Wonderful. Let's begin the last section of our chapter three and we're looking at the new kingdom. As always, I have the list of themes and topics just to make sure you're keeping up. You're questioning yourself. You're looking at, you know, what are you learning? What more are you adding to that? We've reached the last component here in our timeline. Looking at the new kingdom from 1550 to 1070 BC. So we already talked about what happened at the end of the middle kingdom and into the second intermediate period, right? The hixos had taken over. They had brought with them the chariots and horses and that had created quite a chaotic environment within Egypt. However, the native Egyptian kings rise up again. Amos the first spelled a couple of different ways here on your slide becomes a founder of the new kingdom. He is the one who conquers and expels the Hixos. So he reestablishes the new kingdom. And this is pretty much considered another kind of age of glory or golden age for Egyptian history. Thieves is now also luxurious metropolis with palaces, tombs, temples, very grand, very elaborate. Um foreign expansion at this time has rich reached uh more vigor. They are expanding and of course it's by conquest, right? So it is wreaking havoc on other uh regions that they're expanding into. But this expansion also makes them more outward oriented, more internationally active. They're coming into contact with different areas. And this new kingdom uh remains stable for several hundred years as you can see from the dates up above. Now the three pharaohs that we're looking at in our chapter now there are many more obviously in this entire Egyptian history but the three we're focusing on are Hatchepsid Akan and King Tut or Tuten. We also need to note that the Valley of the Kings is now their burial site. It's located very close to thieves and this is sort of what it looks like. It's a little bit of a dated image that's been scanned, but all of these names are referring to the areas where the pharaohs have been buried, and they're obviously deep within the cliff. And you can see the dotted kind of ground plan that's depicted for you right there in the lower central part of the slide. And this is a contemporary photograph that's been taken, kind of a panorama of part of the valley looking north. And you can see kind of the work that's been done and kind of what the terrain pretty much looks like. So you want to imagine this is where they're building their tombs, right? This is where the pharaohs will now be buried. Let's begin with hot chipset. Now here are the juicy details of her rise to power. Her father Tutmas the first had been pharaoh. Now so she's a daughter of a past pharaoh. She's the principal wife as well as a halfsister to Tutmas II and together they do not have any children. Okay. However, Tutmas II with another minor wife has a son by the name of Tutmas III. So when Tutmas II dies, his son Tutmas the third becomes king at the age of 12. And Hatchepsid becomes like a regent, like an adviser. Well, that's fine for a few years, but she's thinking, why can't I rule? She's pretty bitter about this. And so she proclaims herself the pharaoh within just a few years after the Tutmas the third's power. And she says, you know, my father Tutmas the first had chosen me as successor. I mean, he has royal blood. I am his daughter. He has chosen me as successor. Now, we want to think about how is she going to represent herself? How is she going to legitimize her rise to power or her claiming of the throne? Let's see what she does. Take a look. What is she doing? She's representing herself as a male pharaoh with the attributes that had so far been held by male pharaohs. She's represented with the royal headdress, the false beard, and the royal kilt. But what is she doing here? She's offering to the gods. That's the only time you would see a pharaoh or somebody in power in a subservient position. I mean, she's on her knees. And the only time that would be okay was if it was for the gods. So she's got a couple of offering jars in her hands and she's making an offering. So she's doing a couple of things here. First of all, proclaiming herself pharaoh by adopting the male pharaoh's attributes. Second of all, she's doing what other male pharaohs or other pharaohs have done, which is make an offering to the gods. So she's proving to her to her people, right? She is a legitimate leader. She's capable of it. So first of all, she proclaims that her dad, you know, said she was a successor. Second of all, she portrays herself as a male pharaoh. Thirdly, she is making an offering to the gods. So these are three key ways she legitimizes her power. We're about to see a fourth one in just a few slides. But one other quick thing to note here, some of the texts we have actually say that she wanted to be called his majesty. Now sometimes we think about what does that mean, right? So, she's kind of adopting the male position, but really declaring it for herself. I wanted you to see this because I want you to see the other representations of hot chipset that we have. I mean, we have over 200 statues. A lot of them have also been shattered and broken. But here you see the one kneeling, which we already have just discussed. But when she's sitting, you can also see her with the breasts, right? So, she was depicted as a female as well. But when she's legitimizing her power, when she wants to make that connection, that continuity, she does depict herself with a male female male pharaoh's attributes. And then we'll eventually also see her in the form of a sphinx. This is hot as a pharaoh. She is a first great female monarch whose name has been recorded. Now, she ruled for about two decades. And historians say now that the the decades that she was ruling, Egypt was at its most powerful as well as its most prosperous. Kind of think about that. She also took part in a lot of building projects, including a pretty massive mortuary temple that we're about to see in just a second. Okay? But she was indeed a capable pharaoh. In other words, we don't just remember her name because she was a woman. We remember her name because she was a good pharaoh. Right? Eventually, when Tutmas III reclaims the throne, when he comes to power, he of course wants to possibly destroy her memory, erase her memory. Um, maybe she was too successful and he didn't want to kind of follow that. Um, but you see here, you know, in the top uh top image there with the broken parts of that head. And also the our own image with kneeling making the offerings that also was actually shattered, but um historians have put that together. And of course, I have the image of Saddam Hussein statue falling down or being brought down as a reminder of what happens when a new power comes to place, right? They're either destroying the objects of the old, they're either inscribing upon them, they're eliminating them from memory, right? This is really important to keep in mind as we keep going in uh in the material this semester. I mentioned that Hot Chipset also was building, right? Massive building projects. We'll take a look at her mortuary temple. Can you even glimpse the people in there? You can see how huge this thing is, right? Now, it's a mortuary temple. So, kind of serving a couple of functions we'll talk about in just a second. But I want you to look at it in relation to the environment. Okay? It relates to the cliff behind it in terms of both the vertical forms that you see like the columns that are depicted as well as the horizontality of the terraces, right? Giving you kind of mimicking the cliff behind it. So, it's a union of nature and architecture with these levels and textures kind of coming into place. pretty uh amazing what she's been able to do, you know, what her labor force has been able to do. Here's another image, kind of an aerial perspective, and you'll see right next to her on a smaller scale is actually the mortuary temple of Mentovep that we saw in our last section. So, she's pretty much dominating the landscape here, right? Really asserting her power, right? her ability to rule and govern as well as if not better than prior male pharaohs. The basic structure of the meruary is actually really interesting. It does mimic mentooteps in some ways. However, it doesn't have that kind of pyramid-like form that Mentoep has included. It is an axial plan. So, all the elements are symmetrically arranged along that dominant central line that you can see from the lowest level. You'd go all the way up all the way into the cliff side. And believe it or not, the length of this is about two and a half football fields. So, it's pretty pretty extensive that there are terraces and levels. So, kind of continually elevating you off the ground and further up into more important, more sacred location. And then in the innermost parts of this, you have sanctuaries with painted reliefs. And we'll see an example in just a moment. And lined up at that lowest level with the yellow arrow pointing to it are row or two rows kind of on either side of the person who's walking sphinxes of hatchepid and you so you see her again right composite creature we've seen this with caf in the old kingdom so the traditions are still very strong right the stability within Egypt of its many conventions still going strong still forming the foundation of visual imagery and this is one of the painted reliefs from inside the the mortuary temple and the king and queen of hunt and attendance. Now, this was a region to the south of um Egypt and Hatchups had connections with them. They were, you know, contact, exchange, trade and so on. So, she depicts her accomplishments on the walls of a mortuary temple. This one is going to point us to a couple other points here that um there were there were chambers cut into the cliffs and these chambers are basically chapels of the gods. Of course, there is this place for hot chipset. There's also one to Hatheror, Anubis, Ammon, and Tutmas I her father. Remember that was one of the ways she wanted to legitimize her right to rule was by pointing to her father who was also a pharaoh. So just kind of keep in mind that even though the main shrine here will be to Hatcheps, it does also incorporate some of the other gods as well as a prior pharaoh. Let's bring it all together. What were the functions of this complex and what is the effect of such a structure? Well, first of all, the complex serves as a tomb of Hatcheps, right? So, when she's uh passed on, right, this is where she'll be buried. This is where she'll be continually honored. It's also serving as a temple for the other deities, right? Hather, Amen, Anubis that we've already mentioned. So, what happens is it provides the rulers, so in this case, Hatchups, a place to worship, the patron gods, right? To keep them um continually present in the life of the Egyptians. And then of course she knows after her death she will join up with the gods as well and then people are coming to worship her shrine and her site here. I hope that at this point you've been able to make the connections, right? Old kingdom pyramids, new kingdom mortuary temple. There's still places to honor the pharaohs, to bury them, to worship them, continue their legacy. It's just the form has changed. They're still imposing and powerful as the earlier image was, right? The effect of that was that this imposing authority, right? And so you have that here as well. It's just the form looks different, but the motives, the intentions are still the same. new kingdom with Aknatan and what's called the Amarna period. So, Pharaoh Aman Hoteep comes to power. He's Aman Hoteep IVth. His name means Ammon is great, the god ruler of thieves. But what he does is he actually changes his name to Aknatan, serviceable to Aten, a servant of Aten. Now, this is a major change. He's abandoning the worship of most gods and favoring Autin. And at is the as is a sundisk appears as a sundisk. It's the abstract form of the sun god. Now let's think about this. He's basically created a religious upheaval. Right? I mean Egyptian society for years has favored many gods, right? Polytheistic. We talked about that earlier. But with this the temple priests are now out of jobs because there's only one god that's worshiped, right? And so we want to think about why does he do this? Right? So one thing some suggest maybe there really was a genuine religious fervor desire like he really really did worship one god and he felt that that should have been the only thing but there's another second possibility he wanted to break the power of the priests of Ammon okay they were becoming so powerful right they were taxexempt and that struggle for power did not sit well with Aknan now this new religion that worshiped Utton took the power away from them, took the power away from these wealthy tax exempt priests, right? Because they were responsible for the worship of Ammon. Now this increases what does it increase the revenue of the pharaoh. It centralizes his power and now he alone has access to the god Aten. It's more direct. It's through him. So it enforces and strengthens and emphasizes the pharaoh's power no longer the power of the priests. He also now with the change in the religion also changes the capital and he moves it to octaten which is today telarna and also octaten means horizon of auten. So notice how both in the name of the capital and in his own name he adopts the name of Auten to make his point and here he makes large temples uh dedicated to Aten he creates royal palaces and private houses and you know lots of paintings and so on. So continues the building tradition of pharaohs but it is in a different capital and one that has been given a new name. With the change in religion, we also see an artistic change. Here's how he depicted himself. Here's a colossal statue. It's 13 feet high. So, notice the gentleman on the left. And you can get a sense of how massive this sculpture is. It's massive. Uh has a standard frontal pose, right? The attributes of the headdress, false spirit, royal kilt, but the rest of it is a little different than what we've seen. It has rather an affeminate body. these curving um contours, a rather long kind of narrow and long face, these full lips, right? And we've been trying to understand that the arms seem seem thinner and weaker. The waist is narrow. There's a belly that's showing. So, it is quite different than what we've seen before. And the question has to come, you know, why has he chosen to depict himself in this way? Well, for several years, physicians have been trying to explain this as part of illnesses, that it might have been several illnesses that he had that gave rise to the specific physique. But there's no good evidence for that. What more of us think actually is that there was an artistic revolution. We believe that there was a deliberate attempt to break free from tradition. I mean, he did that in the religious aspect. Why not in the artistic aspect? And we've seen in this class the artistic and the social historical moments kind of linking up, right? So there's a suppression of traditional ways of representation that he is um engaging in this work. And so the argument art historians make is that he's trying to create a new androgynous image because at itself, right, himself, that god that was worshiped was a sexless sun disk. And so here you have it. We believe Aknutton trying to embody that quality about the god that he is solely worshiping in his own sculptural form. So when we compare it to the old kingdom pharaoh, we still notice the similar attributes that the royal attributes of the false spear, the royal kilt and the headdress. However, that powerful strong depiction of Cuffray with the strong horizontal and vertical lines and the solid massive stone and the body, right, and the perfected, you know, chest and muscles and idealization. That is not what we see in the new kingdom. It is still a symbol of power and force and strength. Yet the depiction right this kind of rather effeminite shape uh striving for androgyny as we've mentioned before those are stylistic variations that we believe are intentional during this period with Aknatan in this sculpture is actually presented as Osiris and we've seen a representation of Osiris very early on in this lesson and he was the god of order and considered the king who brought civilization to Egypt and then eventually the already transpires and he becomes a lord of the underworld. Now, here is Osiris. He's holding a couple of objects, a flail and the crook. And the flail is this wooden handle uh and it has a shorter kind of stick hanging onto it and that can be swung pretty freely. And it was basically an agricultural tool that was used to separate the grain from the husk. The other object is a crook and that was a shepherd's staff, right? Kind of has that hooked corner. uh edge of it as you can see it. Now these were considered a shepherd's tools and so here's Osiris kind of leading the shepherds right leading the people and possibly the reason that Aknan also embraces this but it's also an image we see when uh burials occur because Osiris is the lord of the underworld. So sometimes a pharaoh in a mummified form or a representation of a burial sculpture will be represented as that as well as noted on your info sheet. This image is just here for you to take a quick look at the bust of Aknatan's wife Nefertiti. I mean you can see how beautiful and elegant actually her name indicates the beautiful one is here. You'll notice the left eye right because this work was actually left unfinished. We we don't know why it was actually found in a sculptor's um room in a sculptor's workshop. So we're not really sure why that was maybe it was a trial piece. Maybe it was going to lead to the final product but we don't have that so we can't say for certain. But I just want you to take a look at it. It's just a beautiful, lovely, elegant piece. But we'll see her again in the next sculpture of the one with the family. Here we have Aknatan, Nefertiti, and their three daughters. It's the first image of the pharaoh and his family that we've seen. Now, first of all, the art historical term sunken relief. We already know what a relief is. In this case, it's called sunken relief because the outlines have been carved into the surface of the stone. So you don't really have to cut away the background, right? In other words, sunk in because the figures are lower on the plane than the surrounding background. And this object comes from a private home, a house shrine that we um where we have discovered it. So how is a pharaoh depicted here? He's shown seated on stools uh with his wife. He and his wife are seated and they have their three daughters in their laps or kind of carrying them. It's a very intimate, very playful, very everyday kind of setting, right? I mean, this is the pharaoh kissing his daughter. The other hand is on her head. The wife has one uh in her lap who reaches out and holds mommy's hand. And then there's the other one, you know, touching mom's cheek. So, it's a very sweet, playful depiction of the pharaoh and his wife that we're looking at. It's very intimate. And this kind of degree of intimacy we have not seen before. And humanizes Aknatan, right? It's not the remote, cool, stern, restricted, you know, images that we're used to, but it's rather very approachable, very accessible, and you know, they're similar to images we see of the president, you know, with his wife and kids. Of course, it's a very old image. The children are quite young, but it's the idea of, you know, showing the ruler as human, as accessible. Of course, you know, we always want to think about, you know, how many of these are constructed? How many of these are intentionally photographed, right? We don't want to dismiss any of that, which is the same case with Aknatan's sunken relief, right? It was intentionally created. And so, where is the divine presence? Well, it's right there. At the sun disk, you see at the top of the composition, the rays like hands extending out, coming over the family, right? protecting the family but also giving them breath of life because the ank and the word is on the screen that comes up to their nostrils and I have the arrow pointing to it that is a symbol of life so here's the divine giving life right protecting nurturing supporting but we have to ask you know why not do this and so perhaps he wanted to depict the god as more accessible he wanted to show them that the god was accessible to the people and they could have a direct relationship with him they didn't need to have the priest priests as intermediaries, right? Because we know that Aknan had a problem with the priests holding way too much power. So that might be why in this very intimate setting, you can see the sundisk up at the top infiltrating this pavilion and showering the family with with this blessing. And here we have the representation of the divine in the old kingdom pharaoh as well as the new kingdom pharaoh. So even though in the new kingdom right the external stylistic qualities are very different with what Aknan is doing some of the traditions continue right the traditional strategies to represent the divine to reinforce the power are still very much present well the question has probably come up in your minds about the skulls they look a little elongated right rather deformed possibly well so what are the reasons for this we don't really know but I'll tell you what we think so first of of all we go back to the idea of it was a break with visual tradition right that might have been it. A second possibility that has been suggested is that it was an exaggeration of a genetic defect and this defect would happen if there was a lot of inbreeding which we know there would have been in these families. So possibly these are the symptoms of that that we're noticing. And the third possibility for why the skulls look deformed is that it might have been a deliberate manipulation of the skull of infants. was desirable and something that was done and what we see here represented in the family. Now, why don't we know? Because the bodies of the royal family do not survive. In fact, we believe the body of Aknatan was apparently smuggled out of Amarna. So, we can't go back to the physical remains to see and to understand and to study them to shed light on the physical appearance that we notice here. So, pretty much all we have at this point is just speculation. This period is really shortlived. It lasts for about 17 years. After his death, the capital is abandoned. The temple is demolished. The old religion and all the old gods are reestablished and the capital moves back to thieves. So, it's relatively short-lived, but look at the impact, right? The artwork that was created. So, now we're going to move on to King Tut. Finally, we've gone to Tuton Common. So he was probably the son of Aknatan and another minor wife. One theory had at one point said he might have been the son of Aknatan Nefertiti but that's not certain. So they believe it might might have been a minor or lesser wife. Now he takes things back to the traditions. Okay. So Aknatan's new religion those ideas they didn't live much longer than he did. So after his death when Tutonama came into power they went back to the old way of life which means the priesthood of Ammon was once again restored and regained and the polytheistic Egyptian society was once again intact. Now to demonstrate that Tuton Common does what his father did except now he goes the other way. So instead of Tuton Cotton the living image of Utton he changes his name to Tuton Common and you're noticing Amen already in there. Another changes. He moves a capital. This is big. When when rulers come and they really want to emphasize a new era, they move their capitals. And so he takes it to Memphis. And you see that indicated with the arrow on the map. Now, Tuten Common was not a huge figure in uh Egyptian history. He didn't do anything amazing or spectacular. He actually died quite young when he was about 18. They used to think it was a murder, but now they don't even uh believe that anymore. It might have just been some other thing. So, why is he such a big deal? Well, because in 1922, Howard Carter made a discovery of this tomb. And it was one of the tombs that was left intact, which means it was pretty much the way it had been since its initial burial and construction. And that's why it was a big deal. So, because of that, because we have so much information now, everybody knows about King Tut. But truly, he was not a massive figure in Egyptian history. Here you see Howard Carter in 1922 making the discovery. He was an English archaeologist and he'd worked in Egypt for about 20 years. So absolutely loved it. And this was actually his last expedition that he went on. It was actually sponsored by a British uh Egyptologist. So it's kind of like his last attempt to see what else he could find. And that's when he came across the tomb of King Tut. this image that you've seen before, the Valley of the Kings. Now you can see where Tuton Common's tomb was. So where that doorway kind of where um Howard Carter was standing and then here's a ground plan of the tomb and you can see the various chambers, right? The various areas of it. And on the right you see the image of what was found in what we call the treasury. So a bunch of objects that were buried with him in his tomb. Here's another photograph of the kinds of things that were found. Um, you know, a lot of valuable important objects. And so when we discovered this, when Howard Carter discovered this, this is a really big key to unlocking what kinds of things they actually buried with them. This photograph documents Howard Carter cleaning the third coffin of King Tut. And this one we see some uh archaeologists, historians working with the mummified body. And finally here, Egyptian archaeologist Zahi Hawas is pretty much doing a CT scan to check for details about the body, about its death. Um, and this is when they found no evidence of murder. Possibly a broken leg, but would that have been the cause of his death? Not sure, but it's a suggestion. This is the innermost coffin of Tuton Common from his tomb. As I've indicated on the info sheet, you just need to take a quick look at it because I want you to see kind of how massively beautiful it is, how much gold has been used and other semi-precious stones and all kinds of things. And once they actually open these up, right, all of these coffins. So, as indicated on your info sheet, this innermost coffin image is just as a background. So, the mummy was covered by the death mass that you're seeing here. And that's what it looked like when they actually first opened it up. And so that was found within this coffin. And you're seeing the coffin on the right side of the screen when they cleaned up the death mask. Here is what it looks like on the right side. So beautiful gold semi-precious stones, jewels, all kinds of things put on it. It's about a foot and n in. So think about that's quite big, right? And that's that was placed over the mummy of the the boy king who had just died. It has attributes we've seen before, right? the headdress, the false beard, even the cobra is included in this case. So, what would be the main message of something like this? You know, what would you notice about it? Well, what we've noticed all along in this chapter, right, when it comes to representations of the pharaoh, it's his grandeur, his wealth, his power, his pride, his ability to bring in the resources to create these kinds of things. So, even though he was a boy king, he ruled for um a few years and had all of these at his disposal as well, right? So he's able to create these kinds of images. That concludes chapter three. So look at this list. Role of gods and goddesses, the afterlife, pyramid construction, how these are sites of power, sites of burial, representation of the pharaohs as iconography of power and kingship, conventions of Egyptian art, and royal patronage. What do you get from all this? All of these themes so critical to understanding how art and culture play together to make the point. Let's keep going with the new chapters coming up in the next unit.