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Statue of hatshepsut seated
Ancient Egyptian civilization impacts
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This Large Kneeling Statue of Hatshepsut (ca. 1473-1458 BCE), shows the pharaoh Hatshepsut kneeling and providing an offering either for balance or order. For a few reasons those first viewing this statue will assume that it’s just another depiction of a male pharaoh. Firstly, women as rulers were extremely uncommon in Egypt. Visually, the statue almost appears to be male. The body composition is rather bulky for a woman and is fitted with a facial beard. The clothing is that of a male ruler and the facial expression is serious and confident. The statue itself is giving no emotion, she looks serious as though she is not trying to give an expression, but could intel that she is a rightful ruler as any male pharaoh before her.
However, on further examination of the statue, certain physical characteristics of a female become apparent. The face is smaller and more feminine than other depictions of male pharaohs. In comparison to statues of male rulers this one is less muscular. Wearing the fake beard can let her people know that she is capable of being a commander as any man. In her kneeling state, her feet curve along side the ground as well as her toes. This is an extra detail given to the statue as Egyptian statues weren’t realistic. Even as a statue the artists make her very big with much bulk
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Hatshepsut stands apart for her historical legacy as opposed to Cleopatra, “Egypt’s Cleopatra looms large more for her romantic exploits than her historical legacy. One Egyptian queen stands apart, however: Hatshepsut, who ruled Egypt for some two decades at the beginning of the fifteenth century B.C. A strong and effective pharaoh, she oversaw a cultural renaissance that influenced the arts in Egypt for more than a millennium” (Roehrig and Dreyfus
Many art works such as statues are placed throughout the world in different settings. The most common setting for statues is found in funerary settings. The importance of statues in funerary settings is that they are use to project the power the person had before his death. The seated statue of Khafre enthroned from Gizeh, Egypt, illustrates the idealized pharaoh. Another sculpture is Kouros, from Anavysos, Greece that depicts the heroism of Kroisos dying in battle. The Kouros and Khafre are similar in the way that they both radiate power and serve the purpose of honoring the dead men, yet Khafre has a greater significance because it illustrates the pharaoh in a flawless form and the audience can tell that he was a great ruler by the perfect cut sculpture.
Robins, Gay. "The Names of Hatshepsut as King." Journal of Egyptian Archaeology 85 (1999): 103-12. Jstore. Web. 8 Dec. 2013. .
Roehrig, Catharine H., Renée Dreyfus, and Cathleen A. Keller. Hatshepsut, from Queen to Pharaoh. New York: Metropolitan Museum of Art, 2005. Print.
“His majesty, herself”: ruler of consequence and inconsequence. She was one of the most controversial rulers of ancient Egyptian history. The discovery in 2007 of her remains and tomb created more questions than answers. From her glorious reign of Egyptian prosperity and consequence, to her mysterious death and attempts to erode her from history and make her legacy inconsequential, Hatshepsut rose above and now is considered to be “the most important find in the Valley of the Kings since the discovery of King Tutankhamen”. Hatshepsut was born the daughter of Pharaoh Thutmose I and Ahmose.
The Women who would be king is a book about Hatshepsut’s rise to power in ancient Egypt. The author, Kara Cooney is an Egyptologist, archaeologist and is chair of the Department of Near Eastern Language and Cultures at UCLA. She also is an associate professor of Egyptian Art and Architecture at UCLA. Cooney when writing the book choose to “forgo any long-winded analysis of architectural history, reliefs, statuary, text, and genealogy, instead focusing solely on Hatshepsut’s narrative.”(pg. xii Author’s Note) Cooney takes more of a biographical approach when writing this book. In no way is this book supposed to be a perfect biography or story of Hatshepsut, due to the fact that there is so little information about her. Cooney even says that many of her Egyptological training rules had to be broken in order to write the book containing Hatshepsut’s ambitions, intentions, and disappointments.
Around the time 530 bce a statue was carved out of marble and given the name Anavyos Kouros. It represents a male figure completely nude. It is a sculpture in the round and stands a height of six foot four inches. Starting from the top we see the man's head. His hair looks odd to that of a normal human, it does not look like it belongs on his head. Looking at his facial structure his eyes are large similar to art of ancient Egypt. His nose, lips, cheeks, and ears are well defined and proportional. His body is muscular and he looks to be in great shape. The sculptor who made this paid close
Before Hatshepsut, there were other woman who attempted to rule over Egypt. Every time a woman came to power, there was some sort of problem that was left for them to solve. Unlike Hatshepsut, the other woman did not have any confidence to name themselves pharaoh and they did not grow up in the royal family like Hatshepsut did. In paragraph 13, it states, “A few women had tried to rule Egypt before, but never would search valid claim to the throne,” and, “These women had not ruled long or well and neither had had the audacity to proclaim herself pharaoh.” These quotes explain that Hatshepsut was recognized for taking power at a good time and not stepping
Hatshepsut first started just as the Pharaoh’s daughter, a very impressive place to be in. But Hatshepsut had gone much farther than being known as the daughter of Thutmose I. However Hatshepsut could not get the position of Pharaoh. However she went through many obstacles in order to become Pharaoh. An example of a main obstacle would be the position of Pharaoh can only belong for men. Hatshepsut’s begins by marrying her half-brother in order to become queen of Egypt. Her half-brother inherited the role of Pharaoh Due to the death of Thutmose I. Hatshepsut inherited the position of queen due to now being her brother’s wife. A quote that shows this is “When Thutmose I died, in 1518 B.C., his daughter’s life changed dramatically. Hatshepsut, who was probably as young as 12 years old, married the heir to her father’s throne and became the Queen of Egypt.
In the book “The Temple of Hatshepsut”, it shows most of the paintings remaining from her tomb. Most of the paintings were the only story remained from conquests she had when she ruled. “On the south side was a text citing Hatshepsut’s victories against the Nubians and next to this four register showing land and water processions leading up to dedication by the queen to the god Amen-Ra” (Bryan,
This woman was most likely a freeborn, although lower class, woman. Based on the known trends of Syrian art at the given period, it is likely that the woman had vey little monetary wealth upon her death, explaining the lack of any jewlery besides the headress being depicted in this statue. The woman was probably born in Syria of Arabic descent, and her age at the time of death was somewhere between thirty-five and forty. There are deep lines in her cheeks depicting this aging process, but the lack of other facial wrinkles gives the assumption that she died rather young. Based om the sunken cheekbones and large eyes, as well as the fact that she was most likely poor, it can be assumed that had been in relatively poor health at the time of her death, probably heightened by meager food and strenous activity.
Queen Hatshepsut ruled from Thebes (Upper Egypt) during ca. 1479 - 1457 BC, starting out as regent to her youthful of her nephew Thutmose III, but later taking full control of the government and the royal regalia. It was uncommon in Ancient
Both figures are in a very traditional, standing pose for the time period in which they were created. The sculpture of Augustus is based on the Greek classical statue of the Spear Bearer or Doryphoros by Polykleitos. He is standing in contrapposto, a very classical standing pose wherein the weight of the body is shifted naturally so the figure’s weight is more on one leg, with the other leg slightly bent behind and the hips tilted. Mycerinus and Kha-merer-nebty II are both in the standard Egyptian canon standing pose, in which the figures are rigidly frontal with the pharaoh’s arms down at his sides and fists clenched. Like Augustus, one leg is slightly ahead and one is behind, but there is no contrapposto, the figure’s weight is shared equally by both legs and the hips are squared and level.
Hatshepsut was born into a wealthy, educated family; however, she displayed qualities that are innate among most great leaders. She was courageous, ambitious, confident, and innovative. This allowed her to become the female Pharaoh during the 18th dynasty, and in a male dominating society, this was seen as an accomplishment among historians analyzing women in power. Hatshepsut’s will to adopt the role as Pharaoh prior to her reign portrays her as a strong, independent female leader. Her building projects and further establishment of trade had a positive impact on Ancient Egypt socially, economically, and intellectually by creating opportunity and further expanding their knowledge. Ultimately, Hatshepsut is considered to be a very successful and influential leader within Ancient history.
The large kneeling statue of Hatshepsut (~1470 BCE), (Figure 3-21 [pg. 70] in “Art Through the Ages”) depicts the female pharaoh Hatshepsut, seated on her knees with a jar in each hand.
The Nefertiti bust portrait, from Ancient Egypt's 18th Dynasty, was created sometime between 1348 and 1336 B.C. and now resides in the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Agyptisches Museum. (Stokstad, 120) It was found in the studio of its believed sculptor, Tuthmose, at the then-capital city, Akhetaten. Because bust portraits during this time were a rarity, scholars believe that Tuthmose may have created the bust simply as a model for future sculptures and paintings of Nefertiti. Though it is generally known from ancient depictions of sculptors at work that statues were sometimes created in parts and then assembled, it is believed that this bust was never intended to be part of a full-bodied statue. (Stokstad, 120)