ; Karnak

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Thutmose III added another pylon, the Seventh, in front of Hatshepsut’s (Eight) and two giant statues of himself in front of them.

- as you come from the North, you see Thutmose III's statues

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7th pylon – smiting motif of Thutmose III

symbol to ward off evil
- also to show his power

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Ninth and Tenth pylon built by Horemheb

Stones in front are parts of older buildings that have been taken out by archaeologists. They will then rebuild the pylon (scaffolding).

Karnak

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Private scribe statues found at Horemheb’s Tenth pylon:
- Amenhotep son of Hapu=Festival leader;

- Paramessu= Vizier (also= King Ramesses I)

Used as mediators between humans and gods (scribes are the ones writing sacred texts… which means they have direct contacts with the Gods )

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Statue of Amenhotep son of Hapu

Reign of Amenhotep III

• Granodiorite

• N-SaxisofKarnaktemple

• “Leader of the Festival” at Karnak

• After he died he was deified and worshipped as the god of medicine: this statue had “powers”, smooth polish in middled of rolled papyrus meant people were rubbing it.

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NK columns-- they have order (i.e. there are different types); all modelled after representations of papyrus (depicted in stylized form)

papyrus bud, papyrus bundle, open papyrus umbel, bud bundle

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Luxor Temple; well preserved

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What was the luxor temple also used for?

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Luxor Temple

- during roman period, it was used as a fortress and military camp (Roman headquarters for the south)
- added christian churches and mosque
- alexander the great renewed the holy of holies area—> he took over the role of Pharaoh and made himself a God (like a pharaoh would)
- we know existed something before Amenhotep III because of the Hatshepsut’s shrine

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Thutmoside Triple Barque Shrine- Luxor

Temple: papyrus columns date to Hatshepsut because some adjectives are still in the “feminine” form // they forgot to change the gender when Ramasses II started building the peristyle court around it

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Colonnade hall of Amenhotep III – open papyrus columns – Luxor Temple

Amenhotep III replaced the main Thutmosid temple with an enormous new building with an elaborate colonnade entrance hall: two rows of seven open papyrus columns 21 m high.

Would have originally been closed on top and on the sides

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Sun Court of Amenhotep III with double rows of 12 bundled papyrus columns; Luxor

- dark holy of holies area which represents the primeval mound, where the Gods reside (where all the magical things would have happened)
- during the Opet festival, this is where the King would be transformed and he would walk out into the court reunited with his Ka

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Why is the number 8 important?

Back 388

Amenhotep III hypostyle hall- 8 columns across

offering hall (arrow) still has the decorations (degraded over time or people took stones to build something else)

- the number 8 is important because of the mythology of temples in general
- 8 has to do with creation
- there are different versions of the creation story (it all depends on where you lived, you would believe in a different Creator God)
- in Thebes, AmunRe is the Creator God
- there are 8 elements to the chaotic waters… that’s why we have 8 columns (embodiments of spirits) came together and made the creator god which is Amun (in the South)

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Coronation scene of Amenhotep III and Amen-Re – Luxor Temple – hall of appearances

Hall of appearances is where the deification of the living king and his ka took place, repeated each year.
Coronation ritual plays central role: Here Amenhotep III is crowned (with composite crown) by his father, Amun. -- - interaction between God and king (current ruler, which is Amenhotep III)
The ankh in his hand shows that he has already been made a god

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where?

What crown?

what is it depicting?

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Luxor

Union between the King (amenhotep III) and Amun (hodling hands) located in the central shrine area, the holy of holies.

- wearing the blue crown

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Divine birth scene from Luxor temple, Amenhotep III

- scenes of fertility aspect
- amun ra on right coupled with Mut (sometimes the actual mother of Amenhotep III); shows that he is the son of Amun Ra
- that’s why Luxor temple has fertility aspect to it

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Life sized quartzite statue of Amenhotep III on a sledge – Luxor cachette

Cachette: - big pit that was dug in antiquity inside luxor temple
- Eveything was tossed in and buried
- burying of stuff is common practice (they are divine so we can’t destroy it) but we run out of space so we need to bury them

we think it’s a statue in stone of his cult statue (stone version of his cult image)

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Luxor Temple Plan

- Amenhotep III rebuilt this holy of holies area

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Life sized quartzite statue of Amenhotep III on a sledge – Luxor cachette

Cachette: - big pit that was dug in antiquity inside luxor temple
- Eveything was tossed in and buried
- burying of stuff is common practice (they are divine so we can’t destroy it) but we run out of space so we need to bury them

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Tutankhamen making offerings in Opet Collonade – Luxor Temple

King Tut returned to the values and norms common before the Amarna period (Akhenaten). He is here burning incense and offering libations to Amun. Horemheb wrote his name over king Tut’s.

Luxor - continues to be a place where kings renew his royal spirit every year

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Processional movement of barques for Mut and Khonsu during the Opet Festival – Luxor Temple colonnade, western wall. Different types of priests accompany the boats: lector priests pray and supervise, they wear leopard skins

- images of the actual Opet festival
- don’t have these boats that were used so we need to rely on these carvings to have an idea what went on back in the day
- we have the boats that carry the cult statue of Amun Ra, Mut and Khonsu
- all carried by priests
- each priest had different clothing so we know which priests took part in the Opet festival and what their roles are; some priests were leopard skins so they are higher up (lector priests)
- what they wear dictates what their role was

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The Satet temple: 18th Dynasty temple at Elephantine Built by Hatshepsut as a completely new building (did not cover an older version). Was later dismantled and blocks re-used in succeeding temple=we can reconstruct it relatively well.

- Satet is new deity that we haven’t seen
- belongs to the Southern Egypt (they had their own belief system and creation myths)
- Hatshepsut built it from scratch (other kings tend to erase and rebuilt)
- a way for her to establish power at the Southern border point in Elephantine
- Why build it? To keep the south ppl happy even though we don’t believe in their beliefs so they don’t attack Egypt

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Temple of Amenhotep III at Soleb, Upper Nubia, the Shrine of the “Lord of Nubia” dedicated to both Amun-Re and Amenhotep III.

- it was a very large building
- papyrus bundle columns
- dedicated to the Lord of Nubia= Amenhotep III
- inside the temple, the reliefs we have show some typical reliefs (being crowned, getting life)
- BUT we also see Amenhotep III worshipping himself (because he plays the role of the worshipper and the worshippee)

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Soleb lion of Amenhotep III – Gebel Barkal – Upper Nubia – red granite=the deified manifestation of Amenhotep III

this is the statue of Amenhotep III as a lion (when he envisions himself as a God)
- first time we see him going as “full animal”
- he is really embracing the idea of being a living God; Gods have animal forms

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Soleb Amen-Re as a ram with Amen-hotep III – Gebel Barkal – Upper Nubia Ram was one manifestation of Amun flanked the processional route leading from river to the entrance pylon

mummified statue of Amenhotep
- close way of representing you are God without being one

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Early depiction of Amenhotep IV – from temple of Re- Horakhty in Karnak

- Ra- Horakhty (another manifestation of the Sun)
- disk is called Aten
- disk is bigger than Montu’s
- the god always existed, Amenhotep (Akhenaten) just brought him to the forefront

Amenhotep III succeeded by his son, Amenhotep IV (could have been coregent)

• Amenhotep IV continued father’s building projects, emphasis on sun god: Ra-Horakhty (falcon head w/ sun disk (Aten))

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Limestone altar stela of Akhenaten and Nefertiti - household shrine at Amarna - Berlin

Amenhotep IV then instituted a religious revolution, focused on the sun disk Aten, and changed his name to Akhenaten. He eventually moved the capital of the country to an entirely new place, Akhetaten, modern Tel el-Amarna (Amarna for short).

He also changed all of the stylistic norms that had continued for millennia.

Amarna is a great time for external relationships and art representation

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The Aten temple at Karnak

- built Aten temple into major sanctuaries at Karnak
- most of it was destroyed after the fall of the religious revolution; only fragments left

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Colossal pillar statues of Akhenaten from Aten temple at Karnak, Thebes, sandstone, Cairo Museum

- facial features are exaggerated and elongated (long nose, chin)

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Colossal pillar statues of Akhenaten from Aten temple at Karnak, Thebes, sandstone, Cairo Museum

Traditional frontal pose, king wears traditional insignia: double crown, afnet- headdress, heqa- crook and the nekhakha-flail. But proportions are unique: long neck, narrow shoulders, full hips, saggy belly, crescent navel. Narrow long eyes, full lips, large chin.

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Akhenaten; NK; dyn 18; Aten temple?

- these lines on his face are distinguished for this King
- he may look like this because of a hereditary disorder (we’re not sure if he actually looks like this… his family are all depicted like this); we don’t have his mummy
- or he’s trying to look like Aten (Aten is andogynous) in order to connect with him

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Colossal pillar statues in situ – Eastern Karnak

- Aten temple can only have images of the king because Aten doesn’t have a form
- we see changes in 2D representation (we now have small format reliefs)

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rays of Aten with hands holding the Ankh symbol

All decoration in sunk relief

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Sed Festival Scenes – Karnak

- small format reliefs (we’re used to see larger format reliefs); very detailed depictions
- he changed the Sed festival tradition; happened every few years (and not every 30 years)

All decoration in sunk relief

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Kneeling emissaries – Aten Temple at Karnak

different cultures paying hommage to Akenaten

Libyan, Palestinian, Northern Syrian, Libyan

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Nefertiti receiving life from the Aten – Aten temple at Karnak

- his wife, Nefertiti, was depicted like the King with long hair
- this is why we think the royal family’s look is exaggerated
- decision to make them look identical

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Akhetaten = The horizon of the Aten􏰂= Tell el Amarna:

The brand new capital city; started in year 5 of his reign (same time he changed his name)

- moved the capital in Middle Egypt, called Akhetaten in the crook in the valley
- tucked in between the cliffs and the Nile
- built city from scratch; most of them are incomplete but most of it was destroyed after the King died

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North palace – Tell el-Amarna

- not much is left
- rulers after Akenaten (directly after including King Tut) reversed everything that just happened (tried to erase evidence of religious revolution)

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Calcite block from balustrade of a ramp at the palace - Amarna

Exaggerated representation of the facial features and physiognomy should not be seen as 􏰁realistic􏰂 but has religious meaning: quality of fertility gods.

Also, King’s thighs are shown up to the belly-button (but no genitals). Traditionally males were opaque kilts that reveal nothing

- his wife has a pelvic triangle

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Royal Road

- runs through the city that connects the palace to temple area
- road was important for ideology of Aten
- cult statue for Aten is the King (he was the living manifestation of Aten)

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Instead of cult statues of the Aten (who didn’t have a human form), Akhenaten himself became the living manifestation of the deity.

• So, the city was deliberately laid out to provide a setting for his display.

• King and Queen drove south along the royal road every day from palace to administrative and ritual part of the city.

• Here, they drive separate chariots, followed by 4 daughters, people bowing

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Great temple to the Aten, Amarna aka “Per-Aten”

Here, the sun acted as the cult image. No enclosed sanctuaries

dots= alters

individual alters for the royal family (opened roofed); private prayer rooms

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1) main alter

2) statues of akhenaten

3) smaller alters (each had an insenct burner on the side so you can pile offerings)

4) doorway to small side chapel (you can peek inside and see another alter inside with an inscene burner)

main altered piled with a lot of stuff, lilies, food, statues on Akenaten on either side

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Drawing of scenes of architecture and statuary, tomb of high priest of Amen Merira

Pylon, colonnaded court with altars and statues of the king, interior with seated statue of the king and a benben stone

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Tomb of Parennefer – window of appearances

- king and queen will wave at everybody and ppl will worship them (Akenaten)

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Fragment of a statue of Akhenaten from the Great temple to the Aten, Amarna, limestone

Large numbers of statues of the king and queen inside the temple

This fragment can be identified as the king based on the shape of his lips and the line from noes to mouth

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Fragment of the queen, Nefertiti from the Aten temple

- she was very important in the royal ideology
- a lot of her statues are in the temples as an object of worship
- distinct lines and ridges of the carving in the stone
- hard stone, hard to carve, looks very realistic

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Limestone block of Akhenaten and Nefertiti, Amarna temple

Another good example of the difference between male and female bodies during the Amarna period

- king and queen doing ritual acts
- this was in the middle of his reign
- proportion of Queen is more realistic than at the beginning of the revolution

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Limestone block of grain field – Amarna – probably Aten temple

- has to do with the sun giving life
- “circle of life” type of subject
- this block was taken out of the temple and used as bricks (reused)

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Small temple to the Aten (Pa-hut-Aten) at Amarna = royal mortuary temple

Surrounded by enclosure
wall that was fortress-like.
Three courtyards with pylons
Two-part holy of holies area in back
Axis oriented toward rock-cut tomb of Akhenaten=possibly his mortuary temple?

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Limestone altar stela of Akhenaten and Nefertiti with their 3 oldest daughters (from household shrine)

The royal couple was venerated as the creator’s first two creations representing male and female principles.

- private tombs of the same period (Amarna period) have a lot of these ideologies depicted on their walls
- they decorated their homes and tombs with images of the King and Queen
- they are holding their daughters
- they look weird… earlier in his reign, a lot of exaggeration of the features, stomach is emphasized, daughters have long egg shaped heads
- not sure why they are depicted like this
- the family members are actually interacting with each other… family involvement has never been seen before
- breaking all the unspoken rules (like being poise, and having a dignified position)
- in their belief system for the Aten, the king and queen were the first humans that the Aten created
- the family becomes the core part of the religion

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Altar statuettes- Amarna- private household shrines

These statues functioned as objects of veneration and as mediators between the household and the Aten

- little statues to worship the king and queen inside homes and tombs in elites and in common people’s
- worshipping the king as a god
- at some point near the end of the Amarna period, their facial features become softer (not as exaggerated)

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Altar statuettes- Amarna- private household shrines

These statues functioned as objects of veneration and as mediators between the household and the Aten

- little statues to worship the king and queen inside homes and tombs in elites and in common people’s
- worshipping the king as a god
- at some point near the end of the Amarna period, their facial features become softer (not as exaggerated)

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Bust of Nefertiti – limestone – sculptor’s workshop - Amarna

Dogmatic stylistic norms of the early period of Amarna replaced by moderate and idealizing tendencies.

Toward end of the Akhenaten’s reign the stylistic trend was to be faithful to nature.

Produced some of the most naturalistic portraits in Egyptian art

Quite the turn-around…

- carved in stone, plastered, and painted
- found in a sculptor’s workshop (used as a model for other sculptors).. a prototype
- she’s wearing typical headdress and has normal facial features
- she does look like a human
- at the beginning, they exaggerated their features to make a statement OR they did look strange, and then decided to make themselves look more normal

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Plaster head of Akhenaten – sculptor’s workshop – Amarna

Life-sized head consists of two joined halves.

Facial features illustrate the more balanced late style of his royal portraits.

- toning of exaggerated features of the King
- found in workshop (prototype)
- unfinished (just an outline)
- cheeks are less pronounced than before

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Red quartzite statue of Nefertiti (?)

See-through pleated garment. Torso gives “expression to femininity and the idea of fertility”

- female torso, one of the royal family members (not sure if it’s the queen)
- when we get to the body, they retain the fertile looking exaggeration of hips, and thighs
- she is wearing a dress but the feminine form is very pronounced
- emphasizing the female figure instead of hiding them

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Head of one daughter of Akhenaten, found in the sculptor’s workshop.

Reality or artistic trope?

- one of the daughters
- her face is normal looking, eyebrows and eyes would have been inlayed with something else
- her head shape is very elongated (looks like the depiction of the daughters on the stealae)
- not sure if it was reality (since the rest of the face was). Or did the sculptor do this to fit a headdress on or easier to sculpture down later?
- syndrome: crinosconic— skull fuses early and so when head is growing, it gets pushed back, it’s heredity (family could have this syndrome…her sister’s also have this)
- queen was politically important (governed foreign affairs), managed foreign affairs; women in this period were important
- found letters from Akenaten to other Kings, asking for things, swapping princesses, trading, alliances
- it was the queen that was communicating to these other kings

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Wood head of Queen Tiy

Tiy was the Queen Mother of Akenaten. Played an important role in the royal cult of Akenaten at Amarna. She moved to Amarna with Akenaten in year 5 of his reign

- she was a powerful lady
- was an advisor for the King
- she’s also important after the fall of the Amara period

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elite tomb

Less extreme Amarna style with slightly wider shoulder, lower small of the back than earlier style. Upper torso is in better proportion to the total body height.

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Tomb of royal scribe Ahmose worshipping the Hymn to the Aten

Officials and elites copied the royal style, though to a slightly lesser degree. Proportions are less extreme, but they show similar changes: narrow shoulders, high small of back and pronounced butt and belly folds.

- ppl under the royal family’s service also copy their styles
- depicting belly, same outfit
- elites mimic and king’s style to show relationship to the King (inner circle)

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Royal tombs at Amarna

Akhenaten and his family were buried in a rock-cut tomb located in a wadi that ran back into the eastern cliffs of Akhetaten. Series of stairs and corridors led down to a burial chamber.

Decoration survives in fragments and is completely different from the previous periods: no journey of the sun, no Osiris, no other funerary gods.

- family was buried in a similar fashion like the valley of the kings (cliff desserts, carved tomb)
- was in Amarna
- these tombs were easily found after the fall of the Amarna period and they were destroyed

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Limestone slab from royal tomb – Amarna – grid = 20 squares, 2 extra squares (1 for neck-head area and 1 for torso and large stomach)

Instead of typical scenes of the afterlife, decoration shows king, queen and royal daughters offering to the Aten.

Main tomb used for Akhenaten, but robbed and sarcophagus smashed: but iconography showed on each side a large image of Aten each arm holding an ankh (instead of canopic gods) and on the corners figures of Nefertiti with arms outspread (instead of Isis, Neith, Nephthys and Selket)

- there were multiple tombs for the royal family with different chambers branching off
- the biggest chamber was Akhenaten
- fragments on the sarcophagus have an image of Aten on each side (holding an Ankh)

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Royal tomb – scene of mourning Meketaten – Amarna

Two subsidiary tombs led off of the main royal tomb. One series of corridors and rooms was unfinished and undecorated (may have been intended for Nefertiti)
The other was a group of three rooms with decoration in the first and third.
First contained two ritual scenes showing adoration of rising and setting sun by royal family. Separate scene of mourning show the death of a royal woman in childbirth.;
Third room is concerned entirely with the death in childbirth of the king’s daughter Meketaten, showing her being mourned by the royal family and court=burial place of the princess.

- servants are in a pose of mourning (hand on their heads)
- we haven’t found the actual bodies
- family drama… some indication that he married one of his older daughter and the Queen was pushed aside (she was getting older)
- one of the other daughters married a cousin, who we think is King Tut

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The Eastern Mediterranean:

Green=Egyptian Empire

Red=Hittite Empire

Egyptians controlled half on Levant
- the Hittites are different people and they controlled all of Anatolia to half of the Levant
- if a border like that, there will be some sparks; they fought over this area—> battle of Qadesh
- they both give up so they have a peace treaty (first written peace treaty in History)

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Plan of Karnak

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- major addison that the 19th dynasty Kings did was the Great Hypostyle Hall

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First Pylon, Karnak, 30th Dynasty and avenue of ram sphinxes bearing name of Ramses II originally led from the harbor to the hypostyle hall

- when you walk into Karnak (the first pylons)
- sphnix led from the dock (spinx dates of Ramesses II)
- gives an idea of scale (tourists in the middle)
- multiple pylons give a perception that the building is getting narrower and narrower; it looks imposing

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Mudbrick scaffolding from the First Pylon; Ramses II (Karnak)

- pylons were built from mudbrick hills
- construction stopped before they could remove the mound

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Statue here: sculpted during Thutmose III time but usurped by Ramesses II (at Karnak)

Standing in the first court, looking at the second pylon and the Hypostyle Hall behind it

- their statues (Ramesses II) leading into their great hypostyle hall (entrance decroation pylons
- some of belonged to Thutmose III but his name was erased
- Ramesse II also had his own statues in there

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Great Hypostyle Hall; Ramesses II; Karnak

Drawing from 1845

High nave (central area) with open papyrus umbel columns and latticed windows in the sides of the high walls.

Behind (falling down) are the lower southern side aisles with papyrus bud columns.

- the hall itself is well preserved
- big columns (umbels/ opened papyrus plants)
- the columns were located in the naves—> the taller middle section of the temple
- on the either side of the nave, we have side rooms or with smaller columns (papyrus bud columns)
- in between the two, there are peristory windows (windows that are placed in the nave to let light in
- it would have been a dark and mystical place
- the architectural historians were very similar with churches (a lot of terminology we use are “church” terminology)

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Ramesses II, Karnak

naves with peristory windows

walls would have extended upwards

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Ramesses II, Karnak

- under the umbel, we see stylized plant budding out

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Ramesses II. Karnak

peristory window
- each column was covered in relief images

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Pylon relief of Seti I,
Northern side of the Hypostyle Hall.

He is offering floral bouquets. Common sacrificial offerings to the gods at this time.

In connection with Amun, bouquets had a special significance: the “bouquet of Amun at karnak” is offered also to the deceased as a regeneration wish.

- facial features look like the 18th dynasty Kings: curvy nose, smaller features, almond shaped eyes, body is not too defined but the relief stands out well

- the walls were also decorated
- Sety I on the northern side of the pylon
- he is offering flower bouquets popular offering to deities; started in Amarna)

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Scene on west wall of Hypostyle hall; Karnak

Ramesses II offering a tray of food to Amun-Ra and Mut.

Sunk relief, even though it is inside! Akhenaten’s use of sunk relief stuck for the the reign of Ramesses II

- Ramesses II took over Sety I’s building projects
- gesture of offering is now popular in the Ramesside period
- sunken relief inside— this trend to make everything sunken relief continues from the Amarna period

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Northern exterior wall of Hypostyle hall. Battle scene with Sety I against the Shasu in Canaan during his first year as king. Heroic pose: no charioteer. Sun disk and Nekhbet above him, ankh symbol holding a fan behind. Text: king “prevailed over them like a lion, making them into heaps of corpses throughout their valleys”

- jumble of ppl in front of him
- the reigns of the horses are around his waist
- in reality, he won’t be in the middle of the battle and he would have had a chariot driver

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Northern exterior wall of Hypostyle Hall. Seti I battle against the Hittites and Syro-Palestinian tribes (including Shasu). Here he is mounting his chariot with captives in front of him.

his captives, arms are bound
- play by play of historical events in their perspective

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Ramesses II also built the “Eastern Temple” at the back of the Amun temple. Not much of it remains

eastern temple- separated building located behind the temple of Amun

they also decorated the outside of these walls that led back to the eastern temple; using procession ppl would walk through these walls

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Ramesses II decorated parts of the outer walls of the external enclosure wall surrounding the precinct of Amun-Ra. Decoration was of scenes of the rituals performed inside the temple.

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Southern enclosure wall, Karnak.

Ramesses II before Ahmose-Nefertari

“Ahmose-Nefertari, god’s wife, god’s mother, great wife of the king, ruler of the Two Lands”

she was the wife of Ahmose, founder of the 18th dynasty and the mother of Amenophis I. she was worshipped as a deity.

(wife of Ahmose, first King of 18 dyn)
- she became deitified
- the important wives of the Kings becomes elevated to Gods themselves
- trend started in Amarna period (queen had more hand in political matters and had connections with outside dignitaries)

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Triad of Ramesses II between Amun-Ra and Mut.

Ramesses II assumes the role of the son of the god and is crowned with divine ram’s horns, the sun disk, and ostrich feathers.

They all embrace

king shown as son of Amun and Mut
- has horns of Amun, ostrich feathers, and sun (all symbols of being a god, not a King)

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Ramesses II’s Eastern Temple at Karnak (behind temple to Amun)

Temple dedicated to Re-Harakhty and Amun who “hears the prayers”

Two large figures of Osiris flank the entrance in front of the central axis of the temple.

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Fragmentary seated statue of Ramesses II, Middle Egypt, Thinis.

Also First Style

wearing pleated garment with a different wig on

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Ramesses II: First Style.

Originally from the Eastern Temple

Wears the Blue Crown, a finely pleated robe and holds the royal crook.

To the left and right beside his legs are figures of his son Amunherkhopeshef and his wife Nefertari.

Iconography and facial features are clearly those of the young Ramses

- he reigned for so long that his image changed over time (we divide it into first and second style)
- looks “boyish” in first style and masculine in the second style
- wearing long gown, pleated

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Sety II build a little barque shrine, well preserved
- located in first court, which would have been opened to the air

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Processional Barque (boat) shrine of Seti II, 19th Dynasty. Used for the Theban Triad during Festivals.

true tri-part shrine
- would preform rituals on the alter on the outside
- we know it’s Seti II because of the his statues and titles around it

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Standard bearing statue of Seti II from his processional barque shrine.

Now at the Louvre.

his titles are on these

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Cachette Court, Karnak; Ramese II

- the name modern people gave to this particular courtyard (connects N/S to E/W)
- open to the air
- cachette because it has a huge pile of buried statues

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Cachette Court, Karnak; Ramese II

Discovered in early 20th century.
East and west enclosure walls decorated with ritual scenes by the Ramesside rulers.
Western exterior wall: Ramesses II against the Syrians and the text of the Egyptian version of the Peace Treaty with the Hittites, dating to the 21st year of his reign.

- it has an area buried with statues
- it’s the one that has the peace treaty written on it

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Statue of Rameses-nakht from the Cachette. Late Ramesside period, 20th Dynasty.

High Priest of Amun Rameses-nakht belonged to the elite class of Theban society and held his office during the reigns of Ramesses IV to Ramesses IX.

Kneeling pose with statue group of divine triad on a pedestal

- statue of a priest
- everyone had the names “Rameses” during this period
- priests were able to put images of themselves in temples

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Sphinx of Ramesses II with a “vase for Amun”

Presents the king as divine cult ruler.

This one shows human hands unlike most other sphinxes

he has human hands (other sphinxes is all animal except for the head)
- human hands to hold on the jar

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Entrance pylon with avenue of sphinxes. Two rows of 365 human headed sphinxes led from the precinct of Amun at Karnak to the Luxor temple. These date to the 30th dynasty, though there would have been earlier ones too.

entrance pylon Ramesses II built to Luxor
- also added 2 obelisk (one is still standing, the other one is in Paris)

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Façade of the entrance pylon.

Originally six colossal statues and two obelisks erected by Ramesses II

Two seated figures and one standing one survive in their original locations.

The other obelisk is in the Place de la Concorde in Paris.

they put the gold back on to the pyramidion so that the sun is illuminating it (all the pyramids and obelisks will have this glowing, magical looking point to it)

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Battle scene with Ramesses II shooting an arrow from his chariot. Similar to Sety I at Karnak.

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Court of Ramesses II

Surrounded on three sides by a large colonnade with papyrus bud columns.

Between the columns were colossal standing statues

Ramesses II erected some on his own, but also reused older statues of Amenhotep III, whose names had been erased during the Amarna period.

some of the statues are already there and he put his own name on them and he also added some of his own

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Representation of the entrance pylon, relief on the southern wall of court: two obelisks, tall flagstaffs, statues of Ramesses II. Profile perspective assumed for 2D image.

wall image of the entrance pylon
- so we know that there were 6 statues because there are 6 statues here
- in 2d world, we have the statues facing the profile side

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Granodiorite colossal statue of Ramses II from first court at Luxor Temple, entrance to the colonnade.

Second Style.

Bears the proper name of Ra-en-hekau “sun of the ruler of foreign lands” may refer to the beneficial aspects for foreign lands of Ramesses II’s rule.

His wife Nefertari is in front of the throne beside right leg.

Overwhelming image of kingship: double crown, rearing uraeus, nemes headdress, royal beard and sides of throne are sema tawy motif.

ka statue that you can pray and give offerings in place of the King
- when he dies, his ka can come here and visit Luxor

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Base of Ramesses II’s colossal statue: detail of the front of the pedestal. Two figures of the Iunmutef priest, wearing characteristic leopard skin and plaited side-lock (hair), make the ritual gesture of offering to the paired cartouches of Ramses II. The text reads “Take to yourself the offerings and provisions that go forth from the presence of your father Amun-Ra for the living royal ka, Ra of the Rulers”

base of Ka statue
- inscribed with 2 special priests
- curly Q braided hairstyle
- gesturing towards offering

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Pi- Ramesse (new city made in the Ramisside period (northern capital))

Heliopolis remains (city dedicated to the Sun)

Temple to Ptah

Temples to RII and Nefertari at Abu Simbel (in Nubia that Ramesses II built of himself)

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Hypothetical plan of Memphis, Temple to Ptah (the city’s patron deity and one of the “creator gods”)

Not much of this place is left for us…very fragmentary pieces of buildings, etc.

- we had 2 large precincts and Rameses II built up one of the main temples of Ptah
- collosal statue of Ramesses II (himself) at the entrance

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Temple of Ptah at Memphis-- Ramses II's hypostyle hall

used to by a hypostyle hall
- stones were robbed away and people used it for different things
- when Egyptian gods became taboo, they were torn down

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- his colossal statue is still here
- “the bigger the better” idea starts in Rameses period

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Crystalline limestone. Once standing before the southern portal of the temple of Ptah. One of the highest quality statues of Ramesses II. Technical execution and surface polish are amazing.
First Style of Ramesses II: mild, slight smile.

- quality of statue is also very great (era after the peace treaty); resources the King is able to put aside for his projects
- first style of Rameses II
- youthful expression on face

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Diad statue of Ramesses II (left) and
Ptah-Tatenen (right). Memphis, Ptah temple

King and God have the same faces
- trend is still continued in Ramesside period
- connects the king and god visually

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Temple to the sun god at Heliopolis: reconstructed plan. Not much is left, like Memphis.

- place that was dedicated to the Sun God
- where the Ben ben stone was originally located
- three pylons that would lead to a main temple
- this structure to the south is a false palace —> mortuary temple for the Sun god

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Ramesside processional route and way station at Heliopolis

during the ramesside period, there is a processional route and barque (way) station
- this is what’s left of it

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Red granite victory column of Merenptah, Heliopolis.

Commemorating victory over “Sea Peoples”

precursor of classical victory columns (wasn’t used to hold anything up; not architectural).

Placed beside the processional avenue to the obelisk temples of the MK.

- red granite victory column commemorates specific moments in history— victory over the Sea People
- Sea People were growing in power and caused trouble along the coast
- the column didn’t support anything (first instances of this happening)

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Monumental stela of Ramesses II, near Heliopolis

from the eighth year of his reign.

Upper part shows Ramesses II with Hathor before the falcon-headed Re-Harakhty. God hands him the insignia of kingship. Long inscription below reports that the young king stayed at Helipolis and considered how he might give pleasure to his father, the sun god Re-Harakhty by means of monuments for his temple “He traveled through the desert…near Heliopolis (and came) to the Red Mountain (quarry area). There His Majesty found a mighty block of quartzite the equal of which has not been found since the time of Re and it was taller than an obelisk of granite.” the king gave this block to his sculptors who within a year fashioned it into the colossal statue “Ramesses, Miaamna, the god”.

- he erected other statues at Heliopolis and other architectural building based on this commemorating stealae which basically describes in detail his dedication to make the largest statue of the Sun God
- story aobut the king travelling through the desert, finding the red mountain and picking up the best and biggest stone and had it carved and setting it up for the gods
- he probably only took credit for it (he didn’t go to the desert to get the stone)

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Ancient quartzite model of the Heliopolis temple
With reconstructed superstructures.

Slots in the top surface of the model’s base show that there was a pylon gateway in front of which were two obelisks, two standing royal statues in ceremonial costume and two pairs of sphinxes.

In the images running around the sides of the base Seti I can be seen in the “kneeling run” making offerings to the gods Re-Harakhty and Atum.

- like a model of a temple that would have been erected in the Ramesses period

- only this section is real
- everything else is reconstructed based on slots carved into the base
- sety I on either side giving offerings to the gods in a “running kneel” pose
- artistic representation of pose is usually shown in narrow spaces

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Ramesside Ruins at Tanis-- Originally from temples at capital Pi-Ramesse

Rulers of the new Libyan dynasties from 1045 BC abandoned the city of Pi-Ramesse and moved everything to their new city, Tanis. When excavations began, everyone though Tanis was Pi-Ramesse.

- new capital was created: Pi- Ramesse
- usually happens in new dynasty, eras, etc
- started by Sety I but Ramesse II named it after himself
- however, this is picture is taken in Tanis but everything was labelled after the Ramesse kings (so explorers thought this land was called ‘Pi- Ramesse)
- when the new dynasty took over, a lot of Pi- Ramesse was moved to Tanis
- Tanis the largest in-situ city of the living that we have

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Wadi es Sebua, Temple of Ramses II; avenue of sphinxes
Originally on the bank of the Nile before it was relocated. Linked to the river by a quay. On each side of the temple entrance was statue of the king as sphinx. Avenue of sphinxes led through two courtyards to a pylon in front of which stood two monumental statues of the king holding a staff. The actual temple building was behind this, inside the rock.

this used to be much closer to the river
- modern people moved it away (took it apart piece by piece) from the water and set it up again

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- spinx entrance
- then pylons which would have 2 colossal states, and they they would have went into a rock cut temple precinet

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Sphinx of Ramesses II, Wadi es Sebua, sandstone;

the sphinxes in the first courtyard have human heads, those in the second have falcon heads and a smaller statue of the king in front of the breast

- double crown, nemes headdress, crown is overemphasized (we’re in Nubia so kings want to emphasize their power in places where he’s not as actively taking part in the culture)

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Abu Simbel; Nubia; Temple of Ramses II

- this is the larger temple (there are 2)
- dedicated to Ramese II himself
- you are more of a God in Nubia than in Egypt —> impose yourself as a god to be worshiped
- temple is carved into the stone

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Abu Simbel; Nubia; Temple of Ramses II

Temple carved 60 m into the rock with two columned halls and storerooms.

the longer rooms are storage, located on the side

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Abu Simbel; Nubia; Temple of Ramses II

- each one of his statues had a different name (different manifestations of the King as a deity)
- the major deities of the empire and the king himself (figure of worship)

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Abu Simbel; Nubia; Temple of Ramses II

Pillared hall: Two rows of four roof supports.

In front of which are colossal standing figures of the king: ceremonial kilt, royal beard, crowns of the two lands and crook and flail.

These statues also have titles indicating they represent the deified ruler.

- mummy form collosal statues of the King
- in the back, we have the holy of holies area

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Abu Simbel; Nubia; Temple of Ramses II

Temple Sanctuary: Ramesses II with the three great gods of the empire: Ptah, Amun-Re and Re-Harakhty. Here the king is of equal status. On the days of the equinoxes (Feb. 20 and Oct. 20) the rays of the rising sun illuminate the group.

- king in company with the deities
- there are depicted as equal
- the rays hit all these statues (only time this happens during the year)
- the sun shines far into the holies of holies area

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Abu Simbel; Nubia; Temple of Ramses II

rock cut aspect of this temple of Ram
- man made carve decorated with reliefs

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Small Temple dedicated to Queen Nefertari, to the north of the Large temple to Ramesses II. Her role as the goddess Hathor, the King’s beloved and mother of the royal children. Statues of the king alternate with statues of the queen. Smaller statues of the princesses stand next to queen; princes next to king.

- he gave his head wife a temple
- but she can’t be the sole occupier of the temple
- she’s located in the middle flanked by Ramesses II
- each one of these statues are their children (tight-height)
- more like a temple dedicated to the royal family

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Relief scene inside temple (dedicated to Nefertari)

Queen Nefertari, the first principal wife of King ramses II being crowned by goddesses Hathor and Isis. Nefertari wears the typical queens crown of the period, which combines the two tall falcon feathers with the sun disk and horns of Hathor. She stands facing left between the goddesses who raise their arms to each side of the crown.
Very unusual for a queen: this is adapted from kingly iconography.
Typical elegant proportions of the 19th and 20th dynasties. Slender arms, narrow shoulders and high, slender waists. The butt and front of the thighs swell out slightly before narrowing into long lower legs.

- on the side of temple, it’s more clear that it’s a temple for the Queen as a goddess
- first time we see a queen being loved/ adored by deities
- she set the stage for a larger role in queenship
- more stretched out appearance (opposite of Amarna period)
- this is the style they have adapted (barbie style)

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mortuary temples were closer to the land of the living

- valley of the Kings in the far top left

- Sety's tomb is more to the North

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Built to the north of the other temples.
Seti I dedicated part of the temple to his father, Ramesses I

Chapel for Ramses I, Seti’s father

Barque sanctuary of Amun-Re with rooms for Mut and Khonsu

*addition of storerooms was new-now it was self-sufficient

the mortuary temple of the kings on the western side of the nile are used in procession for the beautiful feast of the west
- barque shrine is here
- modelled after the state temples

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Sety I

Sety I’s mummy
- died young compared to his son

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Mortuary Temple of Seti I –Qurna - Thebes

3 entrances
- father, himself, and sun God
- if we walk into the back, it would have been the barque shrine for Amun
- these are depicted on the walls

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Depiction of Amun’s barque on the wall of his barque sanctuary

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Osiris Temple of Seti I – Abydos

- Abydos is the place of Osiris
- the city of Abydos was shut down during the Amarna period
- the worship regained strength after the fall of the Amarna period
- Sety I built a temple here along processional way leading to the tomb of Osiris; solidifiyes the place of Osiris within pantheon

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Osiris Temple of Seti I – Abydos

Individual chapels for the Triad of Abydos: Osiris, Isis, Horus
And for the national gods: Ptah, Re-Horakhty, Amun-Re (center)
Far left: Seti I
-each chapel had a false door leading to an underground burial chamber
-Osiris had special rooms behind his chapel

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Scene from Seti I’s chapel: king with Nekhbet, Wadjit; Horus and Thoth have triple sema-tawy

reliefs in each chapel relates to the deity it belongs to

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Seti I seated on the lap of his divine mother, Isis.

He wears ceremonial kilt and golden royal cap

Isis holds him in a motherly gesture.

he’s depicted smaller to look like the son of Isis

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Cult image of Amun and the king, from Amun’s chapel within Temple of Seti I

King performs the daily ritual in front of the statue. Prescribed series of actions performed by the king or priests: entering sanctuary; opening shrine with cult image; fall down before the god; offering gifts; cleaning cult image; dressing it up; then leaving

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Cult image of Amun and the king, from Amun’s chapel within Temple of Seti I

King performs the daily ritual in front of the statue. Prescribed series of actions performed by the king or priests: entering sanctuary; opening shrine with cult image; fall down before the god; offering gifts; cleaning cult image; dressing it up; then leaving

the other chapels have the king performing daily rituals associated with cult images (statues) of the gods
- opening door handle of the shrine (what’s happening in this statue)
- these actons are displayed on the walls

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it’s (Sety) a form of the name Seth
- Sety I was from a region in the Delta where Seth is worshipped
- so it doesn’t do well to have the name Seth in Abydos where Osiris is buried
- so instead they have Isis knot (they change the spelling of his name, it still sounds the same)

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- first hypostyle hall in the temple
- bundled papyrus columns
- the plant like aspect is more emphasized (because it’s well preserved)
- the higher windows allow light to flow in (there was a roof)

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Kneeling figure of Seti I – Abydos temple of Seti I

He presents the gods of Abydos with a tray of offerings. The foot of the plate is formed by the hieroglyph ka “sacrifice” on a lotus bud.

- kneeling in front of a hieroglyph saying “sacrifice”
- it’s an offering statue
- he’s giving the word “sacrifice” instead of objects

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Abydos temple of Ramses II

Similar idea as Seti I’s temple. Chapels to many gods, including his father. Functioned as a way station during festivals, including procession of the reliquary for the head of Osiris is carried to his tomb (depicted on the walls)
Here: view into the second court (hypostyle hall)

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“Ramesseum” of Ramesses II, Mortuary temple

Two courts leading to hypostyle hall, then three enclosed rooms, then the sanctuary, now completely gone

Palace located on the southern side of the first court: the typical location in the 19th and 20th dynasties.

Vaulted storage facilities surround the mortuary temple

- the grey areas, long skinny areas are storage areas for food and goods
- has to do with Sety I started a trend of self sustaining mortuary temple society (instead of relying of the priests and resources at Karnak)

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Ramesse II's mummy

suffered from a lot of dental problems and arthritis

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Ramesseum

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storage magazines in Ramesum

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Kadesh Battle Relief Ramesseum pylon interior

battle scene of Kadesh against Hitis in the Levant which resulted in a peace treaty

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Ramesseum: second court and Hypostyle hall.

entrance to the second court is mummified osiride statues of the King
- in front of those statues is a colossal statue of Rameses II

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Colossal statue of Ramesses II, originally 19m high. Weighs 1000 tons made of red granite: largest seated statue of Western Thebes

the idea that bigger is better

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Colossal statue of Ramesses II, originally 19m high. Weighs 1000 tons made of red granite: largest seated statue of Western Thebes

the idea that bigger is better

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reconstuction
- seated statue would have stood out of the mortuary temple
- pylon would have slightly obscured it’s view of the outside

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Transportation of the bust of “Young Memnon” by Giovanni Belzoni in 1816. Shipped up the Nile to Alexandria, then to London where it is still…..

- it’s not really Memnon
- it’s of Ramesse II
- it’s now at the British Museum

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“Younger Memnon” – seated statue before pylon, Ramesseum – British Museum –red granite and granodiorite

stone as dual colouring to it

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Ramesseum – hypostyle hall

- tripart type section (like the churches)
- either side of taller umbel colulms are closed bud columns with smaller columns
- decoration of flower blooms of the papyrus

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Relief from the “holly of holies” at the back of the Ramesseum: Ramesses II sitting under the Ished tree with Atum and Sheshat inscribing his name on the leaves.

- ished tree has naming of all the kings and deities on the leaves
- these gods are writing Ramesses II’sname on the royal tree

cult center (relief on teh holly of holies area)

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Mortuary Temple of Ramesses III at Medinet Habu

Very similar plan to the “Ramesseum” of Ramesses II: two open courts, palace to south of first court, hypostyle hall, “holy of holies”

Surrounded by a huge fortress wall with two tower entrances.
Eastern tower is best preserved and is modeled after a palatial tower

- almost an exact relipa of the Ramuseum
- second court is peristyle
- also have false palace
- the stuff around it are storage magazines (self sufficient); some of the things came after the King (it was placed in after)
- other buildings around it; some came after and represent administrative buildings (this building became a real palace because they didn’t have enough resources in the later periods
- giant enclosure wall, western Gate, and high gate were their orginally
- wall was there so they were concerned with defense (it’s like a fortress on its own)
- small temple was there since the 18th dynasty… part of the beautiful feast of the west—> purposely enclosed in the boundaries and had it’s own entrance way

18th Dynasty temple to Amun as the Primeval god enclosed by the great wall, here labeled “small temple”

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Medinet Habu – funerary temple of Ramses III, Dynasty 20

The “High Gate”: eastern entrance.

Constructed during his last years along with enclosure wall, admin buildings, stables, barracks, etc.

This section was a core building of a multi-storied royal palace (he stayed here when visiting Thebes)
Outside: scenes of military victories
Inside: scenes of daily life of the king and his family

- high gate —> he could have lived here in his last years
- possible that when his family was visiting they would live in this structure
- while the outside has typical scene of military victories, the inside has daily life with the king and his families —> this is why he could have lived here

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Scene from the interior of the High Gate showing the king playing the Senet game on the left with his daughter.

- king playing a Senet game with his daughter (she’s only partially preserved)
- family orientated daily life scene (we usually don’t see this except for the Amarna period)

he is still very formal in his pose while his daughter is allowed to be more dynamic and move around

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small temple has it’s own individual entrance

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First Pylon – Medinet Habu: best preserved pylon in Thebes. Façade has traditional smiting scene performed in front of Amun-Re and Re-Horakhty. Above entrance was a sanctuary to the sun.

lines= for flags to be inserted

2 smiting scenes in front of Amune Re and Re- Horakhty

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The Min festival, Medinet Habu, from second temple courtyard. Unlike most other gods in festivals, Min’s statue is in full view

- Min is full view (other gods’ statues are in a cabin as they are placed in boats)
- behind him is a chest that has cabbages (they were Min’s sacred plants, if you cut cabbage white stuff comes out… has to do with what Min stands for… ejaculation)

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Medinet Habu View from second court into first court –

First court: scenes dedicated to warding off chaos: battles against Sea Peoples, Libyans, etc. Within the first court was the “window of appearances” and doorway to palace

Second court: scenes of festivals
In front of eastern and western sides of courts were Osiride Pillars (here) now completely destroyed.

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Hunting scene – back side of pylon, south side: unusual to have in a mortuary temple, but fits the theme of warding off chaos

- interior side of the pylon, first court yard
- hunt, King on chariot, sparring a water buffalo/ bull
- armed guards to help with the hunt
- hunting scenes are unusual in mortuary temples (but helps with the warding off of evil)

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Ramesses I between the “souls of Pe and Nekhen”=Upper and Lower Egypt

King’s reign was so short that the only had time for a single burial chamber. Style is very similar to Horemheb: last king of 18th Dynasty

style of the Kings, outfit, poses are almost identical
- possibility the same painter did both

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Typical Ramesside tomb plan – Valley of the Kings

In 19th D tombs now have a straight axis (instead of curved like 18th D).
Still have same basic components: shaft space entrance, pillar room, burial chamber, subsidiary rooms for tomb equipment
New: the entire tomb, including the entrance passage, was decorated with wall paintings and reliefs.

in 18th dyn, only the entrance passage and the tomb was painted

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Seti I before a table of offerings

Belzoni discovered this tomb, he made this copy of the wall paintings, which had original color.

offering table, table with stylized bread, names and offering lists, nekbet protecting him with shen ring (symbol of eternity)

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Seti I before Hathor – limestone pillar from his tomb

Hathor holds out her necklace for the king to touch: it was a symbol of rebirth.

Interesting features: Hathor’s skin color is same as the king (unlike most other depictions where it is white). Her dress also had pattern with his name

High quality of relief: transparent clothing of king

- best quality in reliefs and paintings
- his clothes have see-thru layer of fabric (artist knew how to paint)
- Hathor’s dress have Seti I’s name as a pattern over and over again
- a lot of stylish innovations at this time
- he’s touching her necklace, which is a symbol for rebirth (Hathor is the goddess of the West/ underworld)
- they have the same skin coloured (usually goddesses are lighter skinned)

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Burial chamber of Queen Tausret, Valley of the Kings. Depiction of the last scene in the “Book of Caverns”: another version of the Sun’s journey through the underworld Top to bottom, Re as: sun disk, child, beetle, winged goat-bird

- diversification of type of scenes that we see in these tombs
- triangles represent the dark, underworld
- sun being reborned or transformed
- bettle is a symbol of the reborned Sun

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Book of Earth – burial chamber of Ramesses IV. Emphasizes the role of the earth gods Tatenen and Geb in the night journey of the sun. Here Nun (large arms) personification of the ancient waters, lift up the sun’s disk

sun gets through the underworld with the help of the Earth god
- Nun is the representation of the chaotic waters and she has the crazy long arms

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Astronomical ceiling – burial chamber of Seti I: above the mummy is this image on a vaulted ceiling: lists of stars, decan stars and constellations: Orion, Sirius, and the Big Dipper (Taurus).

- constellation on ceilings
- decan stars were used to tell time

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Floor plan of Queen Nefertari’s tomb

Very similar to a king’s in design with antechamber and large burial chamber that includes side rooms and pillars.

Decoration shows the Queen descending into the underworld with various deities, eventually merging with Osiris in the burial chamber

has long entrance way (the striation means there are stairs), anteroom, more stairs down, into burial chamber which also has storage

she’s not allowed to have images of the books on the wall because she’s not a KING

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Tomb of Nefertari – wife of Ramses II – view from a side chamber Here: gods Khepri (scarab) and Re-Harakhty with Hathor

depicted herself with all the deities (her own version of how to get the underworld)

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Image for Spell 94 from the Book of the Dead: Nefertari receives a writing palette and a water bowl from the ibis-headed god Thoth.

Technically since she wasn’t a king, she wasn’t allowed to use direct images from the royal books of the dead.

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Nefertari is led on both sides of the corridor by deities into the passageway: here Selket on the left and Isis on the right.

goddess leading her to the underworld
- the goddess is named as Isis but also has the Hathor horns

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The mummy of the sun god:
the cyclical course of the sun contains the concept of mutual interchange of the sun god and the god of the dead, Osiris, who in the underworld was considered to be the corpse of Re.
The central divine concept is as follows: while on the one hand the mummiform body belongs to Osiris, the ram’s head with the sun disk reveals itself to be Re, whose name is mentioned in the title.
The message of the picture is explained in a short statement: “It is Osiris rests in Re; Re it is who rests in Osiris” the two wives of Osiris, Isis and Nephthys revere and embrace the mummy. Each is wearing a white hairbag wig with their hieroglyphical name sign above it.

- located in the back
- combination of Osiris and the Sun God (mix of of Ra (with Ram horns and Sun disk) and Osiris (green-skinned, sister-wives, and mummified)
- connecting herself with the journey of the Sun because she can’t depict the books on her walls