Nefertiti's Legacy: Reassessing Co-regency and Iconography
Journal name: Acta Orientalia
Original article title: Nefertiti rediviva
ACTA ORIENTALIA is a journal focused on the study of Oriental languages, history, archaeology, and religions from ancient times to the present. The journal includes articles reviewed by a senior scholar in the relevant field.
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Original source:
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J. R. Harris
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: Nefertiti rediviva
Year: 1973 | Doi: 10.5617/ao.5173
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
In the article "Nefertiti Rediviva," J. R. Harris explores the representations of Nefertiti and Akhenaten, particularly through an unfinished stela discovered at el-Amarna. This stela has been the subject of debate regarding the identities of the figures depicted, with earlier interpretations suggesting they were Akhenaten and Nefertiti, while later analyses attributed them to Akhenaten and Smenkhkare. Harris argues for a reassessment of these identities based on various archaeological and iconographic details, aiming to clarify the roles and significance of Nefertiti during the Amarna period.
The Cartouches and Their Implications
A pivotal element in the argument concerning the identities of the figures on the stela is the arrangement and interpretation of the cartouches. The group of empty cartouches around the Aten suggests they are primarily intended for a king and a queen, supporting the assertion that the figures are Akhenaten and Nefertiti. Harris emphasizes that the specific number of cartouches aligns with depictions of kings and queens from the Amarna era, and he argues that the configurations observed in this stela imply the figures must be royalty, discarding the earlier assumption of a co-regency between Akhenaten and Smenkhkare.
Analysis of Iconography
Harris further supports his claims through an examination of the iconographic details in the stela. He points out distinguishing physical traits between the two figures, such as their necklines, crowns, and positioning. The evidence indicates that one figure represents a male and the other a female, underscoring that the left-hand figure is indeed Nefertiti. This analysis is crucial, as it demonstrates not only the roles of Akhenaten and Nefertiti but also the formal representations of gender in Amarna art. Through these iconographic details, Harris attempts to reinforce the interpretation of the figures as a king and queen, specifically Akhenaten and Nefertiti.
The Unique Status of Nefertiti
Significantly, Harris examines Nefertiti's unprecedented status in ancient Egyptian society, highlighting her portrayal as enjoying a degree of power typically reserved for kings. He notes that Nefertiti is often depicted in a manner that suggests equality with Akhenaten, including her wearing the blue crown, which was traditionally a symbol of kingship. The suggestion that she might have had dual identities—as Nefernefruaten—further complicates traditional narratives about her relegation or disgrace throughout history. This exceptional portrayal allows for discussions about her influence and agency during her reign.
Conclusion
In conclusion, J. R. Harris's analysis of the little unfinished stela revolves around the reevaluation of Nefertiti's representation alongside Akhenaten. By scrutinizing cartouche arrangements and iconographic details, Harris argues for recognizing Nefertiti's prominent status and agency, meaningfully contributing to the understanding of her role during the Amarna period. The insights presented challenge longstanding interpretations and open up new avenues for research into the intricate dynamics of power between Akhenaten and Nefertiti, stressing the need for a more nuanced view of ancient Egyptian royalty.
FAQ section (important questions/answers):
What is the significance of the stela of Pase discovered at el-Amarna?
The unfinished stela depicts figures mistakenly identified as Akhenaten and Smenkhkare, but the analysis suggests they are Akhenaten and Nefertiti. This re-attribution provides insight into the royal status and relationships during the Amarna period.
What led to the misattribution of the figures on the stela?
Initially attributed to Akhenaten and Nefertiti, the figures were later identified as Akhenaten and Smenkhkare. This change was influenced by scholars like Newberry and Carter, despite evidence supporting the original identification.
How do the cartouches help in identifying the figures on the stela?
The arrangement of the cartouches implies that the figures are a king and queen. The presence of two pairs of cartouches suggests a depiction of Akhenaten and Nefertiti rather than two kings.
What iconographic details suggest the left-hand figure is female?
The curvature of the neck of the left-hand figure is concave, indicating a female portrayal. This feature, consistent across Amarna representations, helps confirm the identity as Nefertiti.
What role did Nefertiti play during the Amarna period?
Nefertiti held a prominent status, often depicted alongside Akhenaten in a manner that suggested formal equality. Her use of royal symbols, including the blue crown, indicates her significant authority.
How does the blue crown contribute to Nefertiti’s royal status?
The blue crown symbolizes coronation and was typically associated with kingship. Nefertiti's depiction wearing this crown suggests she attained a kingly status, reinforcing her influential role during the Amarna period.
Glossary definitions and references:
Oriental and Historical glossary list for “Nefertiti's Legacy: Reassessing Co-regency and Iconography”. This list explains important keywords that occur in this article and links it to the glossary for a better understanding of that concept in the context of History, Linguistics, Religion, Philosophy, Hinduism, Buddhism, Jainism etc.
1) Crown:
A crown is a headdress worn by figures of authority such as kings and queens. In the text, crowns are significant as they identify whether the subjects are royalty, with specific types of crowns like the blue crown mentioned for its symbolism of coronation.
2) King:
The term king refers to a male monarch. Throughout the text, kings such as Akhenaten and Smenkhkare are discussed in relation to the figures depicted in ancient Egyptian art and the types of crowns they wore. The identification of kings uses cartouches and iconographic details.
3) Blue:
Blue is a color mentioned in the context of the blue crown, which is significant as a royal symbol of coronation. The text discusses how both Akhenaten and possibly Nefertiti wore the blue crown, indicating royal status.
4) Queen:
A queen is a female monarch. Nefertiti is a central figure in the text, where her status as a queen and her possible role as co-regent or even king are examined through the analysis of her depiction in art and inscriptions.
5) Dynasty:
A dynasty refers to a series of rulers from the same family. The text discusses the Eighteenth Dynasty of Egypt, including rulers like Akhenaten and Nefertiti, focusing on the Amarna period and its peculiar artistic and cultural developments.
6) Shrine:
Shrines are sacred places or structures. In the text, a small gilded shrine from the tomb of Tutankhamun is mentioned, which contains artistic depictions relevant to the discussion on royal crowns and figures.
7) Discussion:
Discussions in the text focus on the identification and interpretation of figures in ancient Egyptian art. Numerous arguments and counterarguments are presented regarding the identities of depicted individuals such as Akhenaten, Nefertiti, and Smenkhkare.
8) Seal (Sealing, Sealed):
Sealings are objects used to create an impression in soft material, such as clay. They are mentioned in the text as evidence in the debate over the identities and relationships of Amarna figures, specifically in the context of royal epithets and roles.
9) Temple:
[see source text or glossary: Temple]
10) Yellow:
Yellow is a color conventionally used in ancient Egyptian art to depict female flesh tones. The text notes that this convention was modified during the Amarna period, where reddish-brown was used for both men and women.
11) Throne:
A throne is a ceremonial chair used by royalty. In the text, the depiction of figures on thrones helps in identifying them and their roles. The legs of thrones in specific scenes provide clues about the status and identity of the occupants.
12) Breast:
Breasts are anatomical features used in art to help differentiate between male and female figures. The text notes instances where the presence of obvious breasts helps to identify a figure as female, such as the queen Nefertiti.
13) Skull:
The skull, particularly the lines where the neck joins, helps in identifying gender in Amarna art. The text discusses that male figures have a convex curve and a pronounced angle, while female figures like queens have a concave, smooth curve into the skull base.
14) Woman (Women):
Women are adult female humans. The text discusses the roles and depictions of women, particularly queens like Nefertiti, in ancient Egyptian art and their significance in relation to royal status and iconography.
15) Tela:
[see source text or glossary: Tela]
16) Peet:
[see source text or glossary: Peet]
17) Disc:
A disc refers to circular ornaments sometimes depicted on crowns. The text mentions that the close-fitting helmet or crown worn by Nefertiti has discs similar to those on the blue crown, indicating her royal status.
18) Answering Questions:
[see source text or glossary: Answering Questions]
19) Speculation:
Speculation is the formation of a theory without firm evidence. The text engages in speculation regarding the identities and roles of Amarna figures based on iconographic analyses and interpretations of incomplete or ambiguous evidence.
20) Unequivocal (Unequivocally):
Unequivocal means leaving no doubt. The term is used to describe pieces of evidence or arguments in the text that are clear and leave no room for alternative interpretations, such as certain depictions and inscriptions.
21) Coronation:
Coronation refers to the act of crowning a monarch. The blue crown worn by Akhenaten and possibly Nefertiti is associated with coronation, emphasizing its importance as a symbol of royal authority.
22) Separation (Separateness, Separate, Separated):
Separation refers to the division or distinction between elements. The text mentions the slight separation of cartouches in art, which might indicate the distinction between a king and a queen, such as Akhenaten and Nefertiti.
23) Substance:
Substance refers to the physical material or essence of something. In the text, the distinction in the depiction method (outline vs. full) implies a lack of substantive difference between represented figures, suggesting equivalence in status.
24) Colouring (Coloring):
Colouring refers to the application of colors in art. The text discusses how the traditional coloring conventions were modified during the Amarna period, reflecting changes in how gender and royal status were depicted visually.
25) Confusion (Confused):
[see source text or glossary: Confused]
26) Religion:
[see source text or glossary: Religion]
27) Disgrace:
Disgrace means a state of dishonor. The text dismisses the idea of Nefertiti's disgrace and replacement as implausible, arguing that her significant and prestigious roles during her time would make such a scenario unlikely.
28) Kindness:
Kindness is the quality of being friendly and considerate. In the acknowledgments, the author mentions the kindness of individuals who assisted by answering questions and providing references, contributing to the research.
29) Treasure:
[see source text or glossary: Treasure]
30) Extreme:
Extreme denotes the highest degree of something. The text uses 'extreme rarity' to describe how seldom certain crowns, like the nemes, are depicted during the Amarna period, implying their exceptional significance when they do appear.
31) Animal:
Animals are living beings other than humans. In the text, the outline method used for depicting animals is paralleled with the dual outline method used for representing Akhenaten and Nefertiti, suggesting equivalence in substance.
32) Coffin:
Coffin refers to a funerary box. The text mentions the outermost coffin of Tutankhamun, which features specific decorative elements that are discussed in relation to royal iconography and symbolism.
33) Colour (Color):
[see source text or glossary: Colour]
34) Window:
Window refers to an opening or opportunity. In the text, the 'window of appearances' scenes from Amarna monuments are cited as examples showing the duplication of cartouches, which provide insights into royal identities and roles.
35) Egypt:
Egypt is the country where the discussed events and artifacts originate from. The text explores various aspects of Egyptian art and history, particularly during the Amarna period, focusing on figures like Akhenaten and Nefertiti.
36) Doubt:
Doubt is a feeling of uncertainty. The text expresses doubt regarding previous identifications and interpretations of Amarna figures, advocating for re-evaluation based on cartouches and iconographic evidence.
37) House:
[see source text or glossary: House]
38) White:
[see source text or glossary: White]
39) Sight:
[see source text or glossary: Sight]
40) Flesh:
Flesh refers to the soft substance of a human or animal body. The text notes changes in traditional coloring for flesh in Amarna art, with reddish-brown replacing the conventional yellow used for women, indicating gender representation.
41) Court:
Court refers to the royal entourage or household. The text discusses the depiction of the queen and court ladies in Amarna art, emphasizing their prominence and possible equality in certain representations.
42) Food:
Food is any nutritious substance consumed. In the text, the placement of cartouches above a table of food in a stela provides clues about the depicted figures, informing their identification as a king and queen.
43) Horn:
[see source text or glossary: Horn]
44) Limb:
[see source text or glossary: Limb]
45) Foot (Feet):
[see source text or glossary: Feet]
46) City:
City refers to a large town or urban area. The text talks about various artifacts and monuments that originate from ancient Egyptian cities like el-Amarna, which are central to the discussion and identification of royal figures.
47) Rock:
Rock refers to a large stone. In the text, rock tombs at el-Amarna are mentioned, which provide scenes and details crucial for analyzing and interpreting the roles and identities of Amarna figures like Akhenaten and Nefertiti.