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Hatshepsut
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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 BC (18th Dynasty)
Predecessor
Thutmose II
Successor
Thutmose III
Royal titulary [show]
Prenomen (Praenomen)
Maatkare[1]
Truth Ma'at is the Ka of Re
Nomen
Khnumt-Amun Hatshepsut[1]
Joined with Amun,
Foremost of Noble Ladies

,

,
Horus name
Wesretkau [1]
Mighty of Kas

Nebty name
Wadjrenput[1]
Flourishing of years
Golden Horus
Netjeretkhau[1]
Divine of appearance.

Consort
Thutmose II
Children
Neferure
Father
Thutmose I
Mother
Ahmose
Born
c. 1507 BC[2][3]
Died
1458 BC (aged 50)
Burial
KV20 (possibly re-interred in KV60[3])
Monuments
Temple of Karnak, Mortuary Temple of Hatshepsut, Speos Artemidos Chapelle Rouge
Hatshepsut (/hætˈʃɛpsʊt/;[4] also Hatchepsut; Egyptian: ḥ3.t-šps.wt "Foremost of Noble Ladies";[5] 1507–1458 BC) was the fifth pharaoh of the Eighteenth Dynasty of Egypt. She was the second historically confirmed female pharaoh, the first being Sobekneferu.[6] (Various other women may have also ruled as pharaohs regnant or at least regents before Hatshepsut, as early as Neithhotep around 1,600 years prior.) Hatshepsut came to the throne of Egypt in 1478 BC. 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."[7]
Hatshepsut was the daughter and only child of Thutmose I and his primary wife Ahmose.[8] 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. After having their daughter, Hatshepsut could not birth anymore children. Unable to have a son, [9]Thutmose II fathered Thutmose III with Iset, a secondary wife.
Contents
[hide]
1 Reign
2 Major accomplishments
2.1 Trade routes
2.2 Building projects
3 Comparison with other female rulers
3.1 Official lauding
4 Death, burial, and mummification
5 Changing recognition
5.1 Tyldesley hypothesis
5.2 "Hatshepsut Problem"
5.3 Archaeological discoveries
6 In popular culture
7 See also
8 Notes
9 References
10 External links
Reign[edit]
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 BC, during years seven to twenty-one of the reign previously identified as that of Thutmose III.[10] Today Egyptologists generally agree that Hatshepsut assumed the position of pharaoh.[11][12]
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,[13] 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.[14]
Dating the beginning of her reign is more difficult, however. Her father's reign began in either 1526 or 1506 BC according to the high and low estimates of her reign, respectively.[15] 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.[16] Longer reigns would put her ascension 25 years after Tuthmosis I's coronation.[15] Thus, Hatshepsut could have assumed power as early as 1512 BC, or, as late as 1479 BC.
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.[17] 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.[18] 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.[18]
Major accomplishments[edit]
Trade routes[edit]
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[dubious – discuss] and accommodating 210 men that included sailors and 30 rowers.[citation needed] 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.[19] Hatshepsut would grind the charred frankincense into kohl eyeliner. This is the first recorded use of the resin.[20]
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.[21] 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.[22] 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,[21] it is possible that she led military campaigns against Nubia and Canaan.[23]
Building projects[edit]
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.[24]
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.[25] 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 Senenmut 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[26] (also known as the granite obelisks).
Comparison with other female rulers[edit]
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.[27] 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.[28] 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.[29]
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[edit]
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.[30] 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.[31] The existence of this last ruler is disputed and is probably a mis-translation of a male king. Nefernferuaten and Twosret may have been the only women 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.[30] 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.[32] 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.[33]
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.[34]
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.[35]
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.[36]
Death, burial, and mummification[edit]
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.[37] 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[38] or January 16, 1458 BC.[39] This information validates the basic reliability of Manetho's kinglist records since Hatshepsut's known accession date was I Shemu day 4[40] (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.[3][41] It also would suggest that she had arthritis and bad teeth.[3]
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.[42] 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.[43]
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".[44][45] 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."[46]
Changing recognition[edit]
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.[47]
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.[48]
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[edit]
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.[49] 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."[50] 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."[51] 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.[52] 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.[2] 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.[2] 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.
"Hatshepsut Problem"[edit]
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...[53]
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.[54] 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.
Archaeological discoveries[edit]
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.[55]
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
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.
The image of Hatshepsut has been deliberately chipped away and removed - Ancient Egyptian wing of the Royal Ontario Museum
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
Hieroglyphs showing Thutmose III on the left and Hatshepsut on the right, she having the trappings of the greater role — Red Chapel, Karnak
A Fallen obelisk of Hatshepsut - Karnak.
In popular culture[edit]
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.
Hatshepsut is one of the leaders of Egypt in the fourth installment of the popular game series Civilization
Hatshepsut is the subject of the play Pharaoh: The Female King of Egypt. The House of Life Society. 2016. ISBN 978-1365295263. written by Tim Hogan.[56]
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. (US)|location=|
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.[57]
See also[edit]
Djehuty, overseer of the treasuries under Hatshepsut's rule.
Honorary male
Notes[edit]
^ Jump up to: a b c d e "Queen Hatshepsut". Phouka. Retrieved April 13, 2008.
^ Jump up to: a b c Tyldesley, Hatchepsut, p. 226.
^ Jump up to: a b c d Wilford, John Noble (June 27, 2007). "Tooth May Have Solved Mummy Mystery". New York Times. Retrieved June 29, 2007. A single tooth and some DNA clues appear to have solved the mystery of the lost mummy of Hatshepsut, one of the great queens of ancient Egypt, who reigned in the 15th century B.C.
Jump up ^ "Hatshepsut". Dictionary.com. Retrieved July 27, 2007.
Jump up ^ Clayton, Peter (1994). Chronicle of the Pharaohs. Thames & Hudson. p. 104.
Jump up ^ Wilkinson, Toby (2010). The Rise and Fall of Ancient Egypt. London: Bloomsbury. pp. 181, 230. ISBN 9781408810026.
Jump up ^ "QUEEN HATSHEPSUT (1500 BCE)". nbufront.org.
Jump up ^ Martin, G. (2012-12-23). African Political Thought. Springer. ISBN 9781137062055.
Jump up ^ Roehig, Catherine; Dreyfus, Renee; Keller, Cathleen (2015). Hatshepsut: from Queen to Pharaoh. New York: Metropolitan Museum of Art.
Jump up ^ Dodson, Aidan; Dyan, Hilton (2004). The Complete Royal Families of Ancient Egypt. Thames & Hudson. p. 130. ISBN 0-500-05128-3.
Jump up ^ Fletcher, Joann (2013). The Search For Nefertiti. Hachette UK. p. 156. ISBN 9781444780543.
Jump up ^ Stiebing Jr., William H. (2016). Ancient Near Eastern History and Culture. Routledge. p. 177. ISBN 9781315511160.
Jump up ^ Josephus: PACE: Against Apion, 1.{{{chap}}}.{{{sec}}} (Whiston), Perseus Project Ap.1.15, .
Jump up ^ Steindorff, George; Seele, Keith (1942). When Egypt Ruled the East. University of Chicago. p. 53.
^ Jump up to: a b Grimal, Nicolas (1988). A History of Ancient Egypt. Librairie Arthéme Fayard. p. 204.
Jump up ^ Gabolde, Luc (1987), La Chronologie du règne de Tuthmosis II, ses conséquences sur la datation des momies royales et leurs répercutions sur l'histoire du développement de la Vallée des Rois, SAK 14: pp. 61–87.
Jump up ^ Tyldesley, Joyce (1996). Hatchepsut: The Female Pharaoh (hardback ed.). Penguin Books. p. 99. ISBN 0-14-024464-6.
^ Jump up to: a b Tyldesley, Hatchepsut, p. 99.
Jump up ^ Njoku, Raphael Chijioke (2013). The History of Somalia. ABC-CLIO. pp. 29–31. ISBN 0313378576.
Jump up ^ Isaac, Michael (2004). A Historical Atlas of Oman. The Rosen Publishing Group. p. 14. ISBN 0823945006. Retrieved September 5, 2014.
^ Jump up to: a b Joyce Tyldesley, Hatchepsut: The Female Pharaoh, Penguin Books, 1998 paperback, pp. 137–144.
Jump up ^ Ruffer, Marc Armand (1921). Studies in the Palaeopathology of Egypt. University of Chicago Press. p. 45. Retrieved September 5, 2014.
Jump up ^ Margaret Bunson, Encyclopedia of Ancient Egypt, p. 161.
Jump up ^ Peter Tyson, The Unfinished Obelisk, NOVA online adventure, March 16, 1999.
Jump up ^ James P. Allen, "The Speos Artemidos Inscription of Hatshepsut" Archived 2007-04-03 at the Wayback Machine., Bulletin of the Egyptological Seminar 16 (2002), pp. 1–17, pls.1+2.
Jump up ^ Gray, Martin. "Obelisk of Queen Hapshetsut, Karnak". Places of Peace and Power. Retrieved 9 November 2017.
Jump up ^ Christensen, Martin, K. I. (July 27, 2007). "Women in Power: BC 4500-1000". Worldwide Guide to Women in Leadership. Retrieved August 25, 2007.
Jump up ^ Shaw and Nicholson, p. 28.
Jump up ^ John Ray, Reflections of Osiris: Lives from Ancient Egypt (New York: Oxford University Press, 2002), 47.
^ Jump up to: a b "Hatshepsut". pbs.org.
Jump up ^ Nevine El-Aref, "Back in the limelight", Al-Ahram Weekly.
Jump up ^ Callender/Shaw, p. 170.
Jump up ^ "Eternal Egypt". eternalegypt.org.
Jump up ^ Breasted, James Henry, Ancient Records of Egypt: Historical Documents from the Earliest Times to the Persian Conquest, The University of Chicago Press, 1906, pp. 116–117.
Jump up ^ Hatshepsut, Female Pharaoh of Egypt by Caroline Seawright.
Jump up ^ Will Cuppy, The Decline and Fall of Practically Everybody, New York: Barnes & Noble Books, reprint 1992.
Jump up ^ Tyldesley, pp. 210.
Jump up ^ Joyce Tyldesley, Chronicle of the Queens of Egypt, Thames & Hudson, 2006, p. 106.
Jump up ^ James P. Allen, "The Military Campaign of Thutmose III" in Hatshepsut: From Queen to Pharaoh, ed. Catherine Roehrig, The Metropolitan Museum of Art New York, Yale University Press, 2005, p. 261. Allen writes here that the Armant stela is considered by scholars to mark the occasion of Thutmose III's sole reign since he uses the epithet "Thutmose, Ruler of Maat" twice on this document for the first time in his reign. This means he was asserting his own claim to the administration of Egypt subsequent to that of Hatshepsut, who by then had probably died
Jump up ^ Jürgen von Beckerath, Chronologie des Pharaonischen Ägypten. Mainz, Philipp von Zabern. 1997, p. 189.
Jump up ^ "Tooth Clinches Identification of Egyptian Queen". Reuters. June 27, 2007. Retrieved April 13, 2008.
Jump up ^ Dennis C. Forbes, Maatkare Hatshepset: The Female Pharaoh, KMT, Fall 2005, pp. 26–42.
Jump up ^ Bickerstaffe, Dylan, "The Discovery of Hatshepsut's 'Throne'", KMT, Spring 2002, pp. 71–77.
Jump up ^ "Photo Gallery: Mummy of Egypt's Lost Queen Found". nationalgeographic.com.
Jump up ^ Ed Pilkington and Mark Tran (June 27, 2007). "Tooth solves Hatshepsut mummy mystery". The Guardian.
Jump up ^ Jennie Cohen, "Did Skin Cream Kill Egypt’s Queen Hatshepsut?", History, August 19, 2011.
Jump up ^ Gardiner, Alan, Egypt of the Pharaohs, Oxford University Press, 1964, p. 198.
Jump up ^ Redford, p. 87.
Jump up ^ Tyldesley, Hatchepsut, p. 206.
Jump up ^ Tyldesley, Hatchepsut, p. 207, Tyldesley notes on p. 252 that a detailed discussion of Senenmut's disappearance and a useful list of other publications on this topic is given in A. R. Schulman's 1969–70 paper "Some Remarks on the Alleged 'Fall' of Senmut," JARCE 8, pp. 29–48.
Jump up ^ Tyldesley, Hatchepsut, p. 225.
Jump up ^ Tyldesley, Hatchepsut, pp. 225–226.
Jump up ^ Champollion le Jeune, Nouvelle Edition, 1868. "Thèbes, 18 juin 1829 - Lettres écrites d'Égypte et de Nubie en 1828 et 1829". gutenberg.org (in French). CS1 maint: Multiple names: authors list (link)
Jump up ^ Bediz, David. "The Story of Hatshepsut". Archived from the original on June 29, 2007. Retrieved June 27, 2007.
Jump up ^ Mensan, Romain (Spring 2007). "Tuthmosid foundation deposits at Karnak". Egyptian Archaeology. 30: 21.
Jump up ^ [1]. Baltimore Theater Project. Retrieved on September 11, 2017.
Jump up ^ Place Settings. Brooklyn Museum. Retrieved on August 6, 2015.
References[edit]
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[edit]
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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
[hide]
v
t
e
Pharaohs
[show]
Protodynastic to First Intermediate Period (<3150–2040 BC)
Period
Dynasty
Pharaohs (male
female )
uncertain
Protodynastic
(pre-3150 BC)
Lower
Hsekiu
Khayu
Tiu
Thesh
Neheb
Wazner
Mekh
Double Falcon
Upper
Scorpion I
Crocodile
Iry-Hor
Ka
Scorpion II
Narmer / Menes
Early Dynastic
(3150–2686 BC)
I
Narmer / Menes
Hor-Aha
Djer
Djet
Merneith
Den
Anedjib
Semerkhet
Qa'a
Sneferka
Horus Bird
II
Hotepsekhemwy
Nebra/Raneb
Nynetjer
Ba
Nubnefer
Horus Sa
Weneg-Nebty
Wadjenes
Senedj
Seth-Peribsen
Sekhemib-Perenmaat
Neferkara I
Neferkasokar
Hudjefa I
Khasekhemwy
Old Kingdom
(2686–2181 BC)
III
Nebka
Djoser
Sekhemkhet
Sanakht
Khaba
Qahedjet
Huni
IV
Snefru
Khufu
Djedefre
Khafre
Bikheris
Menkaure
Shepseskaf
Thamphthis
V
Userkaf
Sahure
Neferirkare Kakai
Neferefre
Shepseskare
Nyuserre Ini
Menkauhor Kaiu
Djedkare Isesi
Unas
VI
Teti
Userkare
Pepi I
Merenre Nemtyemsaf I
Pepi II
Merenre Nemtyemsaf II
Netjerkare Siptah
1st Intermediate
(2181–2040 BC)
VIII
Menkare
Neferkare II
Neferkare III Neby
Djedkare Shemai
Neferkare IV Khendu
Merenhor
Neferkamin
Nikare
Neferkare V Tereru
Neferkahor
Neferkare VI Pepiseneb
Neferkamin Anu
Qakare Iby
Neferkaure
Neferkauhor
Neferirkare
Wadjkare
Khuiqer
Khui
IX
Meryibre Khety
Neferkare VII
Nebkaure Khety
Setut
X
Meryhathor
Neferkare VIII
Wahkare Khety
Merykare
[show]
Middle Kingdom and Second Intermediate Period (2040–1550 BC)
Period
Dynasty
Pharaohs (male
female )
uncertain
Middle Kingdom
(2040–1802 BC)
XI
Mentuhotep I
Intef I
Intef II
Intef III
Mentuhotep II
Mentuhotep III
Mentuhotep IV
Nubia
Segerseni
Qakare Ini
Iyibkhentre
XII
Amenemhat I
Senusret I
Amenemhat II
Senusret II
Senusret III
Amenemhat III
Amenemhat IV
Sobekneferu
2nd Intermediate
(1802–1550 BC)
XIII
Sekhemrekhutawy Sobekhotep
Sonbef
Nerikare
Sekhemkare Amenemhat V
Ameny Qemau
Hotepibre
Iufni
Ameny Antef Amenemhet VI
Semenkare Nebnuni
Sehetepibre
Sewadjkare
Nedjemibre
Khaankhre Sobekhotep
Renseneb
Hor
Sekhemrekhutawy Khabaw
Djedkheperew
Sebkay
Sedjefakare
Wegaf
Khendjer
Imyremeshaw
Sehetepkare Intef
Seth Meribre
Sobekhotep III
Neferhotep I
Sihathor
Sobekhotep IV
Merhotepre Sobekhotep
Khahotepre Sobekhotep
Wahibre Ibiau
Merneferre Ay
Merhotepre Ini
Sankhenre Sewadjtu
Mersekhemre Ined
Sewadjkare Hori
Merkawre Sobekhotep
Mershepsesre Ini II
Sewahenre Senebmiu
Merkheperre
Merkare
Sewadjare Mentuhotep
Seheqenre Sankhptahi
XIV
Yakbim Sekhaenre
Ya'ammu Nubwoserre
Qareh Khawoserre
'Ammu Ahotepre
Maaibre Sheshi
Nehesy
Khakherewre
Nebefawre
Sehebre
Merdjefare
Sewadjkare III
Nebdjefare
Webenre
Nebsenre
Sekheperenre
Djedkherewre
Bebnum
'Apepi
Nuya
Wazad
Sheneh
Shenshek
Khamure
Yakareb
Yaqub-Har
XV
Semqen
'Aper-'Anati
Sakir-Har
Khyan
Apepi
Khamudi
XVI
Djehuti
Sobekhotep VIII
Neferhotep III
Mentuhotepi
Nebiryraw I
Nebiriau II
Semenre
Bebiankh
Sekhemre Shedwast
Dedumose I
Dedumose II
Montuemsaf
Merankhre Mentuhotep
Senusret IV
Pepi III
Abydos
Senebkay
Wepwawetemsaf
Pantjeny
Snaaib
XVII
Rahotep
Nebmaatre
Sobekemsaf I
Sobekemsaf II
Sekhemre-Wepmaat Intef
Nubkheperre Intef
Sekhemre-Heruhirmaat Intef
Senakhtenre Ahmose
Seqenenre Tao
Kamose
[hide]
New Kingdom and Third Intermediate Period (1550–664 BC)
Period
Dynasty
Pharaohs (male
female )
uncertain
New Kingdom
(1550–1070 BC)
XVIII
Ahmose I
Amenhotep I
Thutmose I
Thutmose II
Thutmose III
Hatshepsut
Amenhotep II
Thutmose IV
Amenhotep III
Akhenaten
Smenkhkare
Neferneferuaten
Tutankhamun
Ay
Horemheb
XIX
Ramesses I
Seti I
Ramesses II
Merneptah
Amenmesses
Seti II
Siptah
Twosret
XX
Setnakhte
Ramesses III
Ramesses IV
Ramesses V
Ramesses VI
Ramesses VII
Ramesses VIII
Ramesses IX
Ramesses X
Ramesses XI
3rd Intermediate
(1069–664 BC)
XXI
Smendes
Amenemnisu
Psusennes I
Amenemope
Osorkon the Elder
Siamun
Psusennes II
XXII
Shoshenq I
Osorkon I
Shoshenq II
Takelot I
Osorkon II
Shoshenq III
Shoshenq IV
Pami
Shoshenq V
Osorkon IV
XXIII
Harsiese A
Takelot II
Pedubast I
Shoshenq VI
Osorkon III
Takelot III
Rudamun
Menkheperre Ini
XXIV
Tefnakht
Bakenranef
XXV
Piye
Shebitku
Shabaka
Taharqa
Tanutamun
[show]
Late Period and Hellenistic Period (664–30 BC)
Period
Dynasty
Pharaohs (male
female )
uncertain
Late
(664–332 BC)
XXVI
Necho I
Psamtik I
Necho II
Psamtik II
Wahibre
Ahmose II
Psamtik III
XXVII
Cambyses II
Petubastis III
Darius I
Xerxes
Artaxerxes I
Darius II
XXVIII
Amyrtaeus
XXIX
Nepherites I
Hakor
Psammuthes
Nepherites II
XXX
Nectanebo I
Teos
Nectanebo II
XXXI
Artaxerxes III
Khabash
Arses
Darius III
Hellenistic
(332–30 BC)
Argead
Alexander the Great
Philip III Arrhidaeus
Alexander IV
Ptolemaic
Ptolemy I Soter
Ptolemy II Philadelphus
Ptolemy III Euergetes
Ptolemy IV Philopator
Ptolemy V Epiphanes
Ptolemy VI Philometor
Ptolemy VII Neos Philopator
Ptolemy VIII Euergetes
Ptolemy IX Soter
Ptolemy X Alexander I
Ptolemy XI Alexander II
Ptolemy XII Neos Dionysos
Berenice IV
Cleopatra
Ptolemy XV Caesarion
[show]
Dynastic genealogies
4th
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Basketball court
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Basketball Arena" redirects here. For the arena in London, see Basketball Arena (London).
The home court of the Miami Heat of the National Basketball Association
In basketball, the basketball court is the playing surface, consisting of a rectangular floor with baskets at either end. In professional or organized basketball, especially when played indoors, it is usually made out of a wood, often maple, and highly polished. Outdoor surfaces are generally made from standard paving materials such as concrete or asphalt.
Contents
[hide]
1 Dimensions
1.1 Diagrams
1.2 Table
2 Sections
2.1 Center circle
2.2 Three-point line
2.3 Perimeter
2.4 Low post area
2.5 Key
2.6 Other lines
2.7 FIBA changes
3 See also
4 References
5 External links
Dimensions[edit]
Basketball courts come in different sizes. In the National Basketball Association (NBA), the court is 94 by 50 feet (28.7 by 15.2 m). Under International Basketball Federation (FIBA) rules,[1] the court is minutely smaller, measuring exactly 28 by 15 metres (91.9 by 49.2 ft). In amateur basketball, court sizes vary widely. The baskets are always 10 feet (3.0 m) above the floor (except possibly in youth competition). Basketball courts have a three-point arc at both baskets. A basket made from behind this arc is worth three points; a basket made from within this line, or with a player's foot touching the line, is worth 2 points. The free-throw line, where one stands while taking a foul shot, is located within the three-point arc at 15 feet from the basket. A foul shot is worth 1 point, but if a shot is made from the foul line while in play it is still worth 2 points.[2]
Diagrams[edit]
Composite diagram of a basketball court with FIBA (top half only), NBA (both halves), and NCAA (men’s & women’s – bottom half only) markings
The backboard and basket
Table[edit]
Area
NBA
FIBA
WNBA
NCAA[3]
Imperial
Metric
Imperial
Metric
Imperial
Metric
Imperial
Metric
Court length 94 ft 28.65 m 91.86 ft 28 m Same as NBA
Court width 50 ft 15.24 m 49.21 ft 15 m Same as NBA
Rim height 10 ft 3.05m Same as NBA
Restricted arc radius 4 ft 1.22 m 4.10 ft 1.25 m Same as NBA 3 ft 0.91 m
Center circle diameter 12 ft 3.66 m 11.81 ft 3.6 m Same as NBA
3-point line distance from the basket 23.75 ft
22 ft in corner* 7.24 m
6.70 m in corner* 22.15 ft
21.65 ft in corner† 6.75 m
6.60 m in corner† Same as FIBA 20.75 ft 6.32 m
Key (shaded lane or
restricted area) width 16 ft 4.88 m 16.08 ft 4.9 m Same as NBA 12 ft 3.66 m
Free-throw line distance from point on the floor directly below the backboard 15 ft 4.57 m 15.09 ft 4.6 m Same as NBA
* The NBA three-point line is 3 ft (0.91 m) from the sideline in a zone starting at the baseline and ending when it crosses the 23.75 ft (7.24 m) arc. The 22 ft (6.70 m) measurement applies only at a point where a line parallel to the baseline intersects the long axis of the court and the center of the basket.
† The FIBA three-point line is 2.95 ft (0.90 m) from the sideline in a zone starting at the baseline and ending when it crosses the 22.1 ft (6.75 m) arc. The 21.65 ft (6.60 m) measurement applies only at a point where a line parallel to the baseline intersects the long axis of the court and the center of the basket.
Sections[edit]
Center circle[edit]
The only two players permitted to enter this area prior to the tipoff are the players contesting the jump ball (usually but not always centers). Both players jump when the referee throws the ball in the air, each attempting to tap the ball into the hands of a player of their own team.
Three-point line[edit]
The three-point line is the line that separates the two-point area from the three-point area; any shot converted beyond this line counts as three points. If the shooting player steps on the line, it is counted as two points. Any foul made in the act of shooting beyond the three-point line would give the player three free throws if the shot does not go in, and one if it does.
The distance to the three-point line from the center of the basket varies depending on the level or league, and has changed several times. These are the current distances, with the league or level using each distance:
19.75 ft (6.02 m): High School
20.75 ft (6.32 m): NCAA
21.65 ft (6.60 m) to 22.15 ft (6.75 m): WNBA and FIBA
22 ft (6.71 m) to 23.75 ft (7.24 m): NBA
The NBA adopted the three-point line at the start of the 1979–80 season. This is of variable distance, ranging from 22 feet (6.7 m) in the corners to 23.75 feet (7.24 m) behind the top of the key. During the 1994–95, 1995–96 and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the overall distance of the line to a uniform 22 feet (6.7 m) around the basket. It was moved back to its original distance after the 1996–97 season. FIBA and the NCAA both adopted the three-point line in 1985.
In most high school associations in the United States, the distance is 19.75 feet. This was formerly the distance for college basketball as well. On May 26, 2007, the NCAA playing rules committee agreed to move the three-point line back one foot to 20.75 feet for the men. This rule went into effect for the 2008–2009 season. The three-point line for women (NCAA) moved back one foot to 20.75 feet at the start of the 2011–2012 season.
The international distance, used in most countries outside the United States and in FIBA and WNBA competition, is currently 6.6 m (21.65 ft) to 6.75 m (22.15 ft).
Perimeter[edit]
The perimeter is defined as the areas outside the free throw lane and inside the three-point line. Shots converted (successfully made) from this area are called "perimeter shots" or "medium-range shots." If a player's foot is on the three-point line, the shot is considered a perimeter shot.
Low post area[edit]
The low post is defined as the areas that are closest to the basket but outside of the free throw lane.[4] This area is fundamental to strategy in basketball. Skilled low post players can score many points per game without ever taking a jump shot.
Key[edit]
The key, free throw lane or shaded lane refers to the usually painted area beneath the basket; for the NBA it is 16 feet (4.9 m) wide, for the NCAA it is 12 feet (3.7 m) wide; for both instances it extends 15 feet (4.6 m) from the backboard. At the top of the rectangle is the free throw line, behind which players shoot uncontested shots when they're fouled. A circle is drawn around the free-throw line with a 6 feet (1.8 m) radius; this is used for jump ball instances, as is done at the center circle. Two 6-inch hash lines, 3 ft from the free throw lane line and 5 ft 8 in from the free throw line, show the lower defensive box linked to the restricted area.
For FIBA tournaments, since October 2010 the key has been a rectangle 4.9 m wide and 5.8 m long. Previously it was a trapezoid 3.7 meters (12 ft) wide at the free-throw line and 6 meters (19 feet and 6.25 inches) at the end line.
The key is primarily used to prevent players from staying beneath the basket of the opponents' team for long periods (maximum three seconds).

The restricted area arc is a semi-circular arc drawn around the area directly underneath the basket. With some exceptions, members of the defending team cannot draw charging fouls in this area. The restricted arc in all North American rule sets above high school level (NCAA men's and women's, NBA, and WNBA) has a radius 4 feet (1.22 m) from below the center of the basket. The NCAA restricted area arc was originally established for the 2011–12 men's and women's seasons at a 3-foot (0.91 m) radius from below the center of the basket, and was extended to match the (W)NBA radius for the 2015–16 season and beyond.
Other lines[edit]
On NBA floors, two hash marks are drawn at the end lines near the key to mark the area known as the lower defensive box. A defensive player is allowed to draw a charging foul within the restricted arc if the offensive player receives the ball and/or starts his drive within this area.[5]
Also, two lines are drawn on each of the sidelines, 28 feet from each of the endlines, which designates the extent of the coaching box and bench. This line marks the farthest extent a coach (aside from the sidelines) can stand. Directly behind this area is the team bench.
On the half-court line of NBA floors two lines extend outside the playing court, designating the place where substitutes wait before they can enter the playing court; directly behind this area are the various off-court officials such as the timekeeper and reserve referee.
FIBA changes[edit]
On April 26, 2008, FIBA announced several major rules changes involving the court markings. These changes took effect for major international competitions on October 1, 2010, after that year's World Championships for men and women, and became mandatory for other competitions on October 1, 2012 (although national federations could adopt the new markings before 2012). The changes were as follows.[6]
The shape of the key changed from a trapezoid to a rectangle as it is in the NBA, with NBA dimensions.
The three-point line moved back to 6.75 metres (22 ft 1.7 in) from 6.25 metres (20 ft 6.1 in), compared to 23 ft 9 in (7.24 m) for the NBA at the top of the arc.
The FIBA adopted the NBA's restricted area arc with a marginally wider radius of 1.25 metres (4 ft 1.2 in).
See also[edit]
List of indoor arenas in the United States#Major college indoor arenas
References[edit]
Jump up ^ "Official Basketball Rules 2006" (pdf). International Basketball Federation. 2006. Archived from the original on 6 April 2007. Retrieved 2007-04-14.
Jump up ^ Wissel, Hal (1994). Basketball: steps to success. United States: Human Kinetics Publishers, Inc. pp. ix. ISBN 0-7360-5500-2.
Jump up ^ "NCAA Basketball Court Diagram" (pdf). NCAA. 2018. Retrieved March 11, 2018.
Jump up ^ Basketball Glossary Terms, Definition, Lane violation, Low post Archived April 30, 2009, at the Wayback Machine.
Jump up ^ http://www.nba.com/nba101/misunderstood_0708.html
Jump up ^ "The FIBA Central Board approves historic rule changes" (Press release). FIBA. 2008-04-26. Archived from the original on 30 April 2008. Retrieved 2008-04-28.
External links[edit]
Wikimedia Commons has media related to Basketball courts.
Free Basketball Court Layout Template
FIBA Central Board (2010-04-17). "Official Basketball Rules 2010: Basketball Equipment" (pdf). International Basketball Federation. Retrieved 2010-07-15.
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