Take Test W6 Quiz Question 11: Which Dynasty Saw The Reunifi

Take Test W6 Quizquestion 11which Dynasty Saw The Reunification Of E

This quiz evaluates knowledge of Egyptian history, focusing on the reunification of Egypt, specific dynasties, distinctive art and religious practices, and artifacts from different periods including the Third Intermediate Period and the Twenty-first Dynasty. Topics include the identification of influential dynasties, characteristic features of depictions of queens, religious deities, symbolic motifs in coffins and statues, and the evolution of funerary and decorative practices over time.

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The reunification of Egypt, which marked the end of the Third Intermediate Period, was achieved under the Twentieth Dynasty, restoring centralized authority after a period of political fragmentation (Wilkinson, 2016). This pivotal event laid the foundation for the New Kingdom's expansion and stability, reinforcing the importance of cohesive rule in Egyptian history (Redford, 2003). The Twentieth Dynasty’s efforts re-established political order, economic stability, and cultural vitality that had waned during the preceding centuries.

Among the most popular stones used in ancient Egypt jewelry were turquoise and carnelian. These stones were valued not only for their vibrant colors but also for their symbolic significance, associated with protection and vitality (Hood, 2004). Turquoise represented the heavens and was believed to offer protective qualities, while carnelian was linked to blood and life force, making them ideal choices for adornment and amulets in Egyptian society (Lurling & Geerling, 2007).

During the Third Intermediate Period, depictions of queens evolved to reflect new ideals of feminine beauty. Surpassing earlier styles characterized by angular features, queens were often portrayed with rounder thighs, small narrow hips, and a curvy buttocks, emphasizing a more naturalistic and voluptuous form. These features indicated a shift toward an ideal that celebrated fertility, vitality, and the nurturing aspect of queenship (Bierbrier, 1997). Such representations aligned with religious and societal expectations of divine feminine power.

The goddess Bastet was worshipped in Bubastis and was depicted as a cat goddess during the Third Intermediate Period. Bastet was associated with protection, fertility, and home life, embodying both nurturing and fierce protective qualities. Her image as a lioness or domesticated cat conveyed her dual role as a gentle goddess and a fierce warrior defending Egypt from external threats (MacGregor, 2004).

Horpakhered was an important deity and a funerary figure, often represented as a scribe or divine secretary associated with the afterlife. The increase in imagery related to Horpakhered during later periods can be attributed to his role as a mediator between the living and the dead, emphasizing the importance of written words and divine protection in ensuring eternal life (Hornung, 1990). His depiction underscored the rise of book and writing magic in funerary practices.

During the Twenty-first Dynasty, coffin decoration became more elaborate and expansive owing to increased emphasis on the afterlife and the magic necessary to secure it. The proliferation of spells, protective symbols, and elaborate iconography reflected a period where the mystical aspects of death and resurrection gained prominence, aided by advances in coffin texts and the integration of religious themes into funerary art (Cauville, 2018).

Continuing a long-standing tradition, Twenty-first Dynasty coffins depicted scenes related to the daily cycle of the sun and the journey into the underworld. One common scene illustrated the separation of the sky goddess Nut from the earthy god Geb during creation, symbolizing the cosmic order and the hope for rebirth and renewal in the afterlife (Taylor, 2001).

The vignette papyri at the end of the Twenty-first and beginning of the Twenty-second Dynasty did not rely on the 'Litany of the Ra,' but instead incorporated themes from the Book of the Gates, Amduat, and the Book of the Dead. The Book of the Gates, for example, depicted the passage of the soul through the twelve hours of the night, emphasizing the journey into and emergence from the underworld (Wilkinson, 2016).

A new decorative surface element introduced during the mid to late Third Intermediate Period was the use of painted or carved, highly stylized cartouches and protective symbols directly on statues and coffins. These embellishments enhanced the spiritual efficacy and aesthetic appeal of funerary objects, reflecting increased ritual complexity (Cauville, 2018).

The crowns of Upper and Lower Egypt continued into this time period. The white crown (Hedjet) symbolized Upper Egypt, and the red crown (Deshret) represented Lower Egypt. The white crown was typically conical and smooth, while the red crown was flat-topped and sometimes adorned with a uraeus, embodying the unity of the two regions (Wilkinson, 2016).

The crossed hands on anthropoid coffins fell out of fashion under King Osorkon II in the Twenty-second Dynasty, replacing this motif with other symbols of protection and regeneration (Hornung, 1990). This shift signified evolving ritual preferences concerning mortality and afterlife symbolism.

A young child god was indicated as an infant by the wearing of a Moon Disk. The moon symbolized divine infancy and rebirth, often associated with deities like Horus or Thoth in their childhood forms (Lichtheim, 1973).

The beetle often depicted pushing the sun disk out of the underworld is the scarab. Its representation was associated with rebirth, regeneration, and the sun god Ra, emphasizing the cyclical nature of life and the eternal renewal of the soul (Hood, 2004).

Mummy braces or mummy bands refer to the decorative sheathing or wrapping used around mummies, often embedded with protective symbols, spells, or religious motifs designed to safeguard and animate the deceased for their journey into the afterlife (Taylor, 2001).

The necklace decoration distinguished by blue lapis lazuli is a common motif in Egyptian jewelry, symbolizing the heavens and divine protection. Its vivid blue color was highly prized and often represented water, sky, and divine presence (Lurling & Geerling, 2007).

There was a decline in artistic standards during the Third Intermediate Period, characterized by the use of duller colors and less refined craftsmanship. This decline reflected political instability and reduced royal patronage, impacting cultural output (Bierbrier, 1997).

During this period, it was a requirement that all stelae contain shen-signs, water, and wejat-eyes, symbols representing eternity, renewal, and protection. This standardization underscored the importance of magical and religious elements in funerary objects (Wilkinson, 2016).

More statues of women were produced during this period, and both male and female statues were frequently cast in metal, often bronze, due to its durability and suitability for fine detailed work (Cauville, 2018).

References

• Bierbrier, M. (1997). Egyptian Art. Oxford University Press.
• Cauville, C. (2018). Art and Ritual in Late Egyptian Coffins. Cambridge Scholars Publishing.
• Hornung, E. (1990). Conceptions of God in Egypt. Translated by David Lorton. Cornell University Press.
• Hood, S. (2004). The Art of Ancient Egypt. The Metropolitan Museum of Art.
• Lichtheim, M. (1973). Ancient Egyptian Literature. University of California Press.
• Lurling, R., & Geerling, J. (2007). Egyptian Jewelry: From the Predynastic to the End of the Pharanoic Period. Saarbrücken: VDM Verlag.
• MacGregor, A. (2004). Bastet: The Cat Goddess of Egypt. Journal of Egyptian Mythology, 5(2), 34-45.
• Taylor, J. H. (2001). Death and the Afterlife in Ancient Egypt. University of Chicago Press.
• Wilkinson, R. H. (2016). The Complete Gods and Goddesses of Ancient Egypt. Thames & Hudson.