Exam 3 Flashcards
(85 cards)
1
Q
New Kingdom Migration
A
- Transition from a defensive (Second Intermediate Period) to an aggressive, conquering state
- Zones of interest:
- Mediterranean Sea (gateway to Western Europe, North Africa, Cyprus)
- Levant (Both the land route via Sinia peninsula and naval route to Levantine coast)
- Mesopotamia: Connected through trade and diplomacy
- Tons of migration!!!
- Semites moving out of the Arabian Peninsula (Semitic-speaking)
- Subgroups: Hyskos, Amorites
- Indo-European speakrs coming from Northern/Western Europe
- Subgroups:
- Hurrians: Settle in Northern Mesopotamia
-
Hittites: Settle in Anatolia; major competitor for control of the Levant
- Control very large area
- Famous for use of iron and chariot
- Capital: Hattusa (Evidence for tightly controlled imperial system from central record offices, multilingual system and archives, diplomatic letters with Egyptian pharohs showing conflict)
- Adopted the Akkadian language
- Subgroups:
- Semites moving out of the Arabian Peninsula (Semitic-speaking)
2
Q
Uluburun Wreck
A
- One major source of evidence = shipwrecks
- Tells us that there was active economic scene
- Primarily conducted by private merchants
- Incorporates Greece/Cyprus ports (Minoan and Myceneans)
- Included range of material
- Cyprian, Egyptian, and Levantinian (shows interconnection between Egypt, Aegean, and Near East)
- Transportable raw copper in flat copper Oxhide ingots, raw iron, tin, glass ingots, elephant ivory, tortoise shells, woods, incense, Myecenean iron swords, fruits, seals, jewelry, ostrich egg shells, jewelry
- Specific examples:
- Gold Egyptian Scarab of Nefertiti (18th dynasty queen)
-
Cypriot Pottery and Near Eastern Artifacts
- Diptych
3
Q
Late Bronze Age Collapse
A
- New Kingdom = Late Bronze Age
- Hittite empire, civiliations in the Mediterreanean and Near East all collapse
- Egypt invaded by the “sea peoples”
- Hattusa (capital of Hittite empire burned)
4
Q
New Kingdom Characteristics
A
- Dynasties 18-20: The Late Bronze Age in Egypt
- Age of Egyptian imperial ambitions
- Kingly iconography = more war and military focused
- Egypt is reunited under Thebian rulers from 2IP who expel the Hyskos and establishes re-unified rule
- Richest and most powerful Egypt has ever been
-
Pharaoh = role of leader of military
- Images of king as military leader become common (in constrat with older iconography of king that focused on king upholding ma’at and interacting with gods)
- Must prove his fitness to rule as a warrior king
-
Re-organization of the Egyptian government
- New officials, more administrators (overseers of treasury, royal paddle, etc.), mayors, local police force, municipality, provincial governors (Levant)
- Opens up a lot of advancement of Egyptian people to positions of power
- Thebes = power center, administrative center
- Kingly ideology changes
- New militaristic aspect of kingship
- Maintains ma’at through active intervention in the military
- More of a bureaucrat
-
Instrument of the divine instead of embodiment
- Switch from a divine leader (OK, MK) to a man that has priveledged access to the divine but not divine himself
- Priests begin to mediate interaction between the king and divine
- Switch from a divine leader (OK, MK) to a man that has priveledged access to the divine but not divine himself
5
Q
Dynasty 18 Pharaohs
A
- Ahmose: Reunifies Egypt
- Amenhotep I: Don’t know much
- Thutmose 1: Father of Queen Hatshepsut, conquests in Nubia and Palestine, first to use chariot widely, formalized military, first king known to have tomb in Valley of the Kings
- Thutmose II
- Thutmose III (co-regent with Queen Hatshepsut)
- Amenhotep II
- Thutmosis IV
- Amenhotep III = START OF AMARNA PERIOD
- Amenhotep IV (Akhenaten)
- Continued….
6
Q
Mortuary Temples of 18th Dynasty
A
- All tombs located on the West Bank in the Valley of the Kings and Queens
- All mortuary temples located on the cultivated river plain below the Valley of the Kings and Queens along the West Bank
- Function of mortuary temple:
- Located across the river from the cult temples because they are ritually connected
-
Perfect Festival of the Wadi:
- Annual festival in which the priests of the Luxor and Karnak cult temples would carry/sail ritual images (barque of Amun-Ra) across the Nile to the mortuary temples along the West Bank
- God (Amun-Ra) in a physical sense is visiting all the mortuary temples; celebration of the dead kings
- From East to West
7
Q
Ramesses II burning incense before the Bark of Amun-Ra Karnak
A
- Evidence of the Perfect Festival of the Wadi
- Platform carrying image of boat topped with shrine
- King (Ramses II = 19th dynasty king) burning incense wearing the blue crown
- King almost always involved, primary worshiper
8
Q
Queen Hatshepsut
A
- Daughter of Thutmose I, wife of Thutmose II, stepmother of Thutmose III
- Co-regent with Thutmose III
- Acknowledges her gender but uses male attributes also
- Statue: Royal beard, nemes headderess with uraeus, feminine-looking face (more delicate and youthful)
- Kneeling statue: Holding nu-jars of oil and wine; in subordinate position offering to gods
9
Q
Mortuary Temple of Queen Hatshepsut
A
- Deir el-Bahari, 18th dynasty
- Adjacent to funerary complex of Mentuhotep II (11th dynasty); imitation because was an admired king
- Prestige project, built to visually impress
- Eventuall modified by successor Thutmose III
10
Q
Plan of Mortuary Temple of Queen Hatshepsut
A
- Series of axial terraces with colonnades connected by ramps
- Lower terrace = First court planted with trees
- Solid walls behind the colonnades are all decorated with painted relief carvings
- Expedition to Punt + Divine Birth of Hathepsut
- Third terrace (upper colonnade) = colonnaded courtyard open to the sun surrounded by images of Hatshepsut in the form of mummiform Osiris
- Sanctuary = destination of sacred boat and statue used in Wadi festival
11
Q
Expedition to Punt, Mortuary Temple of Hatshepsut
A
- Located on South Side of back wall of middle colonnade of the mortuary temple of Queen Hatshepsut
- Images of expeditions to Punt (sponsored by Hatshepsut, trading partner)
- Theme = Egyptian domination over foreigners/exploitation of resources
- Inhabitants of Punt submitting to the demands of the Egyptians
- Products of land being brought back to Egypt
12
Q
Divine Birth of Hatshepsut relief, Mortuary Temple of Hatshepsut
A
- Located on the north side of the back wall of the middle colonnade
- Presentation of the child Hatshepsut to the gods (finger in mouth)
- Justifying her rule the same way male kings do/legitimizing her rule and support from Amun-Ra
- Cartouche and image of Hatshepsut as a child later destroyed by Thutmose III
13
Q
Statuary of Hatshepsut
A
- Clearly feminine but also male attributes (royal beard)
- Enthroned statues, Sphinx statues
- Damnatio memoriae: Thutmose III ritually smashes all statues
- The only way to de-activate iconographic images is to destroy them
- Cracks in the statues
- All images of Hatshepsut are replaced with images of Thutmose III
- All images of her in relief carvings are chiseled away
14
Q
Amun Temple of Thutmose III and Mortuary Temple of Thutmose III at Sheik Abd el-Gurna
A
- Thutmose III built his own temple right behind the mortuary temple of Queen Hatshepsut in an attempt to reclaim his right to rule
- Tried to make his temple the final destination for the festival of the Wadi
- Second mortuary temple of Thutmose III at Sheik Abd el-Gurna
- Shrine in back = destination where visiting bark of Amun is placed
- Currently being excavated
15
Q
Mortuary Temple of Amenhotep III at Kom el-Heitan
A
- Amenhotep III = imperialist, diplomacy height, lots of trade connections
- Largest mortuary temple on the West Bank
- Plan:
- Mudbrick enclosure wall
- Series of massive pylons meant to look like mountains
-
Colossi of Memnon
- Seated in front of pylon
- Sits on a throne with semy-tawy symbol
- Subsidiary statues of royal women (Tiy = wife and mother) on either side (new feature of New Kingdom) = symbol of support
- Name given by greeks later on due to similarity of throne name
- Sculptural field behind pylons (lots of fragmentary pieces of Sekhmet, foddess of war)
- Additional temple of Ptah-Sar-Okrisi
- Excavation restricted to central strip; most is under active cultivated fields
16
Q
The Amarna Period
A
-
Amenhotep IV succeeds his father, Amenhotep III
- Completey changes political and religious Egyptian practice
- Radical figure of heresy
- Changes his name to Akhenaten
- Produces new cult system for the Aten
- Abolishes state cult and all priesthoods of Amun
- The Aten: Depicted as a non-anthropomorphic sun disk with rays coming off of it that end with little tiny hands
- Aten religion removes the role of the priests
- The only individual who is able to worship the Aten directly is the king
- Other Egyptians rely on the king as the intercessor beteween Aten and the world of the living
- King = divine living manifestation of the deity, so he should be worshiped by the people
- The priests of Amun were extremely powerful
17
Q
The Royal Family Plaque from Amarna
A
- 18th dynasty
- The Aten’s hands holding the ankh to Akhenaten and his wife, Nefertiti
- New feature of Amarna: Naturally relaxed family scene (no posing, showing motion, cuddling 3 daughters)
- King is embodiment of the Aten, but the family is also divine by proximity
-
Stylistic departures:
- Lack of musculature
- Feminine swelling hips and curvaceous things
- Drooping stomach
- Extremely long and narrow neck/face
- Tightly contrained clothing
- Sharp, high cheekbones
- **Family is shown with less extreme stylistic departures compared to king
18
Q
Aten Temple at Karnak
A
- Built right in the middle of the Amun precinct to make a radical statement about the new god Aten
- Built in year 1 or 2 of Akhenaten’s reign
- Colonnaded court with colossal statues of the king that once stood in front of the pillars
- Interior walls of the colonnade were decorated with painted relief scenes showing the king celebrating a sed-festival (unusual so early on and unusual to be celebrated by the Aten as the recipient of the festival)
19
Q
Colossi of Akhenaten from Aten shrine at Karnak
A
- Stylistic departures:
- Lack of musculature
- Feminine swelling hips and curvaceous thighs
- Narrow waist
- Extremely long and narrow face
- Head, shoulders, and hands are small proportionally
- Drooping stomach
- Sharp, high cheekbones
- Clothing is very tightly restrained to draw attention to hips
- No genitalia outline
- Extraordinarily long neck
- Combines traits of both the female and male body. Why?
- The Aten is androgynous; combines all aspects of creation
- Combination of gender is a visual symbol of the unity of the Aten
- King in his physical self posesses all attributes of the Aten
- Regalia (beard, Nemes’ headdress, crook and flail), arms in Osirid position, and cartouche (on stomach) remains the same
20
Q
Family Panel from the Royal Tomb at Amarna
A
- 18th dynasty
- King Akhenaten and his consort Nefertiti with their two daughters offering flowers to the Aten
- Aten is holding ankh signs to the noses of the king and queen
- Stylistic differences of Amarna period: Long faces and necks, narrow shoulders, short upper torsis, large thighs, and spindly limbs
21
Q
Bust of Nefertiti
A
- Amarna Period from Akentaten/Amarna
- Same stylistic differences we see in images of the king but in female form (high cheekbones, narrow face, elongated neck)
- Served as a template model for other images in a sculptor’s workshop
22
Q
Akhetaten/Amarna
A
- New capital for regime under Akhenaten
- Emphasizes break with older regime in Thebes
- Abandoned as soon as he dies
- Administrative, archive buildings, and temples devoted to worship of Aten
-
Outdoor courtyards = main cult activity (versus restricted space in back of temple before)
- Emphasis on outdoor ceremonial practices for physical connection to solar deity
- Only king and his family could take part in cult practice
- Includes:
- The Great Aten Temple: architectural elements placed different (couryards, altars to reflect new cult differences)
- Houses of Amarna: Series of conjoined villages with lots of houses; usually 2 stories with courtyard where they cook, small religious spaces
23
Q
Tombs of Amarna
A
- Eastern desrt side: Royal Tomb Cluster (royal family) and South Tombs (for officials)
- Emphasis in the east where the sun is birthed/generated (versus Amun emphasis on west whenre sun goes to die)
24
Q
Tomb of Tutankhamun
A
- Excavated under foreign rule = partition (foreign teams allowed to keep half of the material); during time of Egyptian nationalist movement
- Co-opted from tomb of a minor royal person because he died suddenly; does not show elaboration of decoration of other tombs
- Sponsored by Lord Carnarvon
- Structure (must know!):
- Antechamber: Random confiugration of items including disassembled ceremonial chariots, beds, chests with linens, Golden throne of Tutankhamun, stools, and other furniture
25
Throne of Tutankhamun
* Tutankhamun's wife, Anaksunamun, applying oil to his skin
* Sun disk of the Aten reaches down with hands --\> tells us that this throne was created before the abolition of the Aten
* Tutankhaten eventually corrected his name to Tutankhamun on the front
* Chair edited to reflect changes he made in his lifetime
26
North Wall of the Burial Chamber at Tomb of Tutankhamun
* Burial chamber was the only decorated part
* Shows the **Opening of the Mouth Ceremony**
* Ay (his successor) in leopard skin performing the opening of the mouth ceremony on Tut's mummy
* Tut before the goddess Nut
* Tut and his ka embracing a figure of Osiris
* Still shows some Amarna features
* Pronounced belly
* Crescent-shaped navel
* Large buttocks and short lower legs
* Less detail than normal and no registers (done in a rush)
* Theme: Tut's journey through the afterlife
27
Coffin of Tutankhamun
* Outer coffin = gold foil + wood
* Most inner coffin made out of solid gold and contains the body
* Inlaid stones (lapus lazuli)
* Molded kingly regalia
* All images related to protection of the king's body inside
* Gold associated with immortality
28
Funerary Mask of Tutankhamun
* Laid over the mummy itself
* Deeply symbolic:
* Blue (lapis lazuli) = rebirth
* Gold skin = rebirth (sun)
* Cobra and vulture on forehead symbolize 2 lands of Egypt
* Horus falcon on shoulders
* Cloisonne technique/ivory eyes/linen wrapped/woven flower collar
29
Treasury Room of Tomb of Tutankhamun
* Contains funerary cult equipment
* Doorway found below sarcophagus
* **Canopic shrine** = Golden wooden box despigned to protect canopic alabaster hars holding viscera
* Cult image of **Anubis** wrapped in a blanket
* Boat models
30
Mummification
* **Tripartite Soul**
* **Ka** = Specific personality, life energy (head of person + body of bird)
* **Ba** = Piece of soul that moves between the soul and the world of the living (also head of person + body of bird)
* **Akh** = the "luminous dead"; what you become in the afterlife
* 18th and 19th dynasties = best evidence of mummifcation because all were buried in Thebes
* Process of mummification:
* Removal of organs and ritualized washing/cleaning of body cavities (i.e. hooking the brain)
* Treatment with resins and aromatic oils (antibiotic properties for preservation)
* Body packed in **natron** (naturally occuring types of salts occuring in Wadi Natrun) for prescribed number of days --\> dessicates the body
* If high status, wrapped with resin-soaked linen (royals usually)
* Amulets inserted into the wrapping (in prescribed locations on key parts of the body; gold, stone, clay)
* Inserted into a specifically-made wooden coffin of varying quality
* Takes **70 days** in total
31
DB 320 Royal Mummy Cache
* Small rock-cut tomb with more than 40 royal mummies
* Mummy cache = storeroom for mummies that have been removed from original tomb; around the fall of the New Kingdom, many of the royal tombs on the West Bank were systemically opened by decree to take out precious materials
32
Illustration of the Mummification Process
* Found on the coffin
* TOP: Deceased lying on table with priests cleaning the body, being annointed with oil, and an **Anubis priest** performing rituals over the body to activate its ka and ba
* BOTTOM: Bald priests wrapping the mummy with stips of linen; implements hanging on the wall (workshop)
33
18th Dynasty: Classic phase of mummification
Characteristics:
* Lots and lots of use of resin and linen (wealthy time)
* Removal of brain through the nose
* Evisceration of all organs except the heart
* Prepared and wrapped into canopic jars
* Body cavity washed and packed with linen and incense
* Body covered with natron
* Cosmetic attention paid to the body
* Ritual wrapping with added amulets
34
Cult Temples in the New Kingdom
* Patronage of the pharaoh of the temples was both pious act and political act
* Builds up support among priests = powerful new group (political negotiation)
* Support and protection from both the gods and priests
* Focus of cult observances by king and priests
* NO mortuary aspect
* Thebes:
* East Bank: Temples of Amun at Luxor and Karnak
* Built as residences for the gods, especially Amun
* Very wealthy institutions
35
Sety 1 Offering Ma'at to Amun-Ra, Hypostyle Hall at Karnak Temple
* Hypostyle Hall of Karnak Temple
* Shows the king Sety I (19th dynasty) kneeling and offering **Ma'at** (feather woman) to god **Amun-Ra** (double headdress) who in turn gives his favor to the king
* Hypostyle hall = king is in constant interaction with a range of deities
* **Highlights king's role as chief worshiper of the deity and his role in ensuring cosmic balance**
* Temples built to house these interactions between the god and the king
36
Ramessess II Burning Incense before the Barque of Amun-Ra
* Ramses II = 19th dynasty king
* Role of priests = stand in for the king when he is not available
* This image is present to activate the king's presence in these types of situations
* The priests never supercede the role of the king
* During the Perfect Festival of the Wadi
37
Barque of Amun-Ra carried by priests in Opet festival, Karnak
* Opet Festival:
* Annual festival that takes place during the flood when Nile waters have invaded the temple
* Barque of Amun-Ra (containing sacred image) would be carried from Karnak to the temple of Luxor
* In the Temple of Luxor, king would perform rituals and it would be returned to deep, sacred place in Karnak temple
* All about the role of the living king
* \*\*Perfect Festival of the Wadi is only about the role of the dead kings
* Ritually links the 2 temples
* Reaffirms king's role as son of Amun-Ra (ritual involves re-enacting his birth)
38
Temple of Amun, Mut, and Khonsu at Luxor
* TRIAD:
* Amun = primary deity
* Mut = his female goddess consort (sky goddess)
* Khonsu = their son (god of the moon)
* Layout:
* Long, narrow building
* Oriented N (pylons) to S (shrine of Amun)
* **Pylon entrance** = gateway made of wedge-shapped wall; representative of the mountains of the Western desert)
* Would often contain important statements about **kingly power, images of conflict, war narratives** ("billboard")
* **Colossal images of the pharaoh** and obelisks in front of pylon
* Processional axis that unites entire temple (each color is addition made by different pharaoh)
* **Peristyle court** = open-air courtyards ringed with columns and covered walkways for the **worship of the sun**
* **Colonnade** = Long and narrow, roofed dark space in constrast with brightness of peristyle court
* Another **peristyle sun court**
* **Hypostyle hall**:
* Short hallway with a forest of columns with **capitals in the shape of lotus blossoms and papyrus plants**
* Representative of vegetation
* Symbolizes the **primordial swamp** out of which life emerges
* **Sanctuary**:
* Includes **Bark Shrine and Shrine of Amun**
* Surrounded by small cult rooms (treasury rooms)
* Built on **higher ground** = symbol of earth that emerged at the beginning of time; represents **sun god on the mound of creation**
* **Avenue of the Sphinxes:** Paved road before pylon that **connects Luxor Temple and Karnak Temple for the Opet Festival**
39
Temple of Amun, Mut, and Khonsu at Luxor (real images)
40
First Pylon of Rameses II + Colossal Statue of Rameses II
* Temple of Amun, Mut, and Khonsu at Luxor Temple
* Sema-tawy on side of colossal throne
* Flanked by subsidiary figures on side of legs (sign of womanly support)
41
Hypostyle Hall at Amun, Mut, and Khonsu Temple at Luxor
* Representative of the primordial swamp of creation
* Lotus and papyri capitals
* "Forest" of columns
* Elevated below the sanctuary because sanctuary was representative of the rising mound of creation
42
Processional Colonnade at the Amun, Mut, and Khonsu Temple at Luxor
* Would have been roofed in antiquity
* Contrast between brightness of peristyle court and darkness of colonnade
43
Avenue of Sphinxes
* Paved road that connects Luxor Temple at Karnak Temple for the procession of the barque of Amun-Ra during the Opet festival
44
The Karnak Temple
* Primary residence of the image of Amun
* Many **precincts (3)**:
* Central precinct for **Temple of Amun and Khonsu**
* Second precinct for **Temple of Mut**
* Third precinct for **Temple of Montu**
* Central precinct to Amun: PICTURED
* Oriented E-W (different than Luxor)
* Pylon faces to the west = rising of the sun
* Central line of buildings similar to Luxor
* WAY more complicated version of Luxor
* Very elaborate and bright color decorations
* All colossal statues were brightly painted + red flags everywhere
* Added on by many, many pharaohs (see colors)
45
Thutmoses III: Pylon of Temple of Amun at Karnak
* Example of a pylon with a war domination narrative
* Conquest list of nations, captives, and revenues
* Shows king capturing individuals by the hair
* Advertises the military might of the king; visible to all
46
Hypostyle Hall of the Karnak Temple
* Shows color preservation
* Bright blue paint with starry cielings
47
Malqata King's Palace: Palace of Amenhotep III at Malqata
* Elements **resembled temples**: courtyards, columned halls, hypostyle hall that leads up to throne on raised platform called a **dais**
* ****Also a microcosm
* Enthroned king is equivalent of a divine cult statue
* Includes residential quarters and ceremonial areas that were used during the performance of the sed-festival
* Location to give formal audience to his oficials, recption of foreign delegations and announcement of decisions
48
Hypostyle Hall at the Malqata King's Palace of Amenhotep III
* Part of the palace's microcosm
* Primaeval swamp represntation
49
Reconstruction of the royal kiosk at Malqata
* Placed on raised platform (**dais**) to represent mound of creation; associate the king with the creator
50
Scene from the Tomb of Anen (second priest of Amun at Thebes) showing Amenhotep III and his principal wife, Tiy, entrhoned
* King and wife seated in kiosk on a throne dais in the palace; central audience chamber
* Throne deorated with kneeling images of bound foreigners linked together by lotus ad papyrus (alternating southern and northern foreigners)
* Emphasis on the **king as the maintainer of order**
* **Gold** = solar apsect of the king as the eartly manifestation of the sun god
51
Valley of the Kings and Queens
* Series of wadis (dry river beds)
* Tombs are cut and tunneled into the living rock of the wadi
* In the 18th dynasty, they privileged the easiest locations at the base. Later on, they started scaffolding and building tombs higher, so robbing would be more difficult.
* Important: The mortuary temple and tomb itself are located in separate locations. Both on the West Bank of Thebes.
* Tomb = Valley of Kings and Queens
* Mortuary temple = Closer to the Nile/cultivation
* Tombs mapped with the **Theban Mapping Project**
52
Early 18th Dynasty Tombs
* 18th dynasty = first time tombs were physically separated from mortuary temple
* Reasons:
* Worried about desecration of their burial site
* Needed mortuary temple on the flood plain for the Perfect Festival of the Wadi (unsuitable for tomb)
* First king to separate = **Amenhotep I at Deir el-Bahari**
* First king buriend in the valley of the kings = **Thutmose I/Hatshepsut** (father and daughter)
* Characteristics of 18th dynasty royal tombs:
* Much larger than non-royal tombs
* Long narrow sections of extended entrance passageway
* Series of descending pathways with staircases
* **Well shaft** = deep shafts which run down into the rock for religious function; representative of the tomb of Osiris
* Vestibule: Small rooms with ritual text
* Burial chamber = largest room with columns and subsidiary rooms (for subsidary burials or rooms for grave goods)
* Orientation:
* 18th dynasty: **Bent Axis**
* End of 18th dynasty: Switch to **Jogged Axis**
* 19th and 20th: **Straight Axis**
* Decorations:
* Walls of tomb decorated with **Books of the Dead**: Religious texts (multiple versions) which describe or offer guidance of the passage of the deceased through the underworld (guidebook of what they will see and experience with the assimilation of deceased with Ra or Osiris)
* **Early 18th dynasty = Not a lot of wall painting (By end of 20th dynasty, everything is covered in wall painting)**
53
The Book of Amduat tomb decoration
* On the walls of the pillared hall of the **Tomb of Amenhotep II (18th)**
* Book of Amduat = one of the versions of the Books of the Dead
* Deceased king being **assimlated to Osiris**
* Prayers and spells to instruct deceased on successful passage into the afterlife
54
Tomb of Thutmosis IV
* THE example of 18th dynasty tombs
* Dog-axis (aka bent axis) plan
* Typical of 18th dynasty tombs:
* Descending passageways with stairs to the well shaft
* Limited wall painting (only 2)
* Scene of Adoration of the gods in chamber 1
55
Scene of Adoration of the gods
* Found in Chamber 1 of the Tomb of Thutmosis IV
* Deceased adoring the gods (step to ensuring safe afterlife), from Books of the Dead
56
Throne from Tomb of Thutmosis IV
* Found in subsidary chamber of Thutmosis IV
* Shows king in form of Sphinx trampling enemies
57
Tomb of Sety I (KV 17)
* Example of 19th dynasty royal tomb
* Much more complex than Thutmose IV tomb (18th dynasty royal tomb)
* Straight axis (typical of 19th and 20th century royal tombs)
* Additions: Second columned hall, each of which are highly decorated with wall paintings
* Unique feature: Tunnel which leads out of the back of the burial chamber into the rock
* Body of Sety I was part of royal cache because this tomb was systematically looted with royal permission later on
58
The forms of Ra, from Litany of Ra, Tomb of Sety I
* Focus of the Tomb of Sety 1 = assimlation of deceased with sun god; journey of the sun through the underworld
* Litany of Ra = underworld text dealing with the merging of Ra and Osiris at night in the underworld
* List of the names of Ra (each column is a manifestation and name of the god Ra)
59
Sety with Hathor decorations in Tomb of Sety I, Dynasty 19
* 19th dynasty royal tomb
* Right: Sety I and Hathor holding hands; Sety is taking the necklace (symbolic of rebirth), so Hathor is giving him life
* Left: Unfinished painting of Hathor holding out ankh sign to Sety's nose
* Initial outlines used system of black and red ink to show which colors go where
60
Sarcophagus of Sety I
* Made of alabaster, a very precious material
* Covered with texts from the Books of the Dead (specifically Book of Gates) just like the tomb walls
61
Temple of Sety I at Qurna
* Ramesside Mortuary Temple
* First mortuary temple built; "template" for rest of 19th and 20th dynasty mortuary temples
* Imitates cult temples = pylons, hypostyle hall, courtyards, interior sacred sanctuary
* New elements:
* Royal palace = mini version of king's palace that his ka can use
* Magazines = storage areas for goods (all the material that is owned and controlled by priests of the cult temple; mortuary temples = economic centers --\> expanding economic role of priests)
62
Funerary Temple of Sety I at Abydos
* **Ramesside Mortuary Temple** (19th dynasty)
* His second, better preserved mortuary temple
* Same function: Mortuary cult
* Site of **Abydos** --\> **association with Osiris** whereas the one at Qurna more associate diwth solar god
* Built in 2 stages:
* Two of the forecourts later added by Ramses II (his son)
* Whole **series of chapels** at the back dedicated to different deities
* Archive wing = location of **kings list** (canonical list of admirable kings)
* Like 19th dynasty mortuary temples:
* **Imitated contemporary cult temple** (hypostyle halls, courtyards
* Standard inclusions: **Royal palace and magazines**
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Relief in the Chapel of King Sety I in the Funerary Temple of King Sety I at Abydos
* King Sety I entrheoned between the godesses Nekhbet and Wadjit (same symbol of **womanly support** we see in the Old Kingdom) above a **triple sema-tawy motif** ties by the gods Thoth and Horus
* Confirms him as the ruler of the two parts of Egypt/unifier of Egypt
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Ramesseum
* Built by Rameses II "The Great"
* Located on the **West Bank** of Nile River in **Thebes**
* Claims to have conquered Hittites
* Decoration **emphasizes battle scenes against the Hittite Empire**
* Ex: First Pylon of South Wing --\> **Battle of Kadesh**
* Kingly power portrayed as military success
* Emphasis of pharaoh as military leader
* Famous as the location for **The Colossus of Rameses II**
* **Osirid courtyard** with colossal images of the god as Osiris
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The Colossus of Rameses II
* Colossal seated statue of Ramses II right after the first pylon in the first courtyard (first thing you see)
* Carved from single block of aswan granite = monolithic; over 20 meters high
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Osirid statues of Rameses II
* Colossal images of the king as Osiris
* Located near the entrance in the first courtyard (**Osirid courtyard**)
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Battle of Kadesh scene, First Pylon (**South Wing**) of Ramesseum
* **Battle of Kadesh** = famous battle against Hittite Empire (main competitor of the Levant)
* Tumultuous scene of king charging into mass of enemies in his chariot
* Rameses II's most important achievment
* Emphasis of pharaoh as military ruler
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Battle of Kadesh scene (**North Wing**) of First Pylon of Ramesseum
* King (Rameses II) as largest, dominant figure enthroned where he is receiving defeated enemies (Hittites) asking for mercy (raised hand gesture)
* Emphasis of king as military ruler
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Tomb of Nefertari (wife of Rameses II)
* **New feature of 19th/20th dynasty: Elaborate tombs for queens**
* Located in the **Valley of the Queens** in the West Bank
* Long double-entrance passageway that opens into 3-part chamber; burial chamber with multiple pillars and subsidary rooms
* Rooms 3 and 4: Highly decorated with images of the **queen's passage into the afterlife**
* Highly decorated pillared funerary chamber
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Tomb of Nefertari, view of rooms 3 and 4
* Plastered walls with gypsum plaster and painted over
* New intricacy of a queen's tomb
* Entrance to tomb lies to the right
* Reason why Osiris and Anubis are looking to the right (entrance of the underworld)
* Left: Scarab-headed deity **Khepri**
* Right: Falcon-headed sun god **Ra-Horakhty**
* Back: Osiris (in support of assimilation with Osiris in the underworld)
* Overall: **Queen's passage into the afterlife** from the **Books of the Dead**
* Cult of queen likely conducted in the Ramesseum (her husband's funerary temple)
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Pillared Funerary Chamber, Tomb of Nefertari
* Plastered walls highly decorated with **Books of the Dead** showing the queen's passage into the afterlife/journey through the underworld
* Shows her encountering gods to give her assitance through underworld: goddess (Hathor? maybe) giving her "life" with the **ankh sign**
* **Vulture headdress** = sign of 19th and 20th dynasty queen
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Tomb of Rameses III, 20th Dynasty
* Located in the **Valley of the Kings**
* Straight axial plan with many chambers and passageways
* Highly decorated with Books of the Dead
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**Medinet Habu** (mortuary temple of Rameses III)
* **20th dynasty** mortuary temple
* Still located along **West Bank**
* Not a lot of changes:
* High first pylon ("billboard" of smiting scene against Sea Peoples), 2 courtyards, **royal palace** for ka, many **magazines**
* Outer Walls (of rest of temple) show the king's campaigns against Nubians, Libyans, and Sea Peoples
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Outer Face of First Pylon at Medinet Habu (Rameses III Mortuary Temple)
* **Rameses III** = famous for his successful **fight against the "Sea Peoples"**
* Decorated with images of the **smiting king** grabbing bundles of hair of person attached to series of enemies
* Under feet = rows of kneeling prisoners with arms behind back and distinctive cloth stle
* Outer Walls (of rest of temple) show the king's campaigns against Nubians, Libyans, and Sea Peoples
* Continued emphasis of **pharaoh as a military ruler**
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Ramses II Changes to Karnak Temple (war scenes on hypostyle hall)
* Same iconography of funerary temples in cult temples now
* Later addition (Ramses II =19th dynasty king), many additions to Karnak temple
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Ramses III Changes to Karnak Temple (Barque Chapel of Ramesses III)
* **20th dynasty addition** to Karnak Temple
* **Barque Chapel**:
* Subsidiary temple containing s**mall shrine for the location of the barque of Amun during the festival of the Wadi**; decorated with images of the king adoring the god
* **Courtyard with colossal Osiris statues**
* **All changes designed to show connection to god and their support of king**
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Great Temple at Abu Simbel
* **19th dynasty cult temple**
* Located in the most southern region of Europe (**"gateway temple" to land** **of Nubia**; strategically placed to monitor traffic and assert Egyptian power in the frontier zone)
* Both the Great and Small Temple built by **Rameses II**
* **Rock-cut** temple
* Frontal facade
* 4 **colossal statues of Rameses II** (maximum visibility)
* Above entrance door = two relief-cut figures of the king offering Ma'at to **Ra-Horakhty** in a niche
* New feature: **Images of Ramses II worshiping/giving cult to deified images of himself** --\> uncharted territory in his assertion of divinity
Small Temple at Abu Simbel = same features (rock-cut, colossal images); made for Rameses II's principal wife Nefertari
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Non-royal tombs of the 18th dynasty
* Less complex and smaller than royal tombs (simple **T-shaped tombs**; typically 1-3 spaces)
* **Investment in non-elite tombs = wall painting**
* **New scenes in the 18th dynasty**:
* Deceased adoring Osiris and Anubis
* Funerary feasts
* Images of the king and his family enthroned show up in tombs of high officals (brings the individual closer to the realm of the gods, elevation of status)
* Example: **Funerary Banquet in Tomb of Nebamun, Thebes, 18th dynasty**
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Funerary Banquet in Tomb of Nebamun, Thebes, 18th dynasty
* Wall painting = new investment in non-royal tombs
* Example of new additions to 18th dynasty non-royal tombs
* Shows a series of funerary celebration (diners, female muscicians, entertainers)
* Two women dancing nude in ritualized way (special wigs and loin cloth)
* Evidence that professional troupes of dancers and musicians were hired to celebrate life of the deceased
* Once a year at Thebes, during the Festival of the Wadi, the living crossed from the east bank to the west to visit the tombs of their relatives and to eat a commemorative meal there
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Non-royal tombs of the 19th and 20th dynasties
* Scenes of offering almost completely disappear
* **Offering tables --\> Books of the Dead transition**: Wall paintings mostly come from scenes of the Books of the Dead (parallels changes we see in royal temples from 18th to 19th dynasty)
* Emphasizes the **idea that you can actually affect what happens in the underworld/afterlife** with knowledge of the interventions presented in the Books of the Dead
* Example: **Weighing of the Heart Scene: Tomb of Neferrenpet, Thebes, 19th Dynasty**
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Weighing of the Heart Scene: Tomb of Neferrenpet, Thebes, 19th Dynasty
* Central scene in all Books of the Dead
* Critical moment when heart of deceased is **weighed before the god Osiris**
* Weighed against the **feather of Ma'at**
* If the heart is heavier, they remove the heart and feed it to a monster (no afterlife)
* **If balanced with Ma'at, you move to blessed aftelife in unitiy with sun and Osiris**
* Must approach this process with knowledge (provided by the Books of the Dead) or it could be very dangerous
* **Supports new idea that people can actually intervene to change fate of the deceased**
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Deir el-Medina, Thebes
* Town in Thebes "place of the city" located just over the ridge from Valley of the Kings and Queens
* Village **occupied by the craftsmen responsible for painting and carving royal tombs**
* Craftsmen of Valley of Kings/Queens = elite artisans with a more elevated life than average villagers
* **Status dependent on skillset**
* People living there had **unusual level of literacy** (personal family archives in household
* Houses:
* Single-story, mudbrick with stone elements, neighborhoods
* Courtyards in back for cooking
* Rooftops for sleeping/living space
* **Household-level cult** = evidence of small shrines for small-scale objects; used for ill family members; **centered around health and well-being of the family**
* **Necropolis** = cemetary that serves artisan community
* Tombs are modest (subterranean element + chapel above ground)
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Tomb of Sennedjem
* **19th dynasty private tomb**
* Located in the **Necroplis of Deir el-Medina**
* Plan:
* Perimeter mud-brick wall + miniature pylons + courtyard + **mud-brick baby pyramid**
* Tells us that everyday people are making choices different than royal tombs and **engaging older tomb forms**
* **High-quality interior painting** because completed by royal artisans of the community
* Barrel-vaulted chamber concentration of painting
* **Books of the Dead mostly + few provisioning scenes**
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Paintings in the Tomb of Sennedjem
* 19th dynasty private tomb, Deir el-Medina (craftsmen village)
* Mostly Books of the Dead + a few provisioning scenes (rare in 19th/20th private tombs but not 18th dynasty)
* West Wall:
* Deceased adoring deities (cross-legged figures) of the underworld
* Eyes of Horus + 2 images of Anubis
* North Wall:
* Standing mummiform Osiris entroned on white panel flanked by wedjet eyes (protective symbols)
* East Wall:
* Scenes of provisioning (continutity from older tombs)
* Plowing, agriculture, animal husbandry, harvesting
* Images of the underworld above
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End of the New Kingdom
* Invasions and raiding by Sea Peoples and Libyans
* Loss of economic control to temples (challenge authority of Pharaonic system)
* Inflation
* Breakdown of social control: tomb robbing, thefts from temples and palaces
* Famine at end of 20th dynasty
* Eventually civil war between High Priest of Amun in Tehbes and viceroy in Kush
