The role of women in Kemet: representing power and divinity

The role of women in Kemet

For many years Egyptology was dominated by very traditional male academics who had little regard for women or their role in Kemite society. More recently, just as we have seen an increase in the numbers of scholars who approach this subject from a non-Eurocentric perspective, so too have we seen both male and female academics adopting feminist approaches to the study of women.

In Kemet, the role that a woman played and the degree of autonomy which she enjoyed was very much dependent on her status in society. On the few occasions when women traversed their traditional roles, artists often struggled to represent them. And at times, powerful women were presented in a secondary role according to the traditions of the time.

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Detail of a relief representation of a Ptolemaic ruler and her consort. Museu Egipci de Barcelona. Photograph copyright and courtesy of Dr Runoko Rashidi

The photograph above is of a type of object that we call a stela (plural stelae). It is a dedicatory relief and these object were used in religious and funerary contexts. I hadn’t seen this particular example before, and so was very excited when Dr Runoko Rashidi sent me the photograph. Why? Well because of the female royal figure is standing in front of the male. This is highly unusual in Kemite art.

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Cleopatra and her son make offerings to the gods on the Temple of Hathor at Denderah
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Detail of the South Wall of the Temple of Hathor, showing Cleopatra and her son Caesarion

Even Cleopatra VII, arguably one of Kemet’s most powerful female rulers both at home and overseas, stands behind her son on the famous relief on the South Wall of the Temple of Hathor at Denderah (above). Inside the temple there are representations of the ruler by herself. However, the inner walls would only ever have been seen by the priests. The outer wall is much more of a public space to promote Cleopatra and her son as co-rulers fulfilling their royal and divine duties.

Representing power and divinity

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Ptolemaic female ruler. Detail of a stela in the Museu Egipci de Barcelona. Photograph copyright and reproduced with permission Dr Runoko Rashidi

So what is different about the female figure on this particular stela? The relief can be dated on stylistic grounds to around 116 BCE to 30 BCE, and is  therefore Ptolemaic. The female figure has to represent either Cleopatra III or Cleopatra VII, who both ruled with their sons. What is unusual is that the female stands in front of her male consort. The answer, as always, is in the iconography (the symbols that identify individuals in Kemet). If you look closely at what she wears on her head in the detail above you will see that she wears a vulture headdress. I mentioned this in an earlier post, the vulture cap is only worn by goddesses. This figure represents a divine queen and whereas all members of the royal family were seen to be divine by association with their roles, this figure is a goddess and has cults in her own right.

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Ptolemy II makes an offering to Isis and his sister Arsinoe II. Temple of Isis at Philae

Divinity outweighs gender when it comes to the hierarchy of representations in Kemet. On the relief above we see an earlier Ptolemaic ruler making an offering to Isis; behind Isis is the newer goddess Arsinoe. Arsinoe waited until her death to be defied. However, both Cleopatra III and Cleopatra VII declared themselves to be living embodiments of Isis and both women had their own cults. The relief that we began with has to represent one of these two queens. Both ruled with their sons. Both were goddesses in their own right. Both were extremely powerful. And although these royal women ruled late in Kemet’s history and their families were European, they embraced the traditions of the older culture and were keen to be presented  accordingly. And they had numerous role models to choose from.

Divine wives

Prior to the Ptolemaic period, Kings of Kemet had more than one wife. Principal Wife was a title that elevated the mother of the heir to the throne. In Dynasty 18 a new iconography appeared for royal women who were Principal Wives: two cobras on their brow rather than one.

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Detail of a statuette of Tiye, wife of Amenhotep III. Louvre, Paris.

On the small faience statuette above, representing Tiye, the royal wife wears two cobras on her brow with a vulture head in the centre. If you look closely you can see the vulture’s wings on top of her braided hair. This distinguished her as the Principal Wife and also a goddess.

Wives of Amun

The same iconography can be found later in Dynasty 25. During this period a number of the Kushite royal women in Kemet were presented as the Wife of the god Amun. In this role they received political power and wealth and were designated as goddesses, and the Wife of Amun also chose her successor from the women of the royal family. This role is represented on the small chapel of Amenirdas at Medinat Habu, where the Divine Wife Amenirdas receives offerings from her successor Shepenwepet (below).

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God’s Wife Shepenwepet makes an offering to Ra Horakhty, his consort, and the God’s Wife Amenirdas

By adopting specific roles, the royal women of Kemet elevated their status and power.  The Chapel of Amenirdas dates to around 747-656 BCE, over 600 years before the stela (relief) that I began this post with. It was, however, in Kush where royal women were presented as equals to their male consorts. On the pylon (gateway) of a temple to the lion god Apademak that was built in the first century BCE, the Kandake (Queen) Amanitore of Kush appears with a weapon, attacking the enemies of the state (below). This role is reserved for men in Kemet.

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Detail of the Queen Amanitore from the pylon of the Temple of Apedemak, Kush

I would like to Dr Runoko Rashidi for suggesting the subject of this post and for providing me with the photograph of the stela. All views in the post are my own. 

 

 

Jebel Barkal: The sacred mountain of Kush

Jebel Barkal

Jebel Barkal means sacred mountain in Arabic. The fact that this large natural feature, which lies around 200 miles north of Khartoum, has been recognised for thousands of years is testimony to its power. Priests who accompanied the Kemite King Thutmose (I) Aakheperkare and his army, who entered Kush in 1504-03 BCE, identified the feature as “Pure Mountain” and “Thrones of the Two Lands”. These titles were a reference to the god Amun; the priests believed that this was the place where he lived.

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Jebel Barkal

The ancient people were very responsive to their natural landscape. A temple, which was cut out of the mountain’s rock, offers a clue as to what prompted the priests to come to their conclusions. The ancient people saw the profile of a uraeus or cobra when they viewed the rock (above) and this was depicted on a relief representation inside temple B 300 (below). Here the cobra wears a sun-disk on its head.

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A depiction of the mountain inside a chapel at the site

To the right of the depiction of the mountain King Taharqo who also ruled Kemet (690-664 BCE) makes an offering to the gods Amun and Mut. The divine pair are represented in front of the the sacred mountain. You can just about make out the crown of Amun on the photograph above. The reliefs are badly damaged. Taharqo, who was also accompanied by his consort, can be seen below.

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Nefertemkhura Taharqo making an offering to an image of the sacred mountain

A sacred complex

The earliest sacred archaeological remains at the site date to the reign of the Kemite King Thutmose Menkheperre (usually referred to as Thutmose III) who ruled Kemet from 1479-1425 BCE. This king laid the foundations for the temple to Amun, which was later completed by Ramesses Usermaatre-setpenre, better known to us as Ramesses II (1279-1213 BCE). The early temple, which was constructed out of mud brick has been replaced by a succession of later buildings. The majority of those standing today date to the reigns of the Kushite rulers who formed Kemet’s Dynasty 25 (around 746-664 BCE).

Temples were positioned in front of the sacred mountain. Today, only scant remains can be found. The photo below shows the dromos (processional walkway) flagged on either side with statues of the god Amun in the form of a ram. The sandstone bricks on either side once formed part of the pylon (gateway).

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Remains of the temple of Amun at Napata, now known as Jebel Barkal

Home of Amun

The reason that the Kemites were so interested in this site was because they believed that it was the dwelling place of Amun, a god who originated in Kush but who had one of the most powerful priesthoods in Kemet, and indeed one of the largest temple complexes at the site now known as Karnak (below).

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The sacred Lake at Karnak temple complex

Both complexes had temples and shrines dedicated to other deities. At Jebel Barkal these included Hathor (below) and the Cobra goddess.

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Hathor columns from temple B300 at Jebel Barkal, dating to the 7th century BCE

Continuity of a sacred space

When the Pure Mountain became known as the Sacred Mountain with the advent of Islam, the space retained its religious importance. Since the nineteenth century CE there has been a the tomb of a Sheikh and a Muslim cemetery at the site.

However, perhaps most importantly for the purposes of this blog, the site is evidence of the cultural connections between Kemet and Kush. Politically the two cultures were divided in ancient times. However, it is clear that the priests who accompanied Thutmose I recognised the site as one of the most important to their cult: the dwelling place of Amun.

The natural landscape also consistently played an important role in Kemite and Kushite religious practice, and this is common in other traditional African religions.