SETI 1 AND RAMESSES 2

 

Statue of Queen Ankhnes-meryre II and Her Son, Pepy II

 

2 HD PICTURES EDITED  STUFF OUTSIDE EGYPT  

Pepy II became king as a small child, so his mother acted as regent. This statue conveys her role, evoking the typical Egyptian pose of a mother nursing a child. Pepy is shown as a miniature king rather than a child and, instead of nursing him, the queen holds him protectively as he clasps her hand. Each figure looks straight ahead and has its own inscription, as if it were a separate statue.

MEDIUM Egyptian alabaster (calcite), pigment

DATES ca. 2288–2224 or 2194 B.C.E./DYNASTY Dynasty 6/PERIOD Old Kingdom

DIMENSIONS 15 7/16 x 9 13/16 in. (39.2 x 24.9 cm) (show scale)

ACCESSION NUMBER 39.119/Brooklyn

Pepi II is traditionally listed as the last ruler of Egypt’s Sixth Dynasty, and the last significant ruler of the Old Kingdom before the First Intermediate Period. He was only 6 years old when he began his incredible 90-year rule (making his the longest reign in Egyptian history). Some scholars have raised doubts about the dates, as it was not common to live so long, but it is recorded that he was 100 years old when he died! It is thought that his mother Ankhesenpepi II (widow of Pepi I) acted as regent for a period at the beginning of his reign.

He had a number of wives, including Neith (the daughter of Pepi I) and Ankhesenpepi III and Iput II (the daughters of his brother Merenre I) and Ankhesenpepi IV (the mother of one of the kings named Neferkare, but we don’t know which one), and Udjebten (thought to be another daughter of Pepi I). He probably had a son named Merenre who may well be the Merenre II of the kings list.

Foreign policy (especially in Nubia) had become quite a drain on resources. The well oiled Egyptian bureaucracy began to disintegrate and some diplomatic relations were suspended. Scenes showing Pepi II smiting Egypt’s foes are thought to be purely ritualistic. For example, a frieze showing the submission of Libyan chiefs during his reign is suspiciously similar to the scene in the mortuary temple of Sahure, while other scenes are reminiscent of those in the mortuary temples of Niuserre and Pepi I

His long reign may have created successional difficulties, and some have argued that the low quality of the inundations at the end of the sixth dynasty was causing crop failure and famine. However, there is significant evidence that the power and wealth of the nobles was increasing at that time. Elaborate tombs were built at Cause, Akhmin, Abydos, Edfu, and Elephantine. As the nobles held hereditary positions, and were now independently wealthy, their loyalty to the king was perhaps reduced.

In a move to increase his control over the regions, Pepi II split the role of Vizier into two posts, one for Upper Egypt, the other for Lower Egypt.

Pepi II is depicted in a beautiful calcite statuette of the young king and his mother, Ankhesenpepi II. He is also recorded in a number of decrees and inscriptions at Abydos, Koptos (Coptos), and Iput. We also have a record of one of his Heb Sed festivals (jubilee) and the pharaoh is mentioned in the tombs of Djau (buried in Abydos) and Ibi (buried in Deir el-Gabrawi).

It is also possible that Pepi II is the king referred to in the “tale of King Neferkare and General Sasenet” which recounts the clandestine meetings of a king and one of his generals with whom he was possibly having a homosexual relationship. The tale only exists in fragments, and its meaning is still debated.

He built a ka-chapel in Abydos and located his pyramid and mortuary complex in South Saqqara. Most of his wives were buried in smaller pyramids nearby.

king Akhenaten with heqa scepter

 

New Kingdom, 18th Dynasty, c. 1352-1330 B.C.

Dimensions: Height: 63.9 cm; Width: 19.2 cm; Depth: 23.5 cm

Provenance unknown. Originally part of the collection of Henry Salt (1780-1827).

Musée du Louvre. N 831

This statue depicts a king, almost certainly Akhenaten, and is made from yellow stone. The king holds the heqa scepter (crook and flail), and is seated upon a cushioned throne, wearing a pleated linen kilt, and a striped nemes headdress with the royal insignia of a uraeus upon the centre of his forehead.

Often overlooked is the hand upon the back of the king (not visible in this photograph, please click the "Read more" link below to see), allowing us to see that somebody (likely Nefertiti) once sat or stood beside him.

The seventeen-year reign of the pharaoh Amenhotep IV / Akhenaten is remarkable for the development of ideas, architecture, and art that contrast with Egypt’s long tradition.

Shortly after coming to the throne, the new pharaoh Amenhotep IV, a son of Amenhotep III and Queen Tiye, established worship of the light that is in the orb of the sun (the Aten) as the primary religion, and the many-armed disk became the omnipresent icon representing the god. The new religion, with its emphasis on the light of the sun and on what can be seen, coexisted with a new emphasis on time, movement, and atmosphere in the arts. Exceptional as the new outlook seems, it certainly had roots in the increasing prominence of the solar principle, or Re, in the earlier Dynasty 18, and in the emphasis on the all-pervasive quality of the god Amun-Re, developments reaching a new height in the reign of Amenhotep III (ca. 1390–1353 B.C.). Likewise, artistic changes were afoot before the reign of Amenhotep IV / Akhenaten. For example, Theban tombs of Dynasty 18 had begun to redefine artistic norms, exploring the possibilities of line and color for suggesting movement and atmospherics or employing more natural views of parts of the body.

Wile the art and texts of what is commonly called the Amarna Period after the site of the new city for the Aten are striking, and their naturalistic imagery is easy to appreciate, it is more difficult to bring the figure of Amenhotep IV / Akhenaten himself or the lived experiences of Atenism into focus. The courtiers who helped the king monumentalize his vision refer to a kind of teaching that the king provided, to them at a minimum, and the art and particular hymns or prayers convey a striking appreciation of the physical world.

Tomb of Ramses VII 360

Egyptology

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Tomb of Ramses VII

Ramesses VII was buried in Tomb KV1 upon his death. His mummy has never been found, though four cups inscribed with the pharaoh's name were found in the "royal cache" in DB320 along with the remains of other pharaohs.

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