The trademark of the Sun Queen: a study of the great blue crown of Queen Nefertiti

Benkowski, Rachel Rae. M. A. University of Memphis. August 2011. The trademark of the Sun Queen: an investigation into the great blue crown of Queen Nefertiti. Professor: Patricia Podzorski, PhD. The iconic long blue crown of Queen Nefertiti, the wife of Pharaoh Akhenaton, is unique. I think he is strongly influenced by a crown that can be seen in images of Queen Tiye as a sphinx from Sededa, Nubia and the XPRS crown of the king. The choice of Nefertiti's unique crown was dictated by the need of atenistic theology on a visual sign of the bond between the queen, the goddess Tefnut in her various forms, and the Rwty Lions. The connection between SHU and Tefnet and the Zonnewachtleeuwen immediately points to the idea that Akhenaton and Nefertiti, as personifications of the Oertweeling, both protectors and offspring were from their unique sun god, the Aton. To understand how Nefertiti's Kroon helped to define its status and roles during the Amarna period, this dissertation investigates the possible origin and divine associations of the crown, the context of use and Nefertitis titles and nicknames that appear next to it.

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Every student or scholar of the Amarna period knows that this era in Egyptian history is often full of more questions than answers; In particular, research into the prominent historical figures of this period are among the most disputed within the Egyptological Community. This is the case with Nefertiti, whose influential role during the regime of her husband Akhenaton is the subject of countless studies. New in this corpus from Amarna books is Aidan Dodson's “Nefertiti: Queen and Pharaoh van Egypt. Her life and hereafter. Dodson's reason to write another book about Nefertiti is to give a "fresh holistic view" on this famous queen and to give readers a report of the Amarna Intermezzo based on his own working hypotheses for this period (pp. X-XI) . The book not only deals with the life of the famous queen during Dynasty 18, but also the rediscovery of Nefertiti, the continuous search for her funeral and mummy and the ways in which her icon and image "overshadow the woman herself" in more recent times (pp. 1-2).

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A new approach to the analysis of the images of ancient Egyptian kings and gods, which focuses on text evidence, not often stereotypical iconography, especially the role of crowns in early funeral literature (pyramids and coffins). It is shown that crown and headgear played a crucial role in the transfiguration and ascending of the royal (and later private) deceased, giving them the opportunity to acquire God's God's form and powers. In this context, they can express qualities such as legitimate power and radiance, as well as to be the symbols and metaphors of space events or the mother (s) of the deceased. In a large part, the famous Kanibal Wizard (PT 273/274) is newly interpreted as a description of sunrise. The center of all studios is red, white and dual interpretations of other types, including Nemme, Khat, ATEF and double feathers (shuty).

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Dissertation or dissertation, the original of which is presented to the local Electronic Theses and Dissertations (ETD). 2011

Diese Arbeit Untersucht Die ReligiiiiiiiiiiiiiiiiiiiiiiiiiiiiLogiöchen Implicationen der Veränderungen in der iconographie des Sistrums, Eines Mit der Göttin Hathor Assoziieren Musicinments, Während der Amarna-Periode (Ca. 1391-1323 v). In der regierungszeit von Amenhotep III. und in den erten jahren von Echnaton Trugen Die Sistrum Das Traditionelle Bild des Gesichts der Hathor und Wurden von Königlichen Frauen and Ritualen Vertendet. In der Zweitten Hälfte der Regierungszeit Echnatons Wurde Das Gesicht der Hathor Jedoch Durch Eine Papyrusdolde Ersetzt, und Die Königin Verwendete das instrument nicht mehr and Religiiiiiiiiiiöemonien. In der regierungszeit Tutanchamuns Kehrte Die Königin Zuri Religiiiössen orthodoxie und zur Verwendung des Sistrums mit dem kup de Hathor zurück. DIESE ENTWICKLUGE IN DER IKONOPHIE UND IR GENDT Zwei Wichtigerungen in Bezug Auf Macht und Einfluss Den Göttlichen status.

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Nin. Zeitschrift für gender studies in der antique. Bd. 3, 2002

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ICE 2023 Leiden, 2023

If you think of pharaohs in general, it is impossible not to remember their attributes at the same time, especially the double crown, the crook and the flail, but also the throne, that is, the 'Kingmakers' who optically characterize such. Even current princes use similar characteristics to emphasize and distinguish themselves. That is why nowadays the throne seems to be known and understood and he literally and figuratively elevate his owner above everyone - in fact he himself is an emblem of the kingship. But although these qualities to visualize the royal power certainly also played a role in ancient Egypt, you can wonder if this piece of furniture really had the same reason for existence as in modern times. The purpose of this article is to (again) investigate the meaning and symbolism of thrones in ancient Egypt. By comparing them with examples from other cultures and times, an attempt is made to not only define this object group, but also to place it in a broader context. After all, the use of furniture - even objects that resemble their modern counterparts - is not universal and often has underlying connotations that are not widely recognized. For example, there are indications that the Egyptians placed the throne in the same category as the bed, a classification that can also be seen in other parts of the world. Since the bed is a representative of the mother goddess, who swallows the sun to give birth to her daily, the questions are

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This study concerns the unique crown, which was created for Queen Arsinoë II. The goal is to identify and understand the symbolism set in every picture detail that creates a crown together and, as reflects, this socio-political and religious position of the wearer. The study focuses on the crown and its details, while taking into account all contextual aspects of relief scenes to understand the general significance. This crown was later developed and usurped by other female figures; The material includes 158 Egyptian relief scenes dated to the life of Arsinoë to Emperor Trajan, about 400 years. To show the development of the crown symbolism, this work includes a large number of later scenes depicting the Egyptian goddess Hathor wearing a crown almost identical to the crown of Arsinoë. The results of this study suggest that the crown of Arsinoë was created for the living queen and reflected three main cultural positions: her royal position as the king of Lower Egypt, her cult role as the highest kappa and her religious aspect as Thea Philadelphos. This indicates that she was proclaimed a woman Pharaoh in her life and that she was considered the founder of the Ptolemy dynasty. The results of the subsequent material test suggest that the later Hathoric crown was created in times of political instability, when Ptolemy IV had to emphasize his origin - emphasizing his pedigree from Arsinoë II and Ptolemy II. Comprehensive examination of the contextual image

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