Academic literature on the topic 'Hatshepsut, Queen of Egypt – Art'

The worldwide exchange of fruits has been facilitated by traders, travelers, sovereigns, conquerors, diplomats, missionaries, and botanists. The beginnings of organized plant exploration date to the Pharaohs of ancient Egypt, who, as early as 2000 bce, brought back exotic trees and plants in their foreign campaigns and illustrated them on their temple walls. Queen Hatshepsut (ca. 1500 bce) sent out ships to bring back trees from the land of Punt (northeast African coast). The exchange of plants throughout antiquity was a by-product of trade routes between East and West as well as though the campaigns of conquerors including Alexander, the warriors of Islam, Genghis Khan, and the crusades. The age of exploration starting at the end of the 15th century was inspired by the search for a sea route to the spice-rich East. The encounter of Columbus with the Americas brought about an explosive exchange of New World and Old World plants. The rise of science in the 17th and 18th centuries was associated with botanical exploration involving travels and expeditions, including Hans Sloan to the West Indies, James Cunningham to China, Georg Eberhard Rumpf (Rumphius) to the Moluccas, and Sir Joseph Banks to Newfoundland, Labrador, South America Tahiti, New Zealand, Australia, the Malay Archipelago, Hebrides, and Iceland.

Ostrakon DeB/F.608 was found in the area of the Temple of Tuthmosis III at Deir el-Bahari. There are good reasons, however, to link it to the building of the Temple of Queen Hatshepsut and more precisely to the transport of stone blocks by a crew of eight men. Five of them can be identified as foreigners, presumably Asiatic slaves brought to Egypt as a result of military campaign(s) in the early Eighteenth Dynasty.

The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that reflects changes in art introduced in the times of Hatshepsut. The representations on the bases of the royal sandstone sphinxes from the queen’s temple include, among others, rekhyt birds, pat-people and “enemies of Egypt”. They take on a form that departs from that known from other sphinx sculptures.

Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author's studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing it from the “God’s Land”. Iconographic features contesting this identification and suggesting a different species, that is, the African harrier-hawk, are discussed based on a combination of theoretical background, material analysis, on-site interviews with experts and the author’s personal experience with the species.

Abstract. The near-surface groundwater aquifer that threatened the Great Pyramids of Giza, Egypt, was investigated using integrated geophysical surveys. A total of 10 electrical resistivity imaging, 26 shallow seismic refraction, and 19 ground-penetrating radar surveys were conducted in the Giza Plateau. Collected data for each method were evaluated by state-of-the art processing and modeling techniques. A three-layer model depicts the subsurface layers and better delineates the groundwater aquifer and water table elevation. The resistivity of the aquifer layer and seismic velocity vary between 40 and 80 Ωm and between 1500 and 2500 m s−1, respectively. The average water table elevation is about +15 m, which is safe for the Great Sphinx, but it is still subjected to potential hazards from the Nazlet El-Samman suburb where the water table elevation reaches 17 m. A shallower water table at the Valley Temple and the tomb of Queen Khentkawes, with a low topographic relief, represents severe hazards. It can be concluded that a perched groundwater table is detected in the elevated topography to the west and southwest that might be due to runoff and capillary seepage.

Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.

<p>Resumen</p><p>Este texto presenta algunas ideas sobre el mundo egipcio en el contexto del reinado de Akhenatón, centrándose en la actividad artística y, especialmente, en la representación del cuerpo. Se toma como objeto de análisis un fragmento del mural de la tumba de Nebamun y el busto de la reina Nefertiti. Con esto se pretende mostrar la importancia del cuerpo en el arte egipcio, así como algunos imaginarios en torno al primero y la estrecha relación que hay entre religión y cuerpo gracias a los códigos culturales que las obras revelan.</p><p>Palabras claves Akhenatón, arte egipcio, concepción de cuerpo, Imperio Nuevo, Nefertiti.</p><p>Suma kuirpukuna Pailla waglli Mailla Kaillaiaspa Suma Kawarimo Musu imperiopi sugrigchatu Kamgapa Egiptopi Sugllapi Kaipi willarikami imasa kaugsai uikarigta Egiptopi Akhenatón rei kaura iapa allilla trabajanakura maipi karka Sumaiachiska pambariaska Nebamun Nefertitipa reinatapas kaikunawa munarikuna kawachinga maiktuku sumami ka Egipiciopa kuirpakuna Chasallata ñugpamandata iurarispa imasa kagta. Religionpi kuirpupas kai trabajakunawan kunawan kawari imasa kagta. Ima suti Rimai Simi: Akhenatón, Egipcio Sumaiachiska sumaiariska cuirpu musu imperio, Nefertiti.</p><p> </p><p>Ideal bodies / natural deformities: an approach to the conception of art and its transformations in the new empire (Egypt). Abstract</p><p>This paper offers some thoughts on the Egyptian world during the reign of Akhenaten, focusing on artistic activity and especially on the representation of the body. The main analysis centers on a fragment of the mural from the tomb of Nebamun and the bust of Queen Nefertiti. With this we try to highlight the importance of the body in Egyptian art as well as some imaginaries around the former, and point to the close relationship between religion and body due to the cultural codes that the works reveal.</p><p>Keywords</p><p>Akhenaten, Egyptian art, body concept, New Kingdom, Nefertiti.</p><p>Corps idéaux /Déformations naturelles : une approche de la conception de l’art et de ses transformations dans le nouvel empire égyptien. Résumé</p><p>Ce texte présente quelques idées sur le monde égyptien dans lecontexte du règne d’Akhenaton, en se centrant sur l’activité artistique et, plus spécifiquement, sur la repré- sentation du corps. Un fragment de la fresque de la tombe de Nebamon et le buste de la reine Néfertiti ont été pris comme objets d’analyse. Nous prétendons avec ceux-ci montrer l’importance du corps dans l’art égyptien, ainsi que l’imaginaire autour de la première et l’étroite relation qui existe entre religion et corps grâce aux codes culturels révélés par les oeuvres.</p><p>Mots clés</p><p>Akhenaton, art égyptien, conception du corps, Nouvel Empire, Nefertiti. Corpos ideais/ Deformações naturais: uma aproximação à concepção de arte e suas trasformações no novo império (Egipto). Resumo Este artigo apresenta algumas reflexões sobre o mundo egípcio no contexto do reino de Akhenaton, com foco na atividade artística e especialmente na representação do corpo. É tomado como objeto de análise um fragmento da pintura mural do túmulo de Nebamun e o busto da rainha Nefertiti. Este destina-se a mostrar a importância do corpo na arte egípcia, bem como alguns imaginários sobre a primeira e a estreita relação entre religião e corpo graças aos códigos culturais que revelam as obras.</p><p>Palavras chaves</p><p>Akhenatón, arte egípcia, conceito do corpo, Novo Império, Nefertiti.</p>

I investigate why gendered images of Hatshepsut influenced androgynous images of Nefertiti in New Kingdom Egypt and how Nefertiti and Akhenaten used their images in the promotion of their monotheistic religion; through a contextual, stylistic and feminist examination of the images. Hatshepsut cultivated images of herself to legitimize her rule in relation to canonical kings before her. Similarly, Nefertiti represented herself as a figure indiscernible from Akhenaten, creating an image of female co-rulership. Although the visual representations of both Hatshepsut and Nefertiti differ, the concepts behind each are analogous. They both manipulated androgyny to create images displaying powerful women equal in status to male Egyptian kings.

The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.

The thesis examined the roles and contributions of Black women during the African ancient civilization by analyzing the lives, roles and contributions of Queen Hatshepsut and Nefertiti as case studies and interrogates how Black women positioned themselves as political, military and spiritual leaders during the age of antiquity. The argument is that African women were more involved as leaders in the affairs of their communities as compared to the contemporary times. By using African centered paradigms, Afrocentricity and juxtaposing robust anti-colonial and Black feminist thoughts, the thesis investigates and recreates systematic narratives of the past roles of African women at the very height of African civilization, discussed the changes in sex-gender roles and explained why contemporary women continue to experience difficulties in assessing position of leadership and resources. The study reproduces measured facts to confront the blurred roles and contributions of African women and situates it at the centre of education.