Hatshepsut

For other ancient Egyptians called Maatkare, see Maatkare.

Hatshepsut
Statue of Hatshepsut on display at the Metropolitan Museum of Art
Pharaoh
Reign	c. 1478–1458 B.C.
Predecessor	Thutmose II
Successor	Thutmose III
Royal titulary Horus name Wesretkau Mighty of Kas Nebty name Wadjrenput Flourishing of years Golden Horus Netjeretkhau Divine of appearance. Prenomen  (Praenomen) Maatkare Truth Ma'at is the Ka of Re Nomen Khnumt-Amun Hatshepsut Joined with Amun, Foremost of Noble Ladies , ,
Consort	Thutmose II
Children	Neferure
Father	Thutmose I
Mother	Ahmose
Born	c. 1507 BC
Died	1458 BC (aged 49)
Burial	KV20 (possibly re-interred in KV60)
Monuments	Temple of Karnak, Mortuary Temple of Hatshepsut, Speos Artemidos Chapelle Rouge
Dynasty	18th Dynasty

Hatshepsut (/hætˈʃɛpsʊt/; also Hatchepsut; meaning Foremost of Noble Ladies; 1507–1458 BCE) was the fifth pharaoh of the Eighteenth Dynasty of Egypt. She was the second historically confirmed female pharaoh, the first being Sobekneferu. (Various other women may have also ruled as pharaohs regnant or at least regents before Hatshepsut, as early as Neithhotep around 1600 years prior.) Hatshepsut came to the throne of Egypt in 1478 BCE. Officially, she ruled jointly with Thutmose III, who had ascended to the throne the previous year as a child of about two years old. Hatshepsut was the chief wife of Thutmose II, Thutmose III’s father. She is generally regarded by Egyptologists as one of the most successful pharaohs, reigning longer than any other woman of an indigenous Egyptian dynasty. According to Egyptologist James Henry Breasted she is also known as "the first great woman in history of whom we are informed."

Hatshepsut was the daughter and only child of Thutmose I and his primary wife Ahmose. Her husband Thutmose II was the son of Thutmose I and a secondary wife named Mutnofret, who carried the title King's daughter and was probably a child of Ahmose I. Hatshepsut and Thutmose II had a daughter named Neferure. Thutmose II fathered Thutmose III with Iset, a secondary wife.

Reign

Jar bearing the cartouche of Hatshepsut. Filled in with cedar resin. Calcite, unfinished. Foundation deposit. 18th Dynasty. From Deir el-Bahari, Egypt. The Petrie Museum of Egyptian Archaeology, London

Trade with other countries was re-established; here trees transported by ship from Punt are shown being moved ashore for planting in Egypt—relief from Hatshepsut mortuary temple

Although contemporary records of her reign are documented in diverse ancient sources, Hatshepsut was thought by early modern scholars as only having served as a co-regent from approximately 1479 to 1458 BCE, during years seven to twenty-one of the reign previously identified as that of Thutmose III. Today Egyptologists generally agree that Hatshepsut assumed the position of pharaoh.

Hatshepsut was described as having a reign of about 22 years by ancient authors. Josephus and Julius Africanus both quote Manetho's king list, mentioning a woman called Amessis or Amensis who has been identified (from the context) as Hatshepsut. In Josephus' work, her reign is described as lasting 21 years and nine months, while Africanus stated it was twenty-two years. At this point in the histories, records of the reign of Hatshepsut end, since the first major foreign campaign of Thutmose III was dated to his 22nd year, which also would have been Hatshepsut's 22nd year as pharaoh.

Dating the beginning of her reign is more difficult, however. Her father's reign began in either 1526 or 1506 BCE according to the high and low estimates of her reign, respectively. The length of the reigns of Tuthmosis I and Tuthmosis II, however, cannot be determined with absolute certainty. With short reigns, Hatshepsut would have ascended the throne 14 years after the coronation of Tuthmosis I, her father. Longer reigns would put her ascension 25 years after Tuthmosis I's coronation. Thus, Hatshepsut could have assumed power as early as 1512 BCE, or, as late as 1479 BCE.

The earliest attestation of Hatshepsut as pharaoh occurs in the tomb of Ramose and Hatnofer, where a collection of grave goods contained a single pottery jar or amphora from the tomb's chamber—which was stamped with the date Year 7. Another jar from the same tomb—which was discovered in situ by a 1935–36 Metropolitan Museum of Art expedition on a hillside near Thebes—was stamped with the seal of the "God's Wife Hatshepsut" while two jars bore the seal of The Good Goddess Maatkare The dating of the amphorae, "sealed into the [tomb's] burial chamber by the debris from Senenmut's own tomb," is undisputed, which means that Hatshepsut was acknowledged as king, and not queen, of Egypt by Year 7 of her reign.

Major accomplishments

Trade routes

A tree in front of Hatshepsut's temple, claimed to have been brought from Punt by Hatshepsut's Expedition which is depicted on the Temple walls

Hatshepsut established the trade networks that had been disrupted during the Hyksos occupation of Egypt during the Second Intermediate Period, thereby building the wealth of the eighteenth dynasty. She oversaw the preparations and funding for a mission to the Land of Punt. This trading expedition to Punt was roughly during Hatshepsut's ninth year of reign. It set out in her name with five ships, each measuring 70 feet (21 m) long bearing several sails and accommodating 210 men that included sailors and 30 rowers. Many trade goods were bought in Punt, notably frankincense and myrrh.

Hatshepsut's delegation returned from Punt bearing 31 live myrrh trees, the roots of which were carefully kept in baskets for the duration of the voyage. This was the first recorded attempt to transplant foreign trees. It is reported that Hatshepsut had these trees planted in the courts of her mortuary temple complex. Egyptians also returned with a number of other gifts from Punt, among which was frankincense. Hatshepsut would grind the charred frankincense into kohl eyeliner. This is the first recorded use of the resin.

Hatshepsut had the expedition commemorated in relief at Deir el-Bahri, which is also famous for its realistic depiction of the Queen of the Land of Punt, Queen Ati. The Puntite Queen is portrayed as relatively tall and her physique was generously proportioned, with large breasts and rolls of fat on her body. Due to the fat deposits on her buttocks, it has sometimes been argued that she may have had steatopygia. However, according to the pathologist Marc Armand Ruffer, the main characteristic of a steatopygous woman is a disproportion in size between the buttocks and thighs, which was not the case with Ati. She instead appears to have been generally obese, a condition that was exaggerated by excessive lordosis or curvature of the lower spine. Hatshepsut also sent raiding expeditions to Byblos and Sinai shortly after the Punt expedition. Very little is known about these expeditions. Although many Egyptologists have claimed that her foreign policy was mainly peaceful, it is possible that she led military campaigns against Nubia and Canaan.

Building projects

Djeser-Djeseru is the main building of Hatshepsut's mortuary temple complex at Deir el-Bahri. Designed by Senemut, her vizier, the building is an example of perfect symmetry that predates the Parthenon, and it was the first complex built on the site she chose, which would become the Valley of the Kings

Copper or bronze sheet bearing the name of Hatshepsut. From a foundation deposit in "a small pit covered with a mat" found at Deir el-Bahri, Egypt. 18th Dynasty. The Petrie Museum of Egyptian Archaeology, London

Hatshepsut was one of the most prolific builders in ancient Egypt, commissioning hundreds of construction projects throughout both Upper Egypt and Lower Egypt. Arguably, her buildings were grander and more numerous than those of any of her Middle Kingdom predecessors'. Later pharaohs attempted to claim some of her projects as theirs. She employed the great architect Ineni, who also had worked for her father, her husband, and for the royal steward Senemut. During her reign, so much statuary was produced that almost every major museum with Ancient Egyptian artefacts in the world has Hatshepsut statuary among their collections; for instance, the Hatshepsut Room in New York City's Metropolitan Museum of Art is dedicated solely to some of these pieces.

Following the tradition of most pharaohs, Hatshepsut had monuments constructed at the Temple of Karnak. She also restored the original Precinct of Mut, the ancient great goddess of Egypt, at Karnak that had been ravaged by the foreign rulers during the Hyksos occupation. It later was ravaged by other pharaohs, who took one part after another to use in their pet projects and awaits restoration. She had twin obelisks, at the time the tallest in the world, erected at the entrance to the temple. One still stands, as the tallest surviving ancient obelisk on Earth; the other has broken in two and toppled.

Another project, Karnak's Red Chapel, or Chapelle Rouge, was intended as a barque shrine and originally may have stood between her two obelisks. It was lined with carved stones that depicted significant events in Hatshepsut's life.

She later ordered the construction of two more obelisks to celebrate her 16th year as pharaoh; one of the obelisks broke during construction and a third was therefore constructed to replace it. The broken obelisk was left at its quarrying site in Aswan, where it still remains. Known as The Unfinished Obelisk, it demonstrates how obelisks were quarried.

Colonnaded design of Hatshepsut temple

The Temple of Pakhet was built by Hatshepsut at Beni Hasan in the Minya Governorate south of Al Minya. The name, Pakhet, was a synthesis that occurred by combining Bast and Sekhmet, who were similar lioness war goddesses, in an area that bordered the north and south division of their cults. The cavernous underground temple, cut into the rock cliffs on the eastern side of the Nile, was admired and called the Speos Artemidos by the Greeks during their occupation of Egypt, known as the Ptolemaic Dynasty. They saw the goddess as akin to their hunter goddess Artemis. The temple is thought to have been built alongside much more ancient ones that have not survived. This temple has an architrave with a long dedicatory text bearing Hatshepsut's famous denunciation of the Hyksos that has been translated by James P. Allen. They had occupied Egypt and cast it into a cultural decline that persisted until a revival brought about by her policies and innovations. This temple was altered later and some of its inside decorations were usurped by Seti I, in the nineteenth dynasty, attempting to have his name replace that of Hatshepsut.

Following the tradition of many pharaohs, the masterpiece of Hatshepsut's building projects was a mortuary temple. She built hers in a complex at Deir el-Bahri. It was designed and implemented by Senemut at a site on the West Bank of the Nile River near the entrance to what now is called the Valley of the Kings because of all the pharaohs who later chose to associate their complexes with the grandeur of hers. Her buildings were the first grand ones planned for that location.

The focal point was the Djeser-Djeseru or "the Sublime of Sublimes", a colonnaded structure of perfect harmony nearly one thousand years before the Parthenon was built. Djeser-Djeseru sits atop a series of terraces that once were graced with lush gardens. Djeser-Djeseru is built into a cliff face that rises sharply above it. Djeser-Djeseru and the other buildings of Hatshepsut's Deir el-Bahri complex are considered to be significant advances in architecture. Another one of her great accomplishments is the Hatshepsut needle (also known as the granite obelisks).

Comparison with other female rulers

Although it was uncommon for Egypt to be ruled by a woman, the situation was not unprecedented. As a regent, Hatshepsut was preceded by Merneith of the first dynasty, who was buried with the full honors of a pharaoh and may have ruled in her own right. Nimaathap of the third dynasty may have been the dowager of Khasekhemwy, but certainly acted as regent for her son, Djoser, and may have reigned as pharaoh in her own right. Nitocris may have been the last pharaoh of the sixth dynasty. Her name is found in the Histories of Herodotus and writings of Manetho, but her historicity is uncertain. Queen Sobekneferu of the twelfth dynasty is known to have assumed formal power as ruler of "Upper and Lower Egypt" three centuries earlier than Hatshepsut. Ahhotep I, lauded as a warrior queen, may have been a regent between the reigns of two of her sons, Kamose and Ahmose I, at the end of the seventeenth dynasty and the beginning of Hatshepsut's own eighteenth dynasty. Amenhotep I, also preceding Hatshepsut in the eighteenth dynasty, probably came to power while a young child and his mother, Ahmose-Nefertari, is thought to have been a regent for him. Other women whose possible reigns as pharaohs are under study include Akhenaten's possible female co-regent/successor (usually identified as either Nefertiti or Meritaten) and Twosre. Among the later, non-indigenous Egyptian dynasties, the most notable example of another woman who became pharaoh was Cleopatra VII, the last pharaoh of Ancient Egypt. Perhaps in an effort to ease anxiety over the prospect of a female pharaoh, Hatshepsut claimed a divine right to rule based on the authority of the god Amun.

In comparison with other female pharaohs, Hatshepsut's reign was much longer and more prosperous. She was successful in warfare early in her reign, but generally is considered to be a pharaoh who inaugurated a long peaceful era. She re-established international trading relationships lost during a foreign occupation and brought great wealth to Egypt. That wealth enabled Hatshepsut to initiate building projects that raised the calibre of Ancient Egyptian architecture to a standard, comparable to classical architecture, that would not be rivaled by any other culture for a thousand years. She managed to rule for about 20 years. One of the most famous things that she did was build Hatshepsut's temple (see above).

Official lauding

Hyperbole is common to virtually all royal inscriptions of Egyptian history. While all ancient leaders used it to laud their achievements, Hatshepsut has been called the most accomplished pharaoh at promoting her accomplishments. This may have resulted from the extensive building executed during her time as pharaoh, in comparison with many others. It afforded her many opportunities to laud herself, but it also reflected the wealth that her policies and administration brought to Egypt, enabling her to finance such projects. Aggrandizement of their achievements was traditional when pharaohs built temples and their tombs.

Large granite sphinx bearing the likeness of the pharaoh Hatshepsut, depicted with the traditional false beard, a symbol of her pharaonic power—Metropolitan Museum of Art

Women had a relatively high status in ancient Egypt and enjoyed the legal right to own, inherit, or will property. A woman becoming pharaoh was rare, however; only Sobekneferu, Khentkaus I and possibly Nitocris preceded her. The existence of this last ruler is disputed and is probably a mis-translation of a male king. Twosret, a female king and the last pharaoh of the nineteenth dynasty, may have been the only woman to succeed her among the indigenous rulers. In Egyptian history, there was no word for a "queen regnant" as in contemporary history, "king" being the Ancient Egyptian title regardless of gender, and by the time of her reign, pharaoh had become the name for the ruler. Hatshepsut is not unique, however, in taking the title of king. Sobekneferu, ruling six dynasties prior to Hatshepsut, also did so when she ruled Egypt. Hatshepsut had been well trained in her duties as the daughter of the pharaoh. During her father's reign she held the powerful office of God's Wife. She had taken a strong role as queen to her husband and was well experienced in the administration of her kingdom by the time she became pharaoh. There is no indication of challenges to her leadership and, until her death, her co-regent remained in a secondary role, quite amicably heading her powerful army—which would have given him the power necessary to overthrow a usurper of his rightful place, if that had been the case.

Hatshepsut assumed all of the regalia and symbols of the pharaonic office in official representations: the Khat head cloth, topped with the uraeus, the traditional false beard, and shendyt kilt. Many existing statues alternatively show her in typically feminine attire as well as those that depict her in the royal ceremonial attire. Statues portraying Sobekneferu also combine elements of traditional male and female iconography and, by tradition, may have served as inspiration for these works commissioned by Hatshepsut. After this period of transition ended, however, most formal depictions of Hatshepsut as pharaoh showed her in the royal attire, with all of the pharaonic regalia.

At her mortuary temple, in Osirian statues that regaled the transportation of the pharaoh to the world of the dead, the symbols of the pharaoh as the deity Osiris were the reason for the attire and they were much more important to be displayed traditionally, her breasts are obscured behind her crossed arms holding the regal staffs of the two kingdoms she ruled. This became a pointed concern among writers who sought reasons for the generic style of the shrouded statues and led to misinterpretations. Understanding of the religious symbolism was required to interpret the statues correctly. Interpretations by these early scholars varied and often, were baseless conjectures of their own contemporary values. The possible reasons for her breasts not being emphasized in the most formal statues were debated among some early Egyptologists, who failed to understand the ritual religious symbolism, to take into account the fact that many women and goddesses portrayed in ancient Egyptian art often lack delineation of breasts, and that the physical aspect of the gender of pharaohs was never stressed in the art. With few exceptions, subjects were idealized.

Osirian statues of Hatshepsut at her tomb, one stood at each pillar of the extensive structure, note the mummification shroud enclosing the lower body and legs as well as the crook and flail associated with Osiris—Deir el-Bahri

Modern scholars, however, have theorized that by assuming the typical symbols of pharaonic power, Hatshepsut was asserting her claim to be the sovereign rather than a "King's Great Wife" or queen consort. The gender of pharaohs was never stressed in official depictions; even the men were depicted with the highly stylized false beard associated with their position in the society.

Moreover, the Osirian statues of Hatshepsut—as with other pharaohs—depict the dead pharaoh as Osiris, with the body and regalia of that deity. All of the statues of Hatshepsut at her tomb follow that tradition. The promise of resurrection after death was a tenet of the cult of Osiris. Since many statues of Hatshepsut depicted in this fashion have been put on display in museums and those images have been widely published, viewers who lack an understanding of the religious significance of these depictions have been misled. Aside from the face depicting Hatshepsut, these statues closely resemble those of other kings as Osiris, following religious traditions.

Most of the official statues commissioned of Hatshepsut show her less symbolically and more naturally, as a woman in typical dresses of the nobility of her day. Notably, even after assuming the formal regalia, Hatshepsut still described herself as a beautiful woman, often as the most beautiful of women, and although she assumed almost all of her father's titles, she declined to take the title "The Strong Bull" (the full title being, The Strong Bull of his Mother), which tied the pharaoh to the goddesses Isis, the throne, and Hathor, (the cow who gave birth to and protected the pharaohs)—by being her son sitting on her throne—an unnecessary title for her, since Hatshepsut became allied with the goddesses, herself, which no male pharaoh could. Rather than the strong bull, Hatshepsut, having served as a very successful warrior during the early portion of her reign as pharaoh, associated herself with the lioness image of Sekhmet, the major war deity in the Egyptian pantheon.

Religious concepts were tied into all of these symbols and titles. By the time of Hatshepsut's reign, the merger of some aspects of these two goddesses provided that they would both have given birth to, and were the protectors of, the pharaohs. They became interchangeable at times. Hatshepsut also traced her lineage to Mut, a primal mother goddess of the Egyptian pantheon, which gave her another ancestor who was a deity as well as her father and grandfathers, pharaohs who would have become deified upon death.

While Hatshepsut was depicted in official art wearing regalia of a pharaoh, such as the false beard that male pharaohs also wore, it is most unlikely that she ever wore such ceremonial decorations, just as it is unlikely that the male pharaohs did. Statues such as those at the Metropolitan Museum of Art, depicting her seated wearing a tight-fitting dress and the nemes crown, are thought to be a more accurate representation of how she would have presented herself at court.

As a notable exception, only one male pharaoh abandoned the rigid symbolic depiction that had become the style of the most official artwork representing the ruler, Pharaoh Amenhotep IV (later Akhenaten) of the same eighteenth dynasty, whose wife, Nefertiti, also may have ruled in her own right following the death of her husband.

The Hawk of the Pharaoh, Hatshepsut—Temple at Luxor

One of the most famous examples of the legends about Hatshepsut is a myth about her birth. In this myth, Amun goes to Ahmose in the form of Thutmose I and awakens her with pleasant odors. At this point Amun places the ankh, a symbol of life, to Ahmose's nose, and Hatshepsut is conceived by Ahmose. Khnum, the god who forms the bodies of human children, is then instructed to create a body and ka, or corporal presence/life force, for Hatshepsut. Heket, the goddess of life and fertility, and Khnum then lead Ahmose along to a lioness' bed where she gives birth to Hatshepsut. Reliefs depicting each step in these events are at Karnak and in her mortuary temple.

The Oracle of Amun proclaimed that it was the will of Amun that Hatshepsut be pharaoh, further strengthening her position. She reiterated Amun's support by having these proclamations by the god Amun carved on her monuments:

Welcome my sweet daughter, my favorite, the King of Upper and Lower Egypt, Maatkare, Hatshepsut. Thou art the Pharaoh, taking possession of the Two Lands.

Hatshepsut claimed that she was her father's intended heir and that he made her the heir apparent of Egypt. Almost all scholars today view this as historical revisionism, or prolepsis, on Hatshepsut's part since it was Thutmose II—a son of Thutmose I by Mutnofret—who was her father's heir. Moreover, Thutmose I could not have foreseen that his daughter Hatshepsut would outlive his son within his own lifetime. Thutmose II soon married Hatshepsut and the latter became both his senior royal wife and the most powerful woman at court. Biographer Evelyn Wells, however, accepts Hatshepsut's claim that she was her father's intended successor. Once she became pharaoh herself, Hatshepsut supported her assertion that she was her father's designated successor with inscriptions on the walls of her mortuary temple:

Then his majesty said to them: "This daughter of mine, Khnumetamun Hatshepsut—may she live!—I have appointed as my successor upon my throne... she shall direct the people in every sphere of the palace; it is she indeed who shall lead you. Obey her words, unite yourselves at her command." The royal nobles, the dignitaries, and the leaders of the people heard this proclamation of the promotion of his daughter, the King of Upper and Lower Egypt, Maatkare—may she live eternally.

American humorist Will Cuppy wrote an essay on Hatshepsut which was published after his death in the book The Decline and Fall of Practically Everybody. Regarding one of her wall inscriptions, he wrote,

For a general notion of Hatshepsut's appearance at a certain stage of her career, we are indebted to one of those wall inscriptions. It states that "to look upon her was more beautiful than anything; her splendor and her form were divine." Some have thought it odd that the female Pharaoh should have been so bold, fiftyish as she was. Not at all. She was merely saying how things were about thirty-five years back, before she had married Thutmose II and slugged it out with Thutmose III. "She was a maiden, beautiful and blooming", the hieroglyphics run, and we have no reason to doubt it. Surely there is no harm in telling the world how one looked in 1515 BCE.

Death, burial, and mummification

See also: KV20

A stone statue of Hatshepsut

Hatshepsut died as she was approaching what we would consider middle age given typical contemporary lifespans, in her twenty-second regnal year. The precise date of Hatshepsut's death—and the time when Thutmose III became the next pharaoh of Egypt—is considered to be Year 22, II Peret day 10 of her reign, as recorded on a single stela erected at Armant or January 16, 1458 BCE. This information validates the basic reliability of Manetho's kinglist records since Hatshepsut's known accession date was I Shemu day 4 (i.e.: Hatshepsut died nine months into her 22nd year as king, as Manetho writes in his Epitome for a reign of 21 years and nine months). No contemporary mention of the cause of her death has survived. If the recent identification of her mummy is correct, however, the medical evidence would indicate that she suffered from diabetes and died from bone cancer which had spread throughout her body while she was in her fifties. It also would suggest that she had arthritis and bad teeth.

Hatshepsut had begun construction of a tomb when she was the Great Royal Wife of Thutmose II, but the scale of this was not suitable for a pharaoh, so when she ascended the throne, preparation for another burial started. For this, KV20, originally quarried for her father, Thutmose I, and probably the first royal tomb in the Valley of the Kings, was extended with a new burial chamber. Hatshepsut also refurbished the burial of her father and prepared for a double interment of both Thutmose I and her within KV20. It is likely, therefore, that when she died (no later than the twenty-second year of her reign), she was interred in this tomb along with her father. During the reign of Thutmose III, however, a new tomb, (KV38), together with new burial equipment was provided for Thutmose I, who then was removed from his original tomb and re-interred elsewhere. At the same time Hatshepsut's mummy might have been moved into the tomb of her nurse, Sitre In, in KV60. It is possible that Amenhotep II, son to Thutmose III by a secondary wife, was the one motivating these actions in an attempt to assure his own uncertain right to succession. Besides what was recovered from KV20 during Howard Carter's clearance of the tomb in 1903, other funerary furniture belonging to Hatshepsut has been found elsewhere, including a lioness "throne" (bedstead is a better description), a senet game board with carved lioness-headed, red-jasper game pieces bearing her pharaonic title, a signet ring, and a partial shabti figurine bearing her name. In the Royal Mummy Cache at DB320, a wooden canopic box with an ivory knob was found that was inscribed with the name of Hatshepsut and contained a mummified liver or spleen as well as a molar tooth. There was a royal lady of the twenty-first dynasty of the same name, however, and for a while it was thought possible that it could have belonged to her instead.

In 1903, Howard Carter had discovered a tomb (KV60) in the Valley of the Kings that contained two female mummies, one identified as Hatshepsut's wetnurse, and the other unidentified. In the spring of 2007, the unidentified body was finally removed from the tomb by Dr. Zahi Hawass and brought to Cairo's Egyptian Museum for testing. This mummy was missing a tooth, and the space in the jaw perfectly matched Hatshepsut's existing molar, found in the DB320 "canopic box". Her death has since been attributed to a carcinogenic skin lotion found in possession of the Pharaoh, which led to her having bone cancer. "There is a lot that speaks for this hypothesis," according to Helmut Wiedenfeld of the University of Bonn's pharmaceutical institute. "If you imagine that the queen had a chronic skin disease and that she found short-term improvement from the salve, she may have exposed herself to a great risk over the years."

Changing recognition

Toward the end of the reign of Thutmose III and into the reign of his son, an attempt was made to remove Hatshepsut from certain historical and pharaonic records. This elimination was carried out in the most literal way possible. Her cartouches and images were chiselled off some stone walls, leaving very obvious Hatshepsut-shaped gaps in the artwork.

At the Deir el-Bahari temple, Hatshepsut's numerous statues were torn down and in many cases, smashed or disfigured before being buried in a pit. At Karnak, there even was an attempt to wall up her obelisks. While it is clear that much of this rewriting of Hatshepsut's history occurred only during the close of Thutmose III's reign, it is not clear why it happened, other than the typical pattern of self-promotion that existed among the pharaohs and their administrators, or perhaps saving money by not building new monuments for the burial of Thutmose III and instead, using the grand structures built by Hatshepsut.

Amenhotep II, the son of Thutmose III, who became a co-regent toward the end of his father's reign, is suspected by some as being the defacer during the end of the reign of a very old pharaoh. He would have had a motive because his position in the royal lineage was not so strong as to assure his elevation to pharaoh. He is documented, further, as having usurped many of Hatshepsut's accomplishments during his own reign. His reign is marked with attempts to break the royal lineage as well, not recording the names of his queens and eliminating the powerful titles and official roles of royal women, such as God's Wife of Amun.

For many years, presuming that it was Thutmose III acting out of resentment once he became pharaoh, early modern Egyptologists presumed that the erasures were similar to the Roman damnatio memoriae. This appeared to make sense when thinking that Thutmose might have been an unwilling co-regent for years. This assessment of the situation probably is too simplistic, however. It is highly unlikely that the determined and focused Thutmose—not only Egypt's most successful general, but an acclaimed athlete, author, historian, botanist, and architect—would have brooded for two decades of his own reign before attempting to avenge himself on his stepmother and aunt. According to renowned Egyptologist Donald Redford:

Here and there, in the dark recesses of a shrine or tomb where no plebeian eye could see, the queen's cartouche and figure were left intact ... which never vulgar eye would again behold, still conveyed for the king the warmth and awe of a divine presence.

The erasures were sporadic and haphazard, with only the more visible and accessible images of Hatshepsut being removed; had it been more complete, we would not now have so many images of Hatshepsut. Thutmose III may have died before these changes were finished and it may be that he never intended a total obliteration of her memory. In fact, we have no evidence to support the assumption that Thutmose hated or resented Hatshepsut during her lifetime. Had that been true, as head of the army, in a position given to him by Hatshepsut (who was clearly not worried about her co-regent's loyalty), he surely could have led a successful coup, but he made no attempt to challenge her authority during her reign and, her accomplishments and images remained featured on all of the public buildings she built for twenty years after her death.

Tyldesley hypothesis

Writers such as Joyce Tyldesley hypothesized that it is possible that Thutmose III, lacking any sinister motivation, may have decided toward the end of his life, to relegate Hatshepsut to her expected place as the regent—which was the traditional role of powerful women in Egypt's court as the example of Queen Ahhotep attests—rather than king. Tyldesley fashions her concept as, that by eliminating the more obvious traces of Hatshepsut's monuments as pharaoh and reducing her status to that of his co-regent, Thutmose III could claim that the royal succession ran directly from Thutmose II to Thutmose III without any interference from his aunt.

The deliberate erasures or mutilations of the numerous public celebrations of her accomplishments, but not the rarely seen ones, would be all that was necessary to obscure Hatshepsut's accomplishments. Moreover, by the latter half of Thutmose III's reign, the more prominent high officials who had served Hatshepsut would have died, thereby eliminating the powerful religious and bureaucratic resistance to a change in direction in a highly stratified culture. Hatshepsut's highest official and closest supporter, Senenmut, seems either to have retired abruptly or died around Years 16 and 20 of Hatshepsut's reign and, was never interred in either of his carefully prepared tombs. According to Tyldesley, the enigma of Senenmut's sudden disappearance "teased Egyptologists for decades" given the lack of solid archaeological or textual evidence" and permitted "the vivid imagination of Senenmut-scholars to run wild" resulting in a variety of strongly held solutions "some of which would do credit to any fictional murder/mystery plot." In such a scenario, newer court officials, appointed by Thutmose III, also would have had an interest in promoting the many achievements of their master in order to assure the continued success of their own families.

Presuming that it was Thutmose III (rather than his co-regent son), Tyldesley also put forth a hypothesis about Thutmose suggesting that his erasures and defacement of Hatshepsut's monuments could have been a cold, but rational attempt on his part to extinguish the memory of an "unconventional female king whose reign might possibly be interpreted by future generations as a grave offence against Ma'at, and whose unorthodox coregency" could "cast serious doubt upon the legitimacy of his own right to rule. Hatshepsut's crime need not be anything more than the fact that she was a woman." Tyldesley conjectured that Thutmose III may have considered the possibility that the example of a successful female king in Egyptian history could demonstrate that a woman was as capable at governing Egypt as a traditional male king, which could persuade "future generations of potentially strong female kings" to not "remain content with their traditional lot as wife, sister and eventual mother of a king" and assume the crown. Dismissing relatively recent history known to Thutmose III of another woman who was king, Sobekneferu of Egypt's Middle Kingdom, she conjectured further that he might have thought that while she had enjoyed a short, approximately four-year reign, she ruled "at the very end of a fading [12th dynasty] Dynasty, and from the very start of her reign the odds had been stacked against her. She was, therefore, acceptable to conservative Egyptians as a patriotic 'Warrior Queen' who had failed" to rejuvenate Egypt's fortunes. In contrast, Hatshepsut's glorious reign was a completely different case: she demonstrated that women were as capable as men of ruling the two lands since she successfully presided over a prosperous Egypt for more than two decades. If Thutmose III's intent was to forestall the possibility of a woman assuming the throne, as proposed by Tyldesley, it was a failure since Twosret and Neferneferuaten (possibly), a female co-regent or successor of Akhenaten, assumed the throne for short reigns as pharaoh later in the New Kingdom.

Hieroglyphic clues

The erasure of Hatshepsut's name—whatever the reason or the person ordering it—almost caused her to disappear from Egypt's archaeological and written records. When nineteenth-century Egyptologists started to interpret the texts on the Deir el-Bahri temple walls (which were illustrated with two seemingly male kings) their translations made no sense. Jean-François Champollion, the French decoder of hieroglyphs, was not alone in feeling confused by the obvious conflict between words and pictures:

If I felt somewhat surprised at seeing here, as elsewhere throughout the temple, the renowned Moeris [Thutmose III], adorned with all the insignia of royalty, giving place to this Amenenthe [Hatshepsut], for whose name we may search the royal lists in vain, still more astonished was I to find upon reading the inscriptions that wherever they referred to this bearded king in the usual dress of the Pharaohs, nouns and verbs were in the feminine, as though a queen were in question. I found the same peculiarity everywhere...

Archaeological discoveries

The 2006 discovery of a foundation deposit including nine golden cartouches bearing the names of both Hatshepsut and Thutmose III in Karnak may shed additional light on the eventual attempt by Thutmose III and his son Amenhotep II to erase Hatshepsut from the historical record and the correct nature of their relationships and her role as pharaoh.

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  Sphinx of Hatshepsut with unusual rounded ears and ruff that stress the lioness features of the statue, but with five toes - newel post decorations from the lower ramp of her tomb complex
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  These two statues once resembled each other, however, the symbols of her pharaonic power: the Uraeus, Double Crown, and traditional false beard have been stripped from the left image; many images portraying Hatshepsut were destroyed or vandalized within decades of her death, possibly by Amenhotep II at the end of the reign of Thutmose III, while he was his co-regent, in order to assure his own rise to pharaoh and then, to claim many of her accomplishments as his.
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  The image of Hatshepsut has been deliberately chipped away and removed - Ancient Egyptian wing of the Royal Ontario Museum
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  Dual stela of Hatshepsut (centre left) in the blue Khepresh crown offering wine to the deity Amun and Thutmose III behind her in the hedjet white crown, standing near Wosret - Vatican Museum
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  Hieroglyphs showing Thutmose III on the left and Hatshepsut on the right, she having the trappings of the greater role — Red Chapel, Karnak
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  A Fallen obelisk of Hatshepsut - Karnak.

"Hatshepsut Problem"

The "Hatshepsut Problem" was a major issue in late 19th century and early 20th century Egyptology, centering on confusion and disagreement on the order of succession of early 18th dynasty pharaohs. The dilemma takes its name from confusion over the chronology of the rule of Queen Hatshepsut and Thutmose I, II, and III. In its day, the problem was controversial enough to cause academic feuds between leading Egyptologists and created perceptions about the early Thutmosid family that persisted well into the 20th century, the influence of which still can be found in more recent works. Chronology-wise, the Hatshepsut problem was largely cleared up in the late 20th century, as more information about her and her reign was uncovered.

In popular culture

• Farah Ali Abd El Bar portrayed her in the Discovery Channel documentary, Secrets of Egypt's Lost Queen.
• Sarah Hadland portrayed her in the 2009 TV adaptation of Horrible Histories (written by Terry Deary).
• An artifact with an origin story based on her was featured in an episode of season 3 of the television series Warehouse 13.
• "The Woman Who Would Be King" by Kara Cooney, 2014
• A reincarnated Hatshepsut is the subject of the Tina Turner song I Might Have Been Queen.
• Hathepsut is one of the leaders of Egypt in the fourth installment of the popular game series Civilization

Hatshepsut has appeared as a fictional character in many novels. Some of them include:

• Patricia L. O'Neil - The Hatshepsut Trilogy:
  • Her Majesty the King. New Holland Publishers (Australia). 2010. ISBN 978-1921517082.
  • The Horus Throne. New Holland Publishers (Australia). 2010. ISBN 978-1921517105.
  • The Eye of Re. New Holland Publishers (Australia). 2011. ISBN 978-1742571942.
• Marek Halter: Zipporah: Wife of Moses. New York: Crown (1st US Edition). 2005. ISBN 978-1400052790.
• Eloise Jarvis McGraw: Mara: Daughter of the Nile. New York: Puffin. 1985. ISBN 978-0140319293.
• Pauline Gedge: Child of the Morning. Macmillan Company of Canada. 1977. ISBN 978-0770515201.

The artwork The Dinner Party features a place setting for Hatshepsut.

See also

• Djehuty, overseer of the treasuries under Hatshepsut's rule.
• Honorary male

References

• Brown, Chip (April 2009). "The King Herself". National Geographic: 88–111.
• Fairman, H. W.; B. Grdseloff (1947). "Texts of Hatshepsut and Sethos I inside Speos Artemidos". Journal of Egyptian Archaeology. 33: 12–33. doi:10.2307/3855434.
• Fakhry, Ahmed (1939). "A new speos from the reign of Hatshepsut and Thutmosis III at Beni-Hasan". Annales du Service des Antiquités de l'Égypte. 39: 709–723.
• Gardiner, Alan Henderson (1946). "Davies's copy of the great Speos Artemidos inscription". Journal of Egyptian Archaeology. 32: 43–56. doi:10.2307/3855414.
• Harbin, Michael A. (2005). The Promise and the Blessing: A Historical Survey of the Old and New Testaments. Grand Rapids, MI: Zondervan. ISBN 0-310-24037-9.
• Nadig, Peter (2014). Hatschepsut. Mainz: von Zabern. ISBN 978-3-8053-4763-1.
• Redford, Donald B. (1967). History and Chronology of the 18th dynasty of Egypt: Seven studies. Toronto: University of Toronto Press.
• Shaw, Ian, ed. (2002). The Oxford History of Ancient Egypt. Oxford: Oxford University Press. ISBN 0-19-280293-3.
• Tyldesley, Joyce (1996). Hatchepsut: The Female Pharaoh. London: Viking. ISBN 0-670-85976-1.
• Wells, Evelyn (1969). Hatshepsut. Garden City, NY: Doubleday.
• Aldred, Cyril (1952). The Development of Ancient Egyptian Art from 3200 to 1315 BC. London: A. Tiranti.
• Edgerton, William F. (1933). The Thutmosid Succession. Chicago: University of Chicago Press.
• Gardiner, Sir Alan (1961). Egypt of the Pharaohs. Oxford: Clarendon Press.
• Hayes, William C. (1973). "Egypt: Internal Affairs from Thuthmosis I to the Death of Amenophis III". Cambridge Ancient History: History of the Middle East and the Aegean Region, c. 1800–1380 BC (3rd ed.). London: Cambridge University Press.
• Maspero, Gaston (1903–1906). History of Egypt, Chaldea, Syria, Babylonia, and Assyria. London: Grolier Society.
• Nims, Charles F. (1965). Thebes of the Pharaohs: Pattern for Every City. New York: Stein and Day.
• Roehrig, Catharine H.; Dreyfus, Renée; Keller, Cathleen A., eds. (2005). Hatshepsut: From Queen to Pharaoh. New York: The Metropolitan Museum of Art. ISBN 1-58839-172-8.
• Wilson, John A. (1951). The Burden of Egypt. Chicago: University of Chicago Press.

External links

• Hatshepsut - Archaeowiki.org
• Mummy Of Egyptian Queen Hatshepsut Found
• Interactive, panoramic online view of Hatshepsut's mortuary temple at Deir el-Bahari, Egypt
• Video tour the Metropolitan Museum of Art's gallery of Hatshepsut sculptures
• Hatshepsut - the fifth ruler of the 18th Dynasty
• 360° Panorama images
• BBC Radio 4 In Our Time : Hatshepsut