Madeline McLaughlin: Femenine egyption art

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

The following collection emphasizes the feminine identify of ancient Egypt.  The ancient world is not known for treating women with high esteem. For much of history and in many parts of the world, women were considered to have little value. They were treated as second-class citizens, or not as citizens at all. Many were not given the opportunity to be educated, pursue a career, or even choose their own husbands. Physical abuse was actually allowed by the law in many countries. Considering this, it is particularly remarkable that women in Egypt held their own identity, even a powerful identity.  They could participate in commerce like any man, selling, managing, and owning slaves, servants, animals, and property. They had influence of their marriage or divorce, and participated in legal hearings. She got to keep her dowry, though her husband maintained use of it.  Compared to the rest of the world during this time, including Greece, the Egyptian view of women was pretty remarkable. The pieces of art chosen for this exhibit (with one exception) each reflect the uniqueness of the role of women in Egypt. One prominent example is the sitting statue of Queen Hatshepsut. She was one of the only women to actually act as King over Egypt. The statue has her sitting in traditional royal male clothing, though her figure is still distinctly feminine. This illustrates her peculiar role of a woman serving the nation in a role that had only ever been given to a male. The “Necklace with Fly” was a powerful, popular piece of female (and occasionally male) jewelry that symbolized military success. It shows how women were involved in all areas of life, even related to fighting against enemies. The “Necklace with Fly” also illustrates the role that jewelry played in Egyptian culture. It was an expensive art form, and, therefore, was not wasted. Jewelry was not just an ornamental object: it also carried profound significance. Each piece carried religious and cultural meanings. The flies in the “Necklace with Fly” each symbolized the blood and gore of war, and the persistence of the enemy. Necklaces were embellished with Cowrie shells (a very valuable shell) in order to bring prosperity and divine protection upon the owner. This is something that American culture has greatly lost. Many articles of clothing for American women are either an accessory to flaunt their bodies, cover themselves up, or be socially acceptable. For ancient Egyptian women, their jewelry communicated much more about themselves than their shape. It was a symbol of their values, beliefs, and strengths. It was an intentional part of communication. Through this exhibit, the author wishes to instill this in the hearts of women, that what they wear can be more than just a daily necessity or tool to show off their bodies. In the example of the Egyptians, fashion can be a tool to communicate what is on the inside: values, practices, beliefs, fears, and dreams, while still being stylish. The Egyptian people made fashion a true art, and we have the blessing of still experiencing part of that today.

 

Hatshepsut, From the collection of: Rijksmuseum van Oudheden
This sitting statue of Queen (or King) Hatshepsut resembles the real queen Hatshepsut, who served during the 18th dynasty. Technically, she ruled jointly with her stepson and nephew, Thutmose III. It is made by indurated limestone and paint. It is a life-size statue and shows her sitting in the ceremonial attire of an Egyptian pharaoh. This particular statue is unique because even though she is in masculine attire, the statue still has a very feminine feeling to it. Her breast are clearly depicted, waste smaller than her hips and shoulders. Her face is also distinctly delicate and feminine, along with her expression. Her legs are slim and womanly. Most other statues of Hatshepsut portray her with a more masculine form. This has to do with the history of her reign. She actually married her half brother, Thutmose II. He died and left her nephew/stepson, Thutmose III, to be his heir. At some point she did rule with him jointly but took on the title of king, maybe due to her superior position in his life and their age difference. Later, she actually took on the supreme title of pharaoh and ruled Egypt powerfully until her death. Egypt had some of their best years under her. Egypt was emerging as a world power, and flourishing in peace and economic prosperity. She also ruled during a time of artistic and decorative innovations. She had an eye for beauty and design, creating some of the most impressive Egyptian temples such as the new age temple at Thebes. She designed a network of grand roads specifically for the god Amun, plus some temples for herself. Her stepson who took her title after her death virtually erased her story from the world. This was not intentional; he was just a very successful warrior and took a lot of the historical attention. She was rediscovered and honored in modern times because of the unique situation of her sex and status over Egypt. Glueck, Grace. "The Woman Who Ruled Egypt as King, Not Queen." The New York Times. 2006. Accessed May 10, 2016. http://www.nytimes.com/2006/03/31/arts/design/31quee.html?_r=1. "Seated Statue of Hatshepsut | New Kingdom | The Met." The Metropolitan Museum of Art, I.e. The Met Museum. Accessed May 10, 2016. http://www.metmuseum.org/art/collection/search/544450. "Seated Statue of Hatshepsut | New Kingdom | The Met." The Metropolitan Museum of Art, I.e. The Met Museum. The Metropolitan Museum of Art. Web. 18 Apr. 2016.
Necklace with Fly Pendant, Unknown, ca. 1539-1292 B.C.E., From the collection of: Brooklyn Museum
“Necklace with Fly” was a very common style of Egyptian necklaces. It was such a popular style that today one can still order a “Necklace with Fly” on Amazon. It was one of the most popular of the Egyptian jewelry. It was almost always made of gold, though there are a few examples in silver. The fly had been depicted for many years in hieroglyphics, and started becoming a popular symbol around the time of the Middle Kingdom. By the new Kingdom, it was a powerful cultural symbol of military valor. However, some historians say that the pharaoh would distribute it on special occasions for reasons other than military achievements. Most of the time, it was attributed to men of military importance. It was found in the tombs of some women, but is thought to have belonged to their husbands, and been apart of their armor. The general assumption is that this fly’s significance is related to military endeavors because of its meaning in hieroglyphics. The world means “determinator”. One might think it is odd for something like a fly to resemble “determinator”, especially because modern symbols for warriors are powerful beasts like lions. However, the fly makes sense because like an enemy, it keeps coming back, even when shooed away, exasperating the fight. It resembles the determinacy of the enemy. To expand this further, consider that a fly is often close to the scene of a battle because it is attracted to the blood and death. Considering these things, it actually makes sense why the Egyptians would associate the fly and war. However, it must be kept in mind that there were non-military public leaders who also carried the symbol of the fly. One can never be too sure of an ancient symbols meaning, but keep their mind open to further research. Interestingly, flies also appeared in other cultures, where it was probably imported from Greece. "Necklace with Fly Pendant." Brooklyn Museum: Egyptian, Classical, Ancient Near Eastern Art:. Brooklyn Museum. Web. 18 Apr. 2016. "Jewels of Honour." Jewels of Honour. Accessed May 10, 2016. http://www.arabworldbooks.com/egyptomania/jewels.htm
Gold Beads in the Shape of Cowrie Shells, 220 - 100 B.C., From the collection of: The J. Paul Getty Museum
Necklace with Cowrie-Shaped Beads was an Egyptian necklace combines beads shaped like cowrie shells (or sometimes actual cowrie shells) made from glass and gold. The glass impersonation of the Cowrie shell came in many different colors such as gold, black, white, striped, blue, green, or red. Original cowrie shells could be a variety of natural colors, solid or speckled. However when found in jewelry, they could be colors not found in nature, such as green, red, or blue. Thus, they served as a double impersonation. They would resemble the cowrie shell, but also particular stones such as blue lapis or striped sardonyx. They were sometimes placed between other beads of different shapes, usually gold, round, or long. At times a round, gold pendant would hang down from the center. One was actually discovered from the first-second century CE. The original string on the necklace was broken, but it has been placed back together as a good guess to how the original looked. These necklaces were highly valuable, and had many uses and meanings. It has been used for money, jewelry, and even religious accessories around the world. At one time it was even used as currency in China. It can be originally found in the Indian Ocean, and started being transported to ancient Africa. This contributed to its expense; it was an imported resource. It’s religious significance was found around the African legend that if you were attracted to these shells (found them to be beautiful, liked them) your family could have been associated with an ocean spirit of wealth. It also resembled the goddess of protection, who was affiliated with the strength of the ocean. From this legend, the Cowrie symbolized destiny and prosperity to its owner. Besides their religious significance, these shells were generally a great fashion statement, and still could be today. "Gold Beads in the Shape of Cowrie Shells (Getty Museum)." The J. Paul Getty in Los Angeles. J. Paul Getty Museum. Web. 18 Apr. 2016. "Necklace with Cowrie-Shell-Shaped Beads - Colors of Classical Art - IU Art Museum." Necklace with Cowrie-Shell-Shaped Beads - Colors of Classical Art - IU Art Museum. Accessed May 10, 2016. http://www.indiana.edu/~iuam/online_modules/colors/objects.php?p=126. "The Meaning and History of the Cowrie Shell." Cowrie Shells, Cowry Shells The Meaning and History. Accessed May 10, 2016. http://africaimports.com/cowrieshell.asp.
Tomb Relief: Female Attendants Clapping Hands, Unknown, Middle Kingdom, Dynasty 11, reign of Mentuhotep II, ca. 2049 BC - 1998 BC, From the collection of: Cincinnati Art Museum
In the tomb of Queen Nefru of the 11th Dynasty to King Nebhepetra Mentuhotep there is a beautiful relief of “Female Attendants Clapping Hands”. It includes the full figure of two women (more are included but not fully visible) clapping their hands. Their shape is very feminine: slender waist, thick hips, and long hair. Their arms are slender and their hair is long. This particular relief has historically been connected to the presence of music in the home of the Queen and Pharaoh of Egypt. It was an integral, very important part of Egyptian life. They performed at religious ceremonies, festivals, banquets, during military affairs, in funeral processions, or just for plain entertainment. Wealthy households did have their own private musicians, but palaces and temples employed the largest number of musicians (including singers and dancers). They played the harp, lute, lyre, flute, trumpet, and percussion instruments. It is striking that so many of the instruments mentioned above are still in use today. This is a compliment to Egyptian achievement. In fact, many of their instruments even looked as they do today. People would keep rhythm with their hands or fingers. This is what is depicted in the “Female Attendants Clapping Hands” relief. Though unlike today, clapping required a very high degree of skill and was much more complex than it was today. Women played a big part of the musical industry in Egypt, as this relief depicts. Sometimes the names of the people depicted in these tombs were actually included in the tomb itself. The wealthy deceased would record the name of their favorite musicians. While this is not the case in this particular relief, it did give great honor to this specific musical skill for a Queen to include it in her funerary decorations. Capel, Anne K., and Glenn Markoe. Mistress of the House, Mistress of Heaven: Women in Ancient Egypt. Print.94.
Bracelets of Nimlot, -940/-940, From the collection of: British Museum
The Bracelets of Prince Nimlot are a pair of bracelets with the name “Nimlot” inscribed on them. They were made during the reign of Libyan Pharaoh Sheshonq I, and were a gift to his son Nimlot. The Libyan-Egyptian ruler became the first king of the Twenty-Second Dynasty. His son Nimlot was actually the commander of the entire Egyptian army, and this was his official title. The decoration on the bracelets contains a decoration of a naked male child who is wearing a long side lock of hair, and has a finger in his mouth. This illustration was the typical representation of male child gods. He has a scepter that is crooked, a uraeus on his forehead, and an extravagant headdress. Each of these items illustrates his divinity. The bracelets also include two lunar symbols that appear to be guarding the boy. They could symbolize the protective goddess of Upper and Lower Egypt, who supposedly ordered the universe. It was believed that the child god symbolized the daily renewal of deity. The blue lotus, which the diety is hovering over, symbolizes the ocean, which was a large element in the Egyptian understanding of the creation of the world. With the solar cycle came birth, death, and rebirth. The bracelets were a proclamation over Nimlots life that it would be vigorous and that he would experience renewal on a daily basis. These bracelets actually fit into a particular religious trend that was emerging during the late Twentieth Dynasties in which the royal family reflected each other as child gods, according to the theology of birth. This was naturally reflected in the artistic expressions of the day, including Nimlot’s bracelet. It is another resemblance of how the Egyptians combined fashion and religion to spread a message. James, T. G. H., and Edna R. Russmann. Eternal Egypt: Masterworks of Ancient Art from the British Museum. Berkeley, CA: University of California Press, 2001. "Collection Object Details." British Museum:Bracelet. British Museum. Web. 18 Apr. 2016.
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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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