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Fact Analysis For Art 1309 By Maria Nino

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1) Title: “Artifact analysis for Art 1309 by Maria Nino, 11/17/17 2) Title of work of art: Kneeling statue of Senenmut 3) Description: In this twelve inches tall sculpture we can observe Senenmut, wearing what appears to be a wig, in a kneeling position holding firmly between his legs and hands a few objects. He is portrait holding a cobra that supports a sun disk and cow horns resting on a base composed of two upraised arms. According to the museum this represent the “hieroglyphic sign for Ka and it is meant to be a magical gesture intended to preserve life and ward off evil.” It is also known to represent him, presenting as an offering an image of the goddess Renenutet on support of the prosperity of his nation and in hopes of consecration for himself. His back is against a obelisk-shaped pillar containing three columns of hieroglyphic text and continues around the base where the statue rests. It appears that Senenmut name has been …show more content…

The artwork fits in the New Kingdom when the fourth pharaoh of the dynasty passed away and Hatshepsut proclaimed herself pharaoh after a few years of his son’s election. She claimed that her father Thutmose I had actually chosen her as her successor during his lifetime, according to our discussion in class. Senmut lived during this time period and was a well recognized figure, being the most favored official of the Queen Hatshepsut. He was the queen’s advisor, tutor of her only daughter and hold a lot of titles which gave him control over the royal family resources. During this time a few artwork portraying him were created. For example, Senmut with Princess Nefrura is an artwork we discussed in class created during this time period also. It was not only created during this time period, but it also portrays Senenmut along with the queen’s daughter during their

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She places her right arm around her husband’s shoulders. In her left hand, she holds a heavy bead necklace called a menat. Menat necklace was a ritual tool that’s was held and shaken especially in the service of goddess Hathor. Renenutet is described as a a ritual singer of Amun-Re on the back of the statue.

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Queen Hatshsput was the royal consort of Thutmose II, who is considered a much lesser pharaoh compared to his father thutmose I who extended egypts borders significantl;y as well as building many temples and his own tomb Queen Hatshsput was married to thutmose ii her half brother most likely to secure his kingship she is considered to be the real power behind thutmose II because because of the similar domestic and foreign policies which were later pursued under her reign and because of her claim that she was her father’s intended heir. She is depicted in several raised relief scenes from a Karnak gateway dating to Thutmose II's reign both together with her husband and alone.[1] She later had herself crowned Pharaoh several years into the

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During the reign of the New Kingdom pharaoh Amenhotep IV, also called Akhenaten, the art of ancient Egypt underwent a considerable change. This is unsurprising given the fact that the shift throughout Egypt in culture and religion was so immense. So, logically, it follows that the stylistic choices in art during that time period would alter significantly. In order to fully understand the extent to which the artists active during the reign of Akhenaten revolutionized art, it is very important to compare the work of that time period with some of the art created during other prevalent eras in ancient Egypt.

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Both statues have a frontal pose. Yuny and Renenutet medium is limestone and paint, meanwhile Senusret III medium is yellow quartzite. Both Yuny and Senusret III are wearing a headdress emphasizing their power and royalty through it. Senusret III has a royal traditional headdress on his head behind his ears and Yuny has a fashionable wig as a headdress in front of his ears. Senusret III has a stun arched forehead and Yuny has a much more relaxed forehead.

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