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The sacred treasure of Queen Amanishakheto

2021, Ancient Egypt Magazine, vol. 21, No.5

Abstract

I n the course of history, various peoples have left an aesthetic imprint on the fields of architecture, sculpture, goldsmithing, painting or decorative arts as a result of their internal development and their vision of the world, all of which would come to shape their own culture. However, as kingdoms and empires expanded and came into contact with each other, cultural exchanges gave rise to hybridizations of all kinds, especially notable in the field of the arts. This fact is especially evident in the expansion of Pharaonic Egypt beyond the Second Cataract, in the region of present-day Nubia, formerly known as Kush, and which was home to three successive kingdoms-Kerma (2600-1520 BC), Napata (1000-300 BC) and Meroë (300 BC-300 AD)-creating one of the most exciting hybrid cultures in human history.. Thus, while most books on the history of Egyptian art have traditionally focused on the study of the northern, pharaonic culture, there is also a rich and little known Sudanese heritage to explore-a legacy resulting from the contact between two peoples who were tacit partners, friends and rivals. And there is one particular discovery that stands out: a treasure that caught the attention of the world even before the discovery of Tutankhamun's tomb. Housed in the Ägyptisches Museum in Berlin, the jewellery collection of the mighty Queen Amanishakheto takes visitors back to a land where pharaonic Egypt met tribal Africa-a world of alliances, wars, intrigues and luxury.

Key takeaways

  • They settled between the Second and Fourth Cataracts long before 7,500 BC and were known by the Egyptians as Kash (from which Kus or Kush derived).
  • Thus, the kingdom of Kush would end up detaching itself, in part, from Egyptian culture and hieroglyphic writing, although customs such as building pyramids as funerary monuments would survive until the third century.
  • Ferlini knew that the Kings of Kush followed a similar tradition to Egypt's pharaohs, often being buried with treasures and food to be used by the ka, the life force that left the body when they died.
  • In turn, the intricate partitioned glass work of some bracelets It is not strange that the wife of the god Amun is a recurring character in the decoration of Nubian jewellery, since the queens identified with this divinity, being queens but also wives and mothers of kings.
  • The presence of the iconography of the god Amun in Nubian metalwork is constant, since he was the supreme god of their pantheon and was thought to live on the sacred mountain of Gebel Barkal, near the modern city of Karima.