6 10 53 http://classicalchopped.artinterp.org/omeka/files/original/e0df8b5522a6146d800088020d12cad9.jpg a6b370707169d19a4abeed0a699a1b3c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Large Kneeling Statue of Hatshepsut Date A point or period of time associated with an event in the lifecycle of the resource Dynasty 18, ca. 1479-1458 B.C. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. granite Format The file format, physical medium, or dimensions of the resource 261.5 cm tall Source A related resource from which the described resource is derived Egypt, Upper Egypt, Thebes, Deir el-Bahri, Senenmut Quarry, MMA excavations, 1927-28 Rights Holder A person or organization owning or managing rights over the resource. The Metropolitan Museum of Art, New York City, New York Description An account of the resource Description: The ‘Large Kneeling Statue of Hatsheput’ presents a large female figure kneeling atop a rectangular slab with a rounded front. She wears a nemes headdress of incised lines that wraps around her forehead and extends to her shoulders and stops just above the breast, a false beard that flares out slightly at the bottom and creates a solid block at her upper chest, and a shendyt kilt that ends just above the knees. Her face, with its sharp, chiseled features and incised eyes, broad shoulders, understated breasts along with her regal attire, characterize the Ancient Egyptian conventions of a male pharaoh. Formed of hard granite, the statue exudes a stoic strength, with a rigid, straight back, and bent knees with curled feet pressing down on the base. Her arms, bent at the waist, lead to hands tilted up, cupping two round, palm-sized vessels, called nu-pots, used as offerings to the god Amun, according to the inscription at the statue’s base. Cracks appear throughout the granite, denoting the deliberate damage the rough, grainy surface, which has been re-assembled and restored by the Metropolitan Museum of Art with a plaster fill. Significance: Rendered in the millennia old Egyptian visual iconography, the statue boldly expresses King Hatsheput’s endurance as pharaoh. Although considered a queen earlier in life, Hatsheput, whom the statue portrays, ascended to power following her husband Thutmose II’s death. By 1473 B.C., scholars note that she wore male pharaoh regalia and created her own mythology, claiming to be the daughter of Thebes’ supreme god, Amun, in order to establish her authority. This particular statue was created after that time, and probably commissioned by Hatsheput herself along with hundreds of other portraits she mandated, which imbues its strong, kingly features with a greater sense of power. Originally seated in the middle terrace of Hatsheput’s mortuary temple, the statue, in kneeling position, would present its raised offerings to the statue of Amun-Re that passed from Thebes across the Nile to a shrine in the back of temple for one night during the Beautiful Feast of the Valley. This kneeling posture not only showed Hatsheput’s reliance and submission to Amun, but also testified to her own role in partaking in a ritual of the living, even after her death, implying her eternal position as a king/god in the afterlife, and heralded by the enormity of the statue. Though its cracks reflect the efforts of her step-son, Thutmose III, to expunge her name from history, the statue now sits proudly in the Metropolitan Museum of Art, a lasting symbol to new generations of the legacy Hatsheput proclaimed for herself. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.metmuseum.org/art/collection/search/544449 https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/v/mortuary-temple-of-hatshepsut-and-large-kneeling-statue-new-kingdom-egypt Contributor An entity responsible for making contributions to the resource Charlotte Mann http://classicalchopped.artinterp.org/omeka/files/original/85fb2e9b6deb51c564f9bfc24ef1ca79.jpeg ef12e2fa6956f18ee509f8fbe9b3dc93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Nefertiti Date A point or period of time associated with an event in the lifecycle of the resource c. 1340 BC, 18th Dynasty, under the rule of Pharaoh Akhenaten Creator An entity primarily responsible for making the resource Unknown (occasionally credited to Thutmose) Source A related resource from which the described resource is derived Amarna, Egypt, found in the Thutmose workshop Rights Holder A person or organization owning or managing rights over the resource. The Neues Museum of Berlin, Germany References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Neues Museum: http://www.smb.museum/en/museums-institutions/neues-museum/home.html Khan Academy: https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/v/thutmose-bust-of-nefertiti-c-1340-bce Ascaso, Francisco J., et al. "One eyed beauty: Queen Nefertiti's bust." British Journal of Ophthalmology 95.2 (2011): 161-161. Arnold, Dorothea. The royal women of Amarna: images of beauty from ancient Egypt. Metropolitan Museum of Art, 1996. Pages 52-70. Contributor An entity responsible for making contributions to the resource Charlotte Myers Medium The material or physical carrier of the resource. Painted limestone with gypsum plaster layers, wax with rock crystal inlay (in eye) Format The file format, physical medium, or dimensions of the resource 47-48 cm tall Description An account of the resource Description: The Bust of Nefertiti, a highly significant bust from the New Kingdom (18th Dynasty, Amarna Period) showcases Queen Nefertiti holding her head in an upright position. Her eyes are half open, rendering a sense of serenity, and her mouth indicates a hint of a smile. Furthermore, she is depicted with heavily idealized features; her face is slender, her cheekbones are highly protruding, and her face is one of great symmetry. Her features are heavily accentuated, indicating the type of makeup which was common for women of her ranking in Ancient Egypt; her lips are colored a reddish brown and her eyes are outlined in deep black lines. Her neck is long and elegant, and she is decorated quite ornately, with a collar of jewels resting on her chest and a tall, cylindrical, painted headdress atop her head. It is predominately painted in a dark blue with a ribbon-like decoration depicted in gold, green, and lighter blue. Upon the center of the headdress, uraeus was applied atop the surface vertically and painted with gold paint. This significant snake as well as her left ear are both heavily damaged today. Her skin is a dark ruddy color and the artist created shadows to depict heavy contour in her face and neck. <br /><br />Significance: Much like Hatshepsut, Queen Nefertiti is rendered with some male characteristics; for instance, her skin is of a reddish color, which is how men were normally portrayed to illustrate their fortitude and work in the outdoors. This has huge significance because it indicates that she was powerful in ways that men were and likely non-subservient at a time when women were meant to act solely as support systems for men; these typically-male characteristics signify that she had privileges that perhaps other women of her time did not have access to. Otherwise, she is clearly female based on her makeup and and feminine facial features (and elongated neck). Her ornamentations also signify power and status along with great wealth.  The depiction of uraeus upon her headdress represents her royalty. The Bust of Nefertiti remains highly significant based on her poise and grace as well as the depiction strength in her womanhood. Additionally, much of Nefertiti’s significance stems from what art historians deem to have been her function. Nefertiti was found in the cupboard of the workshop of Thutmose, a sculptor from the Amarna Period. This location, as well as the fact that only one of her eyes was prepared to be inlaid with precious stones, indicate that this bust was used for teaching purposes within the workshop. Furthermore, the fact there is simply a bust with no body attached enhances the likeliness of this theory as well. The Bust of Nefertiti serves as one of the most well-known pieces from antiquity, yet may have been a mere teaching tool within its day and age. http://classicalchopped.artinterp.org/omeka/files/original/64355fc3a6ea1a1665708f9980f7f0e0.jpg 3653957ace0906a5885ef060ed8449eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bust of Ankh-haf Date A point or period of time associated with an event in the lifecycle of the resource Dynasty 4, reign of Khafra (Chephren) 2520–2494 B.C. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Painted limestone Format The file format, physical medium, or dimensions of the resource 50.48 cm tall Source A related resource from which the described resource is derived Egypt, Giza, tomb G 7510 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts, Boston References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bolshakov, Andrey. "What Does the Bust of Ankh-haf Originally Look Like?" Journal of the Museum of Fine Arts, Boston 3 (1991): 1-13. Gizapyramids.org. Web. <br /><br />Breckenridge, James D. <em>Likeness: A Conceptual History of Ancient Portraiture.</em> Evanston: Northwestern University, 1969. 37-38. Print. <br /><br />Museum of Fine Arts, Boston: http://www.mfa.org/collections/object/bust-of-prince-ankhhaf-45982 Contributor An entity responsible for making contributions to the resource Ryan Tetter Description An account of the resource Description: In ancient Egypt, artists often gravitated towards abstract qualities in their portraiture, resulting in characteristics that some would not define as a “true portrait.” This decree is shattered in the Bust of Prince Ankh-haf, as it exhibits the details finessed by the hand of a master rather than the usual stylized representation. Plaster covers the limestone core of the bust, which has been painted red. This color is often associated with males in antiquity. There also appears to be damage to the forehead, nose, and chin of the bust. Ankh-haf’s features show evidence of traits that are comparable to mature men. His head appears bulbous in shape, but this observation can be attributed to his hairline, which starts at the tip of his scalp. This seemingly minute detail depicts Ankh-haf with a receding hairline – a detail absent from most ancient Egyptian sculptures of the Fourth Dynasty. His eyelids droop down towards his irides, which were originally painted white with brown pupils, but the paint has since faded from existence. Additionally, the puffy bags under his eyes show signs of age, complimenting his weary facade. The diagonal grooves in his cheeks set off his mouth, which gives him a sense of sternness. His ears have since been lost to antiquity, along with a separate piece of plaster that was once used as a beard. The absence of the statue’s arms and the surface damage surrounding the lower chest suggests that part of the statue was separated from the rest of its body. Significance: The Bust of Ankh-haf demonstrates a sense of realism that had not yet been attempted by Egyptians in antiquity. His expression might be described as either pensive or contemplative, both of which are frequent components of lifelike renderings. His gaze appears commanding and willful to the observer and may have been intentionally carved out to give his viewers a raw, yet true depiction of his facial traits. The Bust of Ankh-haf was not only significant for its accurate representation of the human image, but also for its practical use in ancient Egypt. It is believed that the bust was taken from a false door and offering table, which housed the remainder of the arms and torso. Historians claim that the aesthetic perception of the bust must have been used to evoke a sense of realism in the event of an offering. Ankh-haf is special because he is not like other Egyptian sculptures of his time. Tomb sculptures were often private and placed in serdabs, where they were hidden from the public eye; however, this is not the case with the Bust of Prince Ankh-haf since it was found in a chapel attached to the exterior of the prince’s tomb. This chapel showcased the bust in such a way that it took on the form of an offering table, so it would be easily accessible for visitors seeking to honor the memory of Ankh-haf.