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The Nature and Chronology of the Senwosret III-Amenemhat III Regnal Succession: Some Considerations Based on New Evidence from the Mortuary Temple of Senwosret III at Abydos
Abstract
L'auteur propose l'etude epigraphique et archeologique d'un temoignage inedit provenant d'un fragment de pierre inscrit du temple de Sesostris III a Abydos, permettant d'envisager une longue corregence de Sesostris III et Amenemhat III (XIIe dynastie)
... Senusret's features are particularly notable for one trait in particular -his enlarged ears, predominately displayed across a majority of his imagery [4], as shown in Figures 1-3. Senusret's statutory evolved over his reign, from very youthful statues to ones that appear as a man in his sixth or seventh decade of life [8]. Even in the earliest years of his rule, the monarch was depicted with enlarged, high-set ears [4]. ...
... However, this theory can also be discounted. While the rest of his features display a spectrum that appears to subtly change over the progression of his reign, possibly consistent with the king's actual physical aging [8], his ears appear to be consistently enlarged [3]. ...
... It is likely that Senusret's imagery did have some basis in reality -there does appear to be a correspondence between his features and the king's aging throughout his reign [8]. However, only a tiny fraction of the Egyptian population would have ever seen Senusret in person. ...
The ancient Egyptian pharaoh Senusret III was a legend to both his contemporaries and his descendants: an ideal of kingly power whose legacy of control and intimidation was remembered for centuries. Of particular note is the unique macrotia that the king's statues display. In this paper, we discuss possible etiologies of Senusret's unique presentation and ultimately conclude that Senusret's immortalized features were likely rooted in propaganda rather than a medical cause.
... Then how could pharaoh Khakaura Senusret III be alive in someone else's reign? This is possible in a co-regency period with his son Amenemhat III as proposed in ref. 10. As Senusret III most probably died in his 39 th regnal year, and Amenemhat III most probably did not access the throne before his father, both the 9 th and the 14 th year of Amenemhat III have to be between -1877 and -1847 (Senusret III's 9 th and 39 th year resp. ...
In this article we explore the papyrus archive from El Lahun using a strictly schematic Egyptian civil calendar and a modern astronomical date for the start of the calendar. This leads to the absolute accession years for three pharaohs of the Egyptian 12 th dynasty. The accession years are compatible with recent radiocarbon dates for dynastic Egypt and are confirmed by all twenty-six moon dates with explicit regnal years, as well as by the Sothic date and an additional incomplete moon date included in the archive. Our investigation also sheds light on periods of co-regency, Egyptian practices of Sirius and moon observations, and the reliability of the Turin king list.
Desde los estudios realizados fundamentalmente por A. J. Spencer, las publicaciones sobre el análisis de la “construcción en adobe” han ido progresivamente multiplicándose. Sin embargo, en la mayoría de los casos, la tendencia generalizada es a desdeñar dicho tipo constructivo como elemento datacional. En este trabajo se incide precisamente en el alto valor que presen-ta la variabilidad del formato utilizado con el objeto de establecer la evolución anacrónica y sincrónica de un complejo estructural, tipo de estructura o paramento utilizado. Para ello, se presenta el estudio comparativo de los módulos empleados en las denominadas “fundaciones estatales” del Reino Medio.
The institution within ancient Egypt whereby two co-equal kings reign over the same territory at the same time. This is to be distinguished from an arrangement whereby a territory is subdivided, with the different parts of that territory ruled as separate entities by kings ruling in parallel.
This paper aims to evaluate the attestations of the people responsible for the creation and decoration of Djehutihotep’s tomb at Dayr al-Barshā. In particular, it focuses on the self-depictions of its senior artist, Horamenyankhu. The self-presentation of this artist is not limited to his choice of titles nor the apparel and attributes with which he depicts himself. It also includes less formal, but by no means less visually potent, artistic and compositional techniques that emphasize his contribution. After examining these aspects, Horamenyankhu’s attestations are framed within the traditions of artistic self-representation. Through these, it becomes possible to evaluate the exceptionality of his case.
A few decades ago, Parker (1950) and others established absolute chronology for the Twelfth Egyptian Dynasty. The 7th reigning year of Sesostris (Senwosret) III has been assigned to an absolute year based on a record of the rising of Sirius in year 7. In recent years, however, Krauss and Luft offered new solutions. Because their solutions don't satisfied all criteria we propose another approach.
Senwosret (Greek: Sesostris) was the name of three kings of the 12th Egyptian Dynasty and one of the Second Intermediate Period.
The paper is focused on historical connotations of the Tell el-Retaba site to its geographic position with regards to hydrologic and pedologic situation. It suggests the position of Wadi Tumilat on the Peutinger map and persistence of desert (military) routes in the area around the Wadi. The river aggradation mound ascertained in Tell el-Retaba allows us to suggest an existence of natural riverbeds or a canal in Wadi Tumilat even before the Second Intermediate Period. The paper also brings some pedological explanations to origins of settlement. It presumes that besides the canal on the western and southern side of the Tell a marshland/swamp could also originate on its northern side, after the settlement occurred on the Tell. The occupation probably developed directly on the Bw horizon of original soil, as agricultural or grazing settlement. The humiferous a horizon was removed prior to construction.
This article examines representative sculptures made during the reign of Amenemhat III in an attempt to identify new trends and innovations. Results demonstrate that although Amenemhat III often followed in his father's footsteps, he pushed beyond established limits and created a product that was uniquely his own. Sometimes his artists reached into the distant past for ideas, and on other occasions, they seem to have been inspired by material in the private realm. A surprising number of sculptural types appear to have been innovative, at least according to our present state of knowledge. Some of these innovations entered into the general repertoire and may even have inspired some of Amenhotep III greatest works.
This companion provides the very latest accounts of the major and current aspects of Egyptology by leading scholars. It is delivered in a highly readable style and extensively illustrated; published in two volumes, it offers unprecedented breadth and depth of coverage, giving full scope to the discussion of this incredible civilization. Provides the very latest and, where relevant, well-illustrated accounts of the major aspects of Egypt's ancient history and culture. Covers a broad scope of topics including physical context, history, economic and social mechanisms, language, literature, and the visual arts. Delivered in a highly readable style with students and scholars of both Egyptology and Graeco-Roman studies in mind. Provides a chronological table at the start of each volume to help readers orient chapters within the wider historical context.
