Creativity and Innovation in the Reign of Hatshepsut (PDF)

i Creativity and Innovation in the Reign of Hatshepsut oi.uchicago.edu  ii Upper row, from left to right: W. Vivian Davies, Tamás Bács, Charles Bonnet, Dominique Valbelle, Catharine Roehrig, Susanne Bickel, Luc Gabolde, Jean-Luc Chappaz, Betsy M. Bryan. Lower row, from left to right: Barbara Engelmann-von Carnap, Dimitri Laboury, Ellen Morris, Eberhard Dziobek, JJ Shirley, José M. Galán, Jose M. Serrano, Zbigniew Szafrański. oi.uchicago.edu  iii OCCasIOnal pROCeedIngs Of tHe tHeban wORksHOp Creativity and Innovation in the Reign of Hatshepsut edited by José M. Galán, Betsy M. Bryan, and Peter F. Dorman Papers from the Theban Workshop 2010 StudieS in ancient ORientaL civiLiZatiOn • nuMbeR 69 ThE ORiEnTaL inSTiTUTE OF ThE UniVERSiTy OF ChiCaGO chicaGO • iLLinOiS oi.uchicago.edu  iv Library of congress control number: 2014950434 iSbn-13: 978-1-61491-024-4 iSSn: 0081-7554 The Oriental Institute, Chicago © 2014 by The University of Chicago. all rights reserved. Published 2014. Printed in the United States of america. Studies in ancient Oriental civilization 69 Series Editors Leslie Schramer and Thomas G. Urban with the assistance of Rebecca Cain Series Editors’ Acknowledgment Brian Keenan assisted in the production of this volume. Cover Illustration The god amun in bed with Queen ahmes, conceiving the future hatshepsut. Traced by Pía Rodríguez Frade (based on Édouard naville, The Temple of Deir el Bahari, Part 2, London 1896, pl. 47) Printed by through Four Colour Imports, by Lifetouch, Loves Park, Illinois USA The paper used in this publication meets the minimum requirements of american national Standard for information Services — Permanence of Paper for Printed Library Materials, anSi Z39.48-1984. ∞ oi.uchicago.edu  v v table of Contents Preface. José M. Galán, Spanish National Research Council, Madrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii List of abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv papeRs fROm tHe tHeban wORksHOp, 2010 1. innovation at the Dawn of the new Kingdom. Peter F. Dorman, American University of Beirut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2. The Paradigms of innovation and Their application to the Early new Kingdom of Egypt. Eberhard Dziobek, Heidelberg and Leverkusen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 3. Worldview and Royal discourse in the time of hatshepsut. Susanne Bickel, University of Basel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 4. hatshepsut at Karnak: a Woman under God’s Commands. Luc Gabolde, Centre National de la Recherche Scientifique (UMR 5140) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 5. how and Why did hatshepsut invent the image of her Royal Power? Dimitri Laboury, FNRS-University of Liège. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 6. hatshepsut and cultic Revelries in the new Kingdom. Betsy M. Bryan, Johns Hopkins University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 7. the exceptional creativity of hatshepsut. Zbigniew E. Szafrański, University of Warsaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 8. the Foundation deposits of hatshepsut’s Mortuary temple at deir el-bahari. Catharine H. Roehrig, Metropolitan Museum of Art, New York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 9. Remarques sur l’architecture du Spéos artémidos. Jean-Luc Chappaz, Museum for Art and History, Geneva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 10. The Power of the Elite: The Officials of hatshepsut’s Regency and Coregency. JJ Shirley, Journal of Egyptian History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 11. the inscribed burial chamber of djehuty (tt 11). José M. Galán, Spanish National Research Council, Madrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 12. The Composition of the Opening of the Mouth in the Tomb-chapel of Djehuty (TT 11). Jose M. Serrano, University of Seville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13. Play and display in egyptian high culture: the cryptographic texts of djehuty (TT 11) and Their Sociocultural Contexts. Andrés Diego Espinel, Spanish National Research Council, Madrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 14. Unconventional Versions: The Theban Tomb of Puiemra, Second Prophet of amun under hatshepsut. Barbara Engelmann-von Carnap, University of Heidelberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 15. Mitanni enslaved: Prisoners of War, Pride, and Productivity in a new imperial Regime. Ellen Morris, Barnard College. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 16. a view from elkab: the tomb and Statues of ahmose-Pennekhbet. W. V. Davies, British Museum, London . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 17. Overseers of Southern Foreign Lands and thebes in the Reign of hatshepsut. Tamás A. Bács, Eötvös Loránd University, Budapest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 18. an unusual architecture of hatshepsut in nubia. Charles Bonnet, Académie des Inscriptions et Belles Lettres, Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 19. the Part of hatshepsut in Some architectural Programs of the early eighteenth dynasty. Dominique Valbelle, Université de Paris-Sorbonne, Paris IV/UMR 8167 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 oi.uchicago.edu  oi.uchicago.edu  vii preface José M. Galán The Theban Symposium dedicated to discuss the Creativity and innovation in the Reign of hatshepsut took place in May 2010, in Granada, Spain, at the institute for arabic Studies of the Spanish national Research council (cSic). the meeting was sponsored by Fundación caja Madrid, the foundation of a Spanish bank that was at that time sponsoring the Spanish-Egyptian mission working at the tomb-chapels of Djehuty and hery (tt 11–12) in dra abu el-naga, Luxor. Through the span of more than three millennia of ancient Egyptian history, only few women managed to reign as pharaoh. among them, Queen hatshepsut is probably the one better documented, followed only by Cleopatra Vii. nevertheless, the abundance of written and material sources still leaves crucial information gaps and plenty of room for interpretations and discussion. The peculiar family circumstances surrounding the struggle for control of the government at that time, during the first three decades of the fifteenth century b.c., added curiosity to her figure: daughter of an inspiring and active king (thutmose i), the widow of his successor (thutmose ii) after a relatively short and transitional reign; and lacking a male descendant (she was mother of a single daughter, neferura), she became the queen-regent of a boy-king (thutmose iii), the offspring of a secondary royal wife (isis), to end up after seven years crowning herself king of Upper and Lower Egypt, acting then as coregent, but in fact holding the reins of the country. indeed, the character of widow to her own stepbrother and at the same time coregent stepmother overshadowing the legitimate boy-king has awoken the imagination of many, who have built up on shaky grounds a wide variety of hypotheses to reconstruct the factual history and sketch her psychological portrait (see Laboury’s Introduction in this volume). Official written sources tend to avoid direct references to controversial situations, but in this case it is striking how explicit some of them are. indeed, due to their veiled intentionality, one has to be cautious about their objectivity and veracity. But it is through their biased and distorted recreation of reality that we can approach the ideology that generated the message transmitted, and even catch a glimpse of the situation at issue. ineni, who was already a veteran of the Theban administration when hatshepsut gained control over the government, after briefly referring to Thutmose ii’s death (“having ascended to heaven, he joined with the gods”), describes the resulting internal political situation in the biographical inscription of his tomb- chapel (tt 81; dziobek 1992): his son (thutmose iii) stood in his place as king of the two Lands. he rules upon the throne of his progenitor, while his sister, the god’s wife hatshepsut, is carrying out the affairs of the land. The Two Lands are under her plans, one works for her, as Egypt bows the head. She is the beneficent seed of god, who has come forth from him, the prow-rope of the South, the mooring-post of the Southerners, the excellent stern-rope of the Delta. Lady of commands, excellent of plans, who satisfies the Two Shores with her words. (Urk. iv 59.16–60.11) ineni’s view corresponds perfectly well with the official message in support of hatshepsut’s merits in the early years of her regency, but regarding Thutmose as the legitimate heir. Later on, her retrospective vii oi.uchicago.edu  viii “Coronation inscription” carved in her funerary temple would go a step further, proclaiming her as the legitimate heir and exhorting the subjects to be loyal to her, by using the prestigious figure of thutmose i, and reproducing a supposed speech he would have addressed to the courtiers and people gathered in the audience hall: She is my daughter, Khenemetamun hatshepsut — live! — i have appointed her in my place, so that she is upon my throne. indeed, it is she who shall sit on the magnificent dais, she shall command the people from every place of the palace. She shall lead you, and you shall proclaim her word, you shall be united at her command. he who shall praise her shall live, he who shall speak evil in slander of her majesty shall die. as for everybody who shall proclaim complete the name of her majesty, he shall enter immediately into the king’s chamber, as it was done in the name of my majesty (...) as for anybody who loves her in his heart and who praises her every day, he shall boost, he shall flourish more than anything. as for anybody who shall speak (evil) in the name of her majesty, the god shall determine his death immediately by the gods who are in charge of the protection behind her every day. (Urk. iv 257.6–258.1; 260.8–14) While the phraseology used to exalt hatshepsut’s figure is quite drastic, the reality must have been more complex and varied. in this line, it has to be stressed that the civil calendar referred always to Thutmose’s accession date as the only legitimate king, and never to hatshepsut’s (chappaz 1993, pp. 93–102), despite her coronation. The regency first and coregency later were certainly not free from frictions and ambiguous situa- tions, but the unstable equilibrium managed to last almost twenty-two years. in the present volume JJ Shirley reviews the high officials in office just before, during, and right after the coregency between hatshepsut and Thutmose iii, trying to elucidate who could have encouraged and supported hatshepsut’s aspirations, who got promoted as reward for their loyalty, and who continued in office during the sole reign of Thutmose iii. indeed, the biographical references recorded in their monuments do not offer a dated, complete, and precise chronicle of their careers, but the selected data they include allow us to recreate the elite’s power-net and the sociopolitical atmosphere within which Queen hatshepsut ended up acting as king. Despite the unusual (but not unknown) and even paradoxical nature of a female pharaoh, it seems there was no major crisis in the administration, but a smooth transition that would unavoidably include certain preferences in choosing and promoting the officials in charge of the administration. While it is true that hatshepsut has attracted to herself most of the attention, not only of laymen, but also of scholars (desroches-noblecourt 2002) and museum exhibitions (Roehrig 2005), she was surrounded by a group of personal advisors, palace courtiers, state bureaucrats, and administrators of the temples’ domains (Ratié 1979; bryan 2006; and now Shirley in this volume), who were in many cases also intellectu- als, artists, and brilliant engineers. They must have played an active role in the creativity displayed under hatshepsut’s reign and so deserve to be credited for it in as much as the sources allow us to learn about and identify their activity. it is uncertain up to what point they were conditioned by the uncommon circumstance of having to work and please a female pharaoh. Women had been influential and powerful within the monarchy for many years, and without any trace of underestimation high officials had been assigned to the state or at the service of a king’s mother, wife, and/or daughter (living or already dead), such as hery (tt 12) and Kares (cG 34003), both associated to Queen ahhotep in the reign of amenhotep i. that was no novelty. Moreover, there are other factors that should be considered when trying to identify the ingredients that intervened Preface oi.uchicago.edu  ix in the melting pot of the creative atmosphere that was Egypt under hatshepsut’s rule. The relative internal stability for more than half a century, together with the increasing contacts with and Egyptian presence in the surrounding foreign territories favored the growth of wealth, the expansion of the administration, and the sophistication of the social elite. the successful return in year 9, that is, two years after hatshepsut’s (self-)coronation, of the fleet that was sent to Punt, loaded with raw materials, exotic products, and luxury goods, must have been a high point in the economy and social life in Thebes. The inscription accompanying the descriptive scenes carved on the second terrace of hatshepsut’s funerary temple explains the background and reason for the trade venture and underlines its ground-breaking character by placing in the god amun’s mouth the following words: no one has trodden the myrrh terrace that the people ignore. it was heard from mouth to mouth as the stories of the ancestors, that marvels and products were brought from therein (Punt) by your forefathers, the kings of Lower Egypt one after the other, since the times of the predecessors, the kings of Upper Egypt that existed since the beginning, in exchange of numerous payments, since they were not attained except by your merchants/intermediaries. now, i will cause your troop to tread them. (Urk. iv 344.7–17) Such an event must have generated a positive atmosphere and a sense of self-esteem among the Theban officials that would have spread over their cultural manifestations and artistic challenges. Contacts with neighboring foreign lands seem to have resulted also in a gradual technological development in various arts and crafts, which became apparent in the near East at the beginning of the Early Bronze age (Bourriau and Phillips 2004; Feldman 2006; Wilde 2011). Figurative representations of upper-class individuals and social events show a gradual refinement in the clothing, jewelry, furniture, banquet service, and entertainments, etc. But the sophistication included also an appreciation and development of the plastic arts, music, and literature. high officials of the administra- tion treasured culture and knowledge, and the search for both made them turn their eyes to the past, enter temple archives, and unroll the oldest books, visit monuments already regarded as ancient, and adopt models from which to learn and get inspiration to reinterpret them according to the current mentality and taste. Thus, Senenmut boasts in one of his statues placed at the temple of Mut: “i have access to every book of the priests, i do not ignore what has happened since the beginning of time” (Urk. iv 415.14–15). The Twelfth Dynasty seems to have received special attention five hundred years later, at the beginning of the Eighteenth Dynasty, exercising a noticeable influence on the ideology, both political and religious, and the language to communicate them, both written and artistic (architecture, sculpture, and painting). in a similar way high officials searched for inspiration among the monuments and testimonies of their ancestors, hatshepsut found her role model in Queen neferusobek (or Sobekneferu), who reigned by herself for three years at the very end of the twelfth dynasty (callender 2002, p. 34; Pignattari 2008, pp. 69–83). Creativity and innovation can be regarded as characteristic features of hatshepsut’s reign (though not exclusively), but that does not imply that the conception of an idea, of a particular design or composition, happened from scratch. There is always a previous reference feat/milestone that, combined with suitable contemporary environmental/cultural conditions, makes possible and prompts the creativity and innova- tion of one or more individuals. Peter Dorman, in the introductory article of the present volume, surveys the innovative features that emerge in different cultural and artistic expressions. he evaluates private and royal statuary, architecture, burial customs and puts special emphasis in the emergence of the Book of the Dead and other underworld literature, and in hatshepsut’s relationship with the god amun. The whole issue of what the term “innovation” implies, the various types that can be identified today and how these criteria may be applied back in the early Eighteenth Dynasty sources, is refreshingly discussed by Eberhard Dziobek. Preface oi.uchicago.edu  x The tendency to reinforce tradition, permanence, and stability, was repeatedly altered in ancient Egypt, as in any other society, by variations and minor changes, which most of the time consist of details and subtleties that in the course of time describe a gradual evolution rather than ruptures with the past. But those apparently insignificant gestures may actually reflect a deeper ideological transformation, a conscious intention to modify an aspect of the worldview. in this line, Susanne Bickel analyzes the insertion of a new passage into spell 335 of the coffin texts when it turned into chapter 17 of the book of the dead, which she explains as a sign of a new ideology of kingship, lavishly expressed through the phraseology employed in royal inscriptions. Consequently, she reviews concepts and themes such as the “love” between hatshepsut and amun, their “knowledge” of each other’s nature and actions, and the effective communication chan- nels that overcome spatial and temporal gaps, as expressed through royal discourse. a similar approach is adopted by Luc Gabolde, who extracts from hatshepsut’s inscriptions at Karnak information concerning her close relationship with the god amun, which started with her divine birth and was based on reciprocity. Figurative representations of hatshepsut also reflect her particular view of kingship. Dimitri Laboury even detects variations through time by identifying and analyzing in detail the differences in style of her sculptures and two-dimensional portraits. he substantiates how a progressive masculinization of her image can be perceived shortly after her coronation, which coincides with the reintegration of Thutmose iii into royal iconography after a brief absence. While statuary aimed to capture the essence of an individual and, at the same time, embody the rank, prestige, and character of the office/position he or she held, monumental architecture became the ideal means to display the power and resources that an individual was able to manage, all the more so if it was the king. Thus, the major temples in Thebes and in other sites underwent considerable reforms and extensions, the personnel attached to them increased, and the cultic practices seemed to have developed significantly during the flourishing two decades of the coregency of hatshepsut and Thutmose iii. Betsy Bryan presents some of the new material unearthed in the excavations she directs at the temple of Mut since 2004, including limestone blocks coming from a dismantled gateway of hatshepsut, preserving her figure and face undam- aged, and a group of sandstone column drums of a hall of drunkenness, five of them inscribed. She discusses then the evidence, written and figurative, for festivals of drunkenness in the Eighteenth Dynasty and later, examining the requirements of such ceremonies, which include inebriation from beer or wine and sexual behavior. On the west bank of Thebes, the mortuary temple of hatshepsut became a showcase for creativity and innovation in the overall architectural design, as well as in small decorative details. Catharine Roehrig offers a new look at the eleven foundation deposits that have been found so far, examining their varied contents and relocating one of them. although two groups of deposits may be distinguished, it seems that they were all laid down after the building of the temple was begun, probably to be related to her coronation in year 7. a Polish-egyptian mission has been working in the temple now for several decades, and Zbigniew Szafrański describes some of their recent discoveries and interpretations. he discusses the design of an elevated plat- form accessed by a monumental ramp as a possible Minoan influence; the alleged first avenue of sphinxes — more than a hundred — ever built, flanking the processional approach; and a second processional axis oriented north–south in the upper festival courtyard, leading to her mortuary complex. Through the repre- sentation of her daughter, neferura, at the entrance of the main sanctuary of amun-Ra in the upper festival courtyard, it seems that hatshepsut was paving the way for her daughter to become queen/king, which could have prompted the rejection of the idea of the female kingship and eventually her damnatio memoriae. Moving north to Middle Egypt, to the province of hermopolis, one of the most singular cult places is the rock-shrine known as Speos artemidos, dedicated to the local leonine goddess Pakhet. The upper half of the façade (pediment) bears a long inscription celebrating the re-establishment of order by hatshepsut, signal- ling her as the one who drove out the hyksos, and who restored the main shrines of that area. Jean-Luc Chap- paz participated in a Swiss epigraphic mission back in the 1980s, which enables him now to bring forward some remarks concerning its original design under hatshepsut, and the later alterations under King Seti i. The temples and other official buildings built or enlarged under royal patronage leave almost no chance for authorship signatures. nevertheless, as mentioned above, one has to imagine high officials of Preface oi.uchicago.edu  xi the administration participating in the design and development of such complex projects, but we only know about their responsibilities through their titles and biographical references in their private monuments, such as statues, stelae, tomb-chapels, and inscribed funerary equipment (Shirley in this volume). at the beginning of the Eighteenth Dynasty tomb-chapels of the elite members started to be decorated again, after a lapse of more than a century corresponding to the Second intermediate Period. it is in the layout and decoration of their mortuary monuments where the knowledge/culture and the creativity of high officials could be ex- pressed in full-scale. the tomb-chapel of djehuty (tt 11) is a good example of the possibilities that the walls of a rock-cut chapel offered to the artist and to the scribe. Djehuty, overseer of the Treasury and overseer of works under hatshepsut, presented himself as an enlightened scribe, acquainted with the long-standing religious and funerary texts, and intended to impress and challenge his contemporaries with unusual in- scriptions. Two hymns written in cryptography were carved on one of the side walls of the open courtyard, and have been thoroughly analyzed in the present volume by andrés Diego Espinel, who approaches their innovative character by setting them in their socio-cultural context. at the inner part of the monument, on the right-hand wall of the corridor, Djehuty displayed a large tableau of the Opening of the Mouth ritual, including thirty-five scenes composed of small vignettes and texts, whose analysis and first conclusions are presented by Jose M. Serrano. Moreover, the walls and even the ceiling of Djehuty’s burial chamber were also fully covered with texts, in this case a selection of passages from the Book of the Dead. José M. Galán offers a description of the re-discovery of the chamber, the contents of the text, and a first assessment of its contribution to the study of the Book of the Dead and to the understanding of the intellectual atmosphere that surrounded and developed within the elite members of hatshepsut’s administration. Puiemra, second prophet of amun, was probably buried a few years after Djehuty, and also built for himself an extraordinary tomb-chapel (tt 39). the significance of the unusual orientation of its layout, and unusual location of the common decorative themes, to be connected with the processional causeway and funerary temple of hatshsepsut, is threshed and analyzed in detail by Barbara Engelmann-von Carnap. Puiemra is one of those high officials whose administrative career developed during the coregency, outlived hatshepsut, and was able to continue high up in the social scale in the sole reign of Thutmose iii. The scenes that decorate the inner walls of the elite officials’ tomb-chapels may offer information about certain aspects of the society and economy in a particular moment and place. Ellen Morris, for instance, focuses upon a distinctive group of laborers that started being depicted during the joint reign of hatshep- sut and Thutmose iii. She argues for their identification with warriors from naharina/Mitanni that were captured in the Syro-Palestinian campaigns of Thutmose i and Thutmose iii, and who were employed in temple workshops fashioning chariots and composite bows, dealing with animals, working in the swamps, fields, and vineyards. Their depiction may reflect a taste for the exotica and a celebration of the Egyptian dominion over foreign lands. Within a few generations they gradually disappeared from view as they began to assimilate into Egyptian society. Due to the volume and nature of the sources presently available, our perception of the early Eighteenth Dynasty tends to be Theban-centered. however, the documentation from other sites is crucial to get a wider and more balanced view in order to approach an understanding of any aspect of Egyptian society in that or any other given moment. So-called “local temples,” like the above-mentioned Speos artemidos, as well as “provincial cemeteries,” were not islands, isolated areas disconnected from the major events and trends going on at the court, but most of them were firmly integrated in a thick religious, political, and social net. actually, it can be argued that some provinces were the point of origin of certain ideas and cultural trends that later on were adopted by more conservative and orthodox court members. a clear example of this are the tomb-chapels at Elkab, whose owners and the decoration of their rock-tombs show a close relationship with Thebes at the early Eighteenth Dynasty. among them, the monument of ahmose-Pennekhbet, distinguished soldier, administrator, and tutor of hatshepsut’s daughter, is particularly interesting, but had never been properly recorded and published. a british Museum team, led by vivian davies, put up in 2009 a research and documentation program that has already yielded fresh information, particularly by integrating his two known inscribed statues into a broad study. Preface oi.uchicago.edu  xii now, considering the Egyptian presence south of its natural border, over nubia, the identity of those who were appointed as overseer of the southern foreign countries under hatshepsut and Thutmose iii is still open to debate. Recent archaeological discoveries and the re-examination of written sources are shedding new light on the subject. Tamás Bács relates the discovery of the tomb of Penre, an overseer of the southern foreign lands under hatshepsut’s regency and early years of her coregency. The analysis of his funerary equipment seems to indicate that he must have acted as viceroy of Kush. he was buried in western Thebes, but a fragment of what seems to be an inscribed statue of his was found in 2004 at Kerma/dukki Gel (Pnubs). a joint Swiss mission, led by Charles Bonnet and Dominique Valbelle, has been working at Dukki Gel, about 150 kilometers south of the third cataract, now for a decade. building activity is attested under thut- mose i, Thutmose ii, and hatshepsut-Thutmose iii. among other inscriptional material, two fragments of hatshepsut’s cartouches have been found. On the other hand, the remains of two nubian sanctuaries have been unearthed. From the archaeological evidence, it seems that under Thutmose ii and hatshepsut a nubian rebellion was put down. investigations are still in progress. needless to say the studies included in the present volume constitute only a selective glance at some of the issues and problems posed by the joint reign of hatshepsut and Thutmose iii. Still, the ensemble pretends to be representative of the ongoing debate, recent discoveries, new research strategies, and contributions to the better understanding of a fascinating period of Egyptian history. Preface oi.uchicago.edu  xiii list of abbreviations GEnERaL BD Book of the Dead BM British Museum, London Brooklyn Brooklyn Museum, Brooklyn ca. circa, approximately CG Catalogue Général of the Egyptian Museum, Cairo col(s). column(s) JdE Journal d’Entrée of the Egyptian Museum, Cairo cf. confer, compare cm centimeter(s) col(s). column(s) CT Coffin Text et al. et alii, and others e.g. exempli gratia, for example esp. especially etc. et cetera, and so forth fig(s). figure(s) FM Field Museum of natural history, Chicago ibid. ibidem, in the same place i.e. id est, that is KV Valley of the Kings lit. literally m meter(s) MMa Metropolitan Museum of art, new york n(n). note(s) nn personal/royal name no(s). number(s) O. ostracon OiM Oriental institute Museum, Chicago P. papyrus pers. comm. personal communication p(p). page(s) pl(s). plate(s) PT Pyramid Text TT Theban Tomb var. variant, variation vol(s). volume(s) BiBLiOGRaPhiC KRI Kenneth a. Kitchen. Ramesside Inscriptions: Historical and Biographical, 8 volumes. Oxford: b. h. blackwell, 1975–1990. KRITA Kenneth a. Kitchen. Ramesside Inscriptions: Translated and Annotated, 5 volumes. Oxford: b. h. blackwell, 1993–2008. oi.uchicago.edu  xiv LÄ Wolfgang helck et al. Lexikon der Ägyptologie. 6 volumes and indexes. Wiesbaden: harrassowitz, 1972–1992. L.D. Carl Richard Lepsius. Denkmäler aus Ägypten und Äthiopien. 6 volumes. berlin: nicolaische buch- handlung, 1849–1859. L.D. Text Carl Richard Lepsius. Denkmäler aus Ägypten und Äthiopien, Text. 5 volumes. edited by Édouard naville. berlin: nicolaische buchhandlung, 1897–1913. LGG Christian Leitz, ed. Lexikon der ägyptischen Götter und Götterbezeichnungen. 8 volumes. Orientalia Lovaniensia analecta 110–16. Leuven: Peeters, 2002–2003. PM i² Bertha Porter and Rosalind L. B. Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, Volume 1: The Theban Necropolis, Part 1: Private Tombs, and Part 2: Royal Tombs and Smaller Cemeteries. 2nd ed. Oxford: clarendon Press, 1960, 1994. PM ii² Bertha Porter and Rosalind L. B. Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, Volume 2: Theban Temples. 2nd ed. Oxford: clarendon Press, 1972. PM iV Bertha Porter and Rosalind L. B. Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, Volume 4: Lower and Middle Egypt. Oxford: clarendon Press, 1934. PM V Bertha Porter and Rosalind L. B. Moss. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings, volume 5: Upper Egypt: Sites. Oxford: clarendon Press, 1937. PM Vi Bertha Porter and Rosalind L. B. Moss. 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