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Article

Ahhotpe  

J. H. Taylor

(d c. 1550–1530 bc). Egyptian queen and patron. Perhaps the wife of King Kamose, she should be distinguished from the later Ahhotpe, mother of King Ahmose (reg c.1540–c.1514 bc). Her intact burial was discovered at Thebes in 1859. The massive anthropoid coffin with gilded lid (Cairo, Egyp. Mus., CG 28501) was of the rishi type, characteristic of the 17th and early 18th dynasties (see Egypt, ancient §XII 2., (i), (c)). Four lidless alabaster vases, which probably served as canopic jars, were also found, but most important was the large collection of gold and silver jewellery and ceremonial weapons discovered inside the coffin. These pieces, all of which are in the Egyptian Museum, Cairo, constitute the prime evidence for goldsmiths’ and jewellers’ techniques at the beginning of the New Kingdom (see Egypt, ancient §XIV 4.).

The principal pieces included an inlaid golden pectoral, two collars, a massive golden armlet (possibly belonging to King Ahmose) and a variety of bracelets of gold, precious stones and beadwork. There were three daggers, including a particularly fine specimen of gold (CG 52658), with ornamental handle and inlaid blade. Of the three axes, the finest (CG 52645) has a gilded blade, richly inlaid with figured scenes and royal names; it is secured to the cedar-wood handle by a lashing of golden thongs. There were also three large golden fly pendants on a chain and two model boats, one of gold and the other of silver. The silver model boat is mounted on a four-wheeled carriage of wood and bronze. Perhaps the finest piece, technically, is an inlaid scarab on an elaborately constructed gold chain of very small links....

Article

R. Krauss

[Amenophis IV, Neferkheperurewaenre]

(reg c. 1353–c. 1336 bc).

King of Egypt in the late 18th Dynasty, son of Amenophis III and husband of Nefertiti. His reign was characterized by revolutionary changes in religion and art. Soon after his accession, Amenophis IV, as Akhenaten was at first known, began to build a temple complex at Thebes for the Aten, the disc-shaped manifestation of the traditional sun-god Re. In the fifth year of his reign, he founded a new capital in Middle Egypt at the site now known as Amarna, (Tell) el-: the period roughly encompassed by Akhenaten’s reign is therefore usually known as the Amarna period. Thereafter the King changed his name to Akhenaten (‘Beneficial to the Aten’), and throughout Egypt the worship of traditional gods was neglected, while the cult of the previously pre-eminent god Amun was actively persecuted.

Akhenaten’s name is inextricably associated with the Amarna style created during his reign, according to which the King, his family and their relationship to the sun-god were the only proper subjects for art. Reliefs in the earlier Amarna style are known from reused fragments (the so-called ...

Article

(b Athribis, nr Benha, c. 1440 bc; d c. 1350 bc).

Ancient Egyptian architect and patron. Amenhotpe rose to prominence in his home town during the reign of Amenophis III (reg c. 1391–c. 1353 bc) as a royal scribe and chief of the priests of the local god Khentekhtai. About 1390 bc he moved to the royal court at Thebes and was rapidly promoted by Amenophis III to the position of chief royal architect, responsible for the whole process of temple construction, from quarrying to the sculpting of relief decoration, as well as the commissioning of royal statues. The full list of buildings for which Amenhotpe was architect is not known, but he certainly supervised the construction of a huge temple at Soleb near the second cataract of the Nile in Lower Nubia, where several of the reliefs depict him standing alongside the King during the temple consecration ceremony. He also built two tombs and a mortuary temple for himself on the west bank at Thebes (...

Article

Ian M. E. Shaw

[Nebmaatre]

(reg c. 1391–c. 1353 bc). Egyptian ruler and patron. He reigned in the late 18th Dynasty (c. 1540–c. 1292 bc), a time of great national peace and prosperity. Amenophis III was a prolific builder: it was during his reign that Amenhotpe, the greatest Egyptian architect since Imhotep, rose to a position of power and influence as ‘Overseer of all the King’s Works’.

Although Amenophis III constructed numerous temples, from Memphis and Bubastis in the north of Egypt to Soleb and Sedeinga in the south (see Nubia, §III), only a small number of these have survived. His mortuary temple, built in fine white limestone on the west bank of the Nile at Thebes, must have been one of the most impressive buildings of the time, but it was systematically dismantled in the 19th Dynasty (c. 1292–c. 1190 bc). Only a few items of sculpture and stelae have been preserved from it, notably the celebrated ‘...

Article

Claude Vandersleyen

[Amenemhet III; Nymaatre]

Egyptian ruler. Both architecture and sculpture have survived from his reign in the 12th Dynasty (for chronological chart of Egyptian kings see Egypt, ancient, fig.). He built two pyramids, one at Dahshur and the other at Hawara in the Faiyum region, where is also a small temple, finished by Ammenemes III’s successor, Ammenemes IV; the reliefs in this temple have not been published in detail. Some reliefs of Ammenemes III were also found at Abydos (Philadelphia, U. PA, Mus.); they display little of the quality and interest of the reliefs of his predecessor, Sesostris III.

There are more than 50 statues and heads of Ammenemes III, easily identifiable because of his distinctive physiognomy. As with the statues of Sesostris III, they appear to correspond to various ages of the King; however, this progression is probably complicated by wider variations of style and dimensions. The characteristic traits of these heads are large eyes (always serious and impassive), exceptionally large ears and a nose that is far less prominent than that of Sesostris III and hooks back into the face after the bump of the nasal bone. His mouth has thick, curled lips, the corners of which turn up to end against fleshy protuberances. The cheek-bones are very high and wide and are cut by a wrinkle leaving the inside corner of the eye at an angle of 45°....

Article

Sophie Page

Astrology is the art of predicting events on earth as well as human character and disposition from the movements of the planets and fixed stars. Medieval astrology encompassed both general concepts of celestial influence, and the technical art of making predictions with horoscopes, symbolic maps of the heavens at particular moments and places constructed from astronomical information. The scientific foundations of the art were developed in ancient Greece, largely lost in early medieval Europe and recovered by the Latin West from Arabic sources in the 12th and 13th centuries. Late medieval astrological images were successfully Christianized and were adapted to particular contexts, acquired local meanings and changed over time.

Astrology developed into a scientific branch of learning in ancient Greece, but because of the opposition of the Church Fathers it was transmitted to early medieval Europe in only fragmentary form in technically unsophisticated textbooks and popular divinatory genres. Literary and scientific texts provided more general ideas about the nature and attributes of the planets which were influential on later iconography. The first significant astrological images appear in 11th-century illustrated astronomical texts (e.g. London, BL, Cotton MS. Tiberius BV), which were acquired and produced by monasteries to aid with time-keeping and the construction of the Christian calendar....

Article

[Greco-Bactrians; Indo-Greeks]

A number of Hellenistic kingships that ruled portions of Afghanistan, Central Asia and India in the last three centuries bc. In ancient times the region of Bactria was bounded on the north by the Oxus and on the south-east by the Hindu Kush mountains. The western frontier remained ill-defined and in constant flux. Following the death of Alexander the Great in 323 bc, Bactria and adjoining Sogdiana were controlled by the Seleucids until c. 250 bc, when the governor Diodotus asserted independence. A large body of coins, Hellenistic in style and iconography and with Greek legends, was minted by the Greco-Bactrian rulers. This style of coinage, but with bilingual Greek and Kharoshthi legends, continued into the Kushana period (1st to 3rd century ad). With the exception of Ai Khanum, a Greek-style city, few remains of the Greeks in Bactria have yet been uncovered. Control of Sogdiana was lost to the local kings in the late ...

Article

In the 20th century, discussion of the relationship between Byzantine art and the art of the Latin West evolved in tandem with scholarship on Byzantine art itself. Identified as the religious imagery and visual and material culture of the Greek Orthodox Empire based at Constantinople between ad 330 and 1453, studies of Byzantine art often encompassed Post-Byzantine art and that of culturally allied states such as Armenian Cilicia, Macedonia, and portions of Italy. As such fields as Palaiologan family manuscripts and wall paintings, Armenian manuscripts, and Crusader manuscripts and icons emerged, scholars identified new intersections between Western medieval and Byzantine art. Subtle comparisons emerged with the recognition that Byzantine art was not static but changed over time in style and meaning, although most analyses identified Byzantine art as an accessible reservoir of the naturalistic, classicizing styles of antiquity. Scholars considering the 7th-century frescoes at S Maria Antiqua and mosaics at S Maria in Cosmedin, both in Rome, and the 8th-century frescoes at Castelseprio and Carolingian manuscripts such as the Coronation Gospels of Charlemagne (Vienna, Schatzkam. SCHK XIII) used formal comparisons with works such as pre-iconoclastic icons at St Catherine’s Monastery on Sinai, along with the history of Byzantine iconoclasm, to argue for the presence of Greek painters in the West. Similarly, Ottonian and Romanesque painting and luxury arts, such as ivories, provided examples of the appropriation of Byzantine imperial imagery. Yet the study of works such as the great 12th-century ...

Article

Peter F. Dorman

[Maatkare]

(reg c. 1479–c. 1458 bc). Ancient Egyptian ruler of Egypt and patron. Daughter of Tuthmosis I and princess of the royal blood, Hatshepsut married her half-brother Tuthmosis II and, at the death of her father, became queen consort. Her considerable influence as queen and ‘god’s wife’ of Amun continued unabated when her father died, and she acted for several years as regent for the young Tuthmosis III, her nephew and stepson. For reasons that remain conjectural, Hatshepsut assumed pharaonic titles, probably in year seven of Tuthmosis’s reign, and insinuated herself as the senior partner of a co-regency.

Unlike previous women who had ruled Egypt, she was consistently portrayed in sculpture and relief as a male, creating a polite fiction that enabled her to legitimize her claim to the throne. Her sculpture generally conforms to the royal style of Tuthmosis III, although in certain instances the sculptor has attempted to soften the masculine conception of the vigorous and athletic youth that embodies the Tuthmosid ideal. Hatshepsut is occasionally depicted with slender elongated limbs that may well be an attempt to imbue the royal figure with a sense of femininity (...

Article

Alain-Pierre Zivie

[Djeserkheprure]

(reg c. 1319–c. 1292 bc). Ancient Egyptian ruler and patron of the post-Amarna period. The reign of Horemheb was rich and fascinating in terms of art and architecture, although the amount of evidence is small and the situation is confused by the large number of monuments usurped from his predecessors. It would be too simplistic to consider him merely as one who restored order and traditional religious cults after the so-called anarchy or revolution of the reign of Akhenaten (reg c. 1353–c. 1336 bc). It was during the reign of Akhenaten that he first came to prominence, perhaps under the earlier name of Paatenemheb, later appearing in the monuments of Tutankhamun (reg c. 1332–c. 1323 bc) as the general-in-chief and regent, Horemheb. He became even more powerful during the reign of Ay (reg c. 1323–c. 1319 bc), whom he eventually succeeded. It is possible that his wife Mutnodjmet was of royal descent and thus conferred on him a legitimacy that he had at first lacked....