TIYE or THIA
The Pomegranate Flower/blossom (Mature elegance)
Menkheperra, was the pre-name of Thutmose III (1479-1425 BC).
"marriage scarabs"
Lion hunt scarab (Vienna)
During the reign of the ancient Egyptian pharaoh Amenhotep III hundreds of so-called memorial scarabs were issued to commemorate the deeds of the pharaoh. Such scarabs were found in several archaeological sites of the Near East, from Syria to Sudan. Over two hundred of them are known to exist in museums and collections around the world.The scarabs are likely to have been made all at the same time, in or after the 11th regnal year.
On the basis of their inscriptions the scarabs can be divided into five groups (in parentheses the number of scarabs of the type found on several sites):
"lion hunt scarabs" (123)
"marriage scarabs" (56)
"lake scarabs" (11)
"bull hunt scarabs" (5)
"Gilukhepa scarabs" (5)
The normal scarab beetle was a symbol of the sun god named Khepri, a verb expressing the ontological concept of self generation,of spontaneous generation,the supposed production of living organisms from non-living matter, as inferred from the apparent appearance of life, existence 'being coming into becoming,' these shining scarabs pointed to the universal creative governing power. Most of the scarabs are made of steatite painted blue or green. Their length varies between 4.7 and 11 cm, their width between 7 and 8.9 cm. Most of them are pierced for threading.
.
From the Main article: The lion hunts of Amenhotep III during the first ten years of his reign
The lion hunt scarabs emphasize the pharaoh's strength and bravery by recording that Amenhotep killed over a hundred lions (102; 110 on some scarabs) during the first ten years of his reign. These have the shortest inscription (7 lines), their average length is 7,7 cm. The lion hunt scarabs vary the most in size; the smallest scarab is 4,7 cm long, the largest is more than twice its size with a length of 9,5 cm.
Marriage scarabs actually refer not to the marriage itself, and neither do they mention a marriage date. They record the name of Amenhotep's chief queen Tiye (following that of her husband), along with the names of her parents, as if to explicitly state her non-royal birth? The name of her father is Yuya, the name of her mother is Thuya; she is married to the great king whose southern border is at Karoy and whose northern is Naharin. (The Land of two rivers. Tiye's importance is shown by defining the boundaries of the empire in terms of her. The length of the inscription on these scarabs is 9-10 lines, the scarabs' average length is 8,5 cm.Lake.
The lake scarabs commemorate the construction of an artificial lake again for Queen Tiye in the 11th regnal year. On these, the name and titles of the pharaoh are followed by those of Tiye, the names of her parents, then the description of the lake that was dug in Tiye's town Djaruha. The lake was 3700×700 cubits large, and the royal couple was rowed on the lake in the royal barge Aten-tjehen. The name of the boat means 'Shining Sun-disc', this is the first appearance of this name which later becomes an epithet of the king himself. The lake scarabs vary the most in their texts, but the differences don't affect the meaning of the text itself. The text is 11 lines long, the average length of these scarabs is 8,4 cm.
The bull hunt scarabs record that in the 2nd regnal year Amenhotep, followed by his soldiers and officials, went to Shetep (possibly the area of Wadi el-Natrun) on his barge Khaemmaat ('Appears in Truth'), charged at wild bulls by his chariot and killed them. On the first day he slayed 56 bulls, four days later he killed 40 of them. The bulls had been previously surrounded with a ditch.
Hunt was not only a favourite pastime for the pharaohs, it also symbolized the ruler's strength and his victory over the forces of chaos, thus it equalled victory on a battlefield. These scarabs also list the titles of the king and mention Tiye.
The bull hunt scarabs have both the greatest length (9,9 cm) and the longest text. The only scarab which doesn't have its back carved in the shape of a beetle is among these scarabs. This one has two longitudinal holes for suspension.
Gilukhepa stands out for it unites the Gilu with Khepa.
The Gilukhepa (GILU*KHEPA) scarabs commemorate the arrival of Princess Gilukhepa, daughter of Shuttarna II of Mitanni into the pharaoh's harem in the 10th regnal year. She had a retinue of 317 ladies-in-waiting. Tiye is also mentioned on the scarab. The length of the text is 10 lines, the average length of these scarabs is 7,2 cm.
Inscription of a scarab.
It is believed that in 1500 BC, the pharaoh Tuthmosis brought pomegranate to Egypt from Asia. The pomegranate was the symbol of fertility, because of the many seeds borne within the fruit, and the heathen regarded it as a sacred plant. Nar*titee, which in the local dialect means “the blossom of pomegranate trees”.
From Naharin the land of the two Rivers, comes Side, wife of Orion, represented by the blossom of the pomegranate.
THE FLOWER OF THE POMEGRANATE IS BOTH MALE AND FEMALE.
THE FLOWER REPRESENTS MATURE ELEGANCE My mothers cousins name was Gulanur; it literally translates into "fire flower" in Persian and the flower of the heavenly light of the Sun, expressed as a Pomegranate in Armenian, otherwise simply known as a pomegranate flower. Gulnar represents the SCARLET red AS color of the pomegranate flower.
Pomegranate trees are self-fruitful, which means the flowers on the pomegranate are both male and female. Pollinating insects and hummingbirds assist in spreading the pollen from flower to flower.
Anarkali, ANAR*KALI means pomegranate*flower, a beautiful pom-pom-like delicate deep red/orange blossom on a graceful tree. Pomegranates have featured in the myths and legends of every culture, today very often symbolizing fertility, yesterday a lot more. For issues relating to life/death we see how the pomegranate stains and appears to ‘bleed’ when cut, associating it with coagulated blood and in many tales stood for death in life and alternately for life in death.
The flower of the Pomegranate tree: Manipulating the relative ratio of flower types to environmental conditions can be very advantageous. When talking of blossoms and fertility, we must be aware of the most relevant fact - that I believe gives the pomegranate its prime place on the question of love, sex, fertility - that the flower of the pomegranate expresses the idea of Bisexuality. Each individual flower has both male and female structures, i.e. it combines both sexes in one structure. Flowers of this kind are called perfect, having both stamens and carpels. Other terms used for this condition are androgynous, hermaphroditic, monoclinous and synoecious. The pomegranate needs a pomologist/pollinator. Confined to an orchard as is a sexually confined controlled culture.
Priests and Pomologists or Fruticulturalists which comes from Romance languages (from Latin fructus and cultura) is the same as Pomologist which is more commonly used. Pomological research, from the beginning of time must have been focused on the domestication, development, enhancement, cultivation. The physiological studies of fruit trees. The ancient and modern goals of fruit tree domestication and improvement, must primarily include expert knowledge regarding the pollination of plants, the enhancement of fruit quality and the regulation of reproduction/production.
The Titan Orion was represented as "marrying" Side, a name that in Boeotia means "pomegranate", thus consecrating the primal hunter to the Goddess.The wife of Orion/Hayg Nure in Armenian, in Greek myth, is said to have tried to compete with Hera in smarts and beauty and so it goes that Side was punished, being tricked into thinking, or made to believe she had caused the death of her own children. She threw herself from a rock where the first new pomegranate tree grew from the place where her blood spilled on the ground.So. Death, forbidden love, light, life, blood, fecundity, seduction and temptation. Not much to live up to.
The flowers are bright red and 3 cm (1.2 in) in diameter, with three to seven petals.[3] Some fruitless varieties are grown for the flowers alone.
The 7th letter of the Armenian alphabet is the letter "eh" is the verb "to be" and is a symbol for existence 'IS' The pomegranate is, "eh" THE ULTIMATE ARMENIAN SYMBOL OF EXISTENCE. A reminder of faith, hope and love. The pomegranate IS the symbol of abundance, prosperity, imagination/creativity. The pomegranate is the messenger of being and becoming of the one/all of life/existence
ONTOLOGY or ANNA*TAU*LOGY.
Plant reproductive morphology is the study of the physical form and structure (the morphology) of those parts of plants directly or indirectly concerned with sexual reproduction.
Among all living organisms, flowers, which are the reproductive structures of angiosperms, are the most varied physically and show a correspondingly great diversity in methods of reproduction.[I am alluding to the ancient cultural, philosophical, concept of being autochthonous, The root of the word autochthonous traces back to the Greek word autokhthon, meaning literally “sprung from the land itself.” In mythology, autochthones are those mortals who have sprung from the soil, rocks and trees. They are rooted and belong to the land/orchard eternally. An autochthon is not the same as the offspring of Gaia, called gegenes (earth-born), although later the terms have been conflated.
There are two types of self-pollination: in autogamy, pollen is transferred to the stigma of the sameflower; in geitonogamy, pollen is transferred from the anther of one flower to the stigma of anotherflower on the same flowering plant, or from microsporangium to ovule within a single (monoecious) gymnosperm.
To the poet the Pomegranate Flowers looking like tongues of flame blazing in red bowl-like cups. In late autumn the beautiful flowers ripen into beautiful fruits.
The pomegranate, a fiery and beautiful fruit, originally, in the time of Innana the Pomegranate was offered by the male to a female as a proposition. It the female bit into it and sucked on the juice it meant that offer to copulate was accepted. In Armenian culture the pomegranate symbolizes the same concept, however the more modest version, where both parties are mindful of the social consequences of free love and lust. The new order, expected them to unite only after a contract with the family was first entered into. The Armenian paradigm from day one was based on monogamy and devotional brotherly sisterly love, and sex and lust a very private matter.
In ancient times, the fruit characterized Siunik and Artsakh regions. In Armenian mythology, the pomegranate symbolized fertility, abundance and marriage.
Ancient custom widely accepted in Armenia was performed at weddings. A bride was given a pomegranate fruit, which she threw against a wall, breaking it into pieces for the scattered pomegranate seeds ensured the bride future children. It was accepted to put the fruit next to the bridal couple during the first night of marriage. The pomegranate was among those fruits, and was said to also ensure happiness. We can assume that the couple enjoyed a pomegranate wine as well. "The symbol of the pomegranate is connected with insemination. It protected a woman from infertility and protected a man's virile strength," says Stepanyan. Some have gone as far as to suggest, that the pomegranate is the messenger of the 'Heavens' that it encapsulated the concept of being, it represented the philosophical paradigm, that all natural phenomena can be expressed through the ontology of this fruit. The evidence of the last 5000 years suggests that they knew what they were doing and they did do a great job, of reflecting the universe experience of life through it. It is that it is.
Traditionally, the pomegranate has been represented in literature, art and architecture as a symbol of fertility with remarkable continuity. On many occasions, Parajanov accurately reconstructs this meaning of the fruit. It is doubtful, however, that his intention was ethnographic precision. Symbols are rarely democratic and we will see that the fruit has always also been culturally appropriated by the dominating regimes governing the Caucasus. So, too, during Soviet Armenia. Parajanov was well aware of this. He rightly associates the Pomegranate with violence and political control.
Symbols reinforcing Armenia’s self-perception, symbols like the pomegranate, represent ancient traditional customs and provide the scholar with a perfect insight, a slice of political life, an example of the original ancient brilliant creative PIE inventions, galvanizing cultures and traditions.
The pomegranate figures so prominently in Parajanov’s work that it is unjust to pin its meaning down to one instance of nationalist ambiguity. In all three of his films, the fruit appears in the context of important celebrations or liminal moments, accompanying the protagonists’ passage to adulthood, marriage, journey or death. As we shall see, pomegranates have symbolized religious and civic rituals throughout much of their history in the Caucasus, which is well documented by literature, art and architecture. Most importantly, the origin and practice of these traditions are not exclusive to Armenia.
An ancient Assyrian Seal depicted the Pomegranate tree as the tree of life symbol.
Many ancient fertility goddesses worshiped by different pre-Christian cultures throughout the Near East like Kubaba, Inanna, Nar, Nana and Anahitā, have all been associated with the fruit.
In the Greek myth of Persepone (seventh century BC), in which Hades gives the kidnapped girl a pomegranate to eat, where after she is obliged to remain his wife.14 The pomegranate has similar properties of seduction and desire in the Song of Solomon of the Old Testament. The second century Roman geographer Pausanias gives an account of the origin of Attis in Phrygia ascribing his birth to Nana, a virgin, who was impregnated by putting a pomegranate in her bosom.17 The pomegranate is thus most often represented as a gift or remedy with divine powers capable to impregnate, heal impotence, change the mind of unwilling lovers and seal marital contracts. Clearly, the pomegranate’s symbolic and ritualistic properties of fertility, sexual desire, and marriage were shared by many early Mediterranean and Near Eastern cultures. One of the struggles at the center of Parajanov’s films, then, is to point at the tension of what symbols represent in the collective conscious and how that collective is. It must have seemed frightening to Parajanov to share a symbolic repertoire with the dominating political force. That may be why his symbols are impossible to pin down to one meaning, why they fold and unfold upon each other in endless multiplications. If anything, the fruit thus represents symbolic failure.The more the pomegranate was shaped into a national symbol, the less it was able to uphold a connection to real cultural practices.
Ancient Greek: Θεία, translit. Theía, also rendered Thea or Thia), also called Euryphaessa "wide-shining", is a Titaness. Her brother/consort is Hyperion, a Titan and god of the sun, and together they are the parents of Helios (the Sun), Selene (the Moon), and Eos (the Dawn).
The colossal statue of Amenhotep III and Tiye is a monolith group statue of Egyptian pharaoh Amenhotep III of the eighteenth dynasty, his Great Royal Wife Tiye, and three of their daughters. It is the largest known dyad ever carved.
.
From the Main article: The lion hunts of Amenhotep III during the first ten years of his reign
The lion hunt scarabs emphasize the pharaoh's strength and bravery by recording that Amenhotep killed over a hundred lions (102; 110 on some scarabs) during the first ten years of his reign. These have the shortest inscription (7 lines), their average length is 7,7 cm. The lion hunt scarabs vary the most in size; the smallest scarab is 4,7 cm long, the largest is more than twice its size with a length of 9,5 cm.
Marriage scarabs actually refer not to the marriage itself, and neither do they mention a marriage date. They record the name of Amenhotep's chief queen Tiye (following that of her husband), along with the names of her parents, as if to explicitly state her non-royal birth? The name of her father is Yuya, the name of her mother is Thuya; she is married to the great king whose southern border is at Karoy and whose northern is Naharin. (The Land of two rivers. Tiye's importance is shown by defining the boundaries of the empire in terms of her. The length of the inscription on these scarabs is 9-10 lines, the scarabs' average length is 8,5 cm.Lake.
The lake scarabs commemorate the construction of an artificial lake again for Queen Tiye in the 11th regnal year. On these, the name and titles of the pharaoh are followed by those of Tiye, the names of her parents, then the description of the lake that was dug in Tiye's town Djaruha. The lake was 3700×700 cubits large, and the royal couple was rowed on the lake in the royal barge Aten-tjehen. The name of the boat means 'Shining Sun-disc', this is the first appearance of this name which later becomes an epithet of the king himself. The lake scarabs vary the most in their texts, but the differences don't affect the meaning of the text itself. The text is 11 lines long, the average length of these scarabs is 8,4 cm.
The bull hunt scarabs record that in the 2nd regnal year Amenhotep, followed by his soldiers and officials, went to Shetep (possibly the area of Wadi el-Natrun) on his barge Khaemmaat ('Appears in Truth'), charged at wild bulls by his chariot and killed them. On the first day he slayed 56 bulls, four days later he killed 40 of them. The bulls had been previously surrounded with a ditch.
Hunt was not only a favourite pastime for the pharaohs, it also symbolized the ruler's strength and his victory over the forces of chaos, thus it equalled victory on a battlefield. These scarabs also list the titles of the king and mention Tiye.
The bull hunt scarabs have both the greatest length (9,9 cm) and the longest text. The only scarab which doesn't have its back carved in the shape of a beetle is among these scarabs. This one has two longitudinal holes for suspension.
Gilukhepa stands out for it unites the Gilu with Khepa.
The Gilukhepa (GILU*KHEPA) scarabs commemorate the arrival of Princess Gilukhepa, daughter of Shuttarna II of Mitanni into the pharaoh's harem in the 10th regnal year. She had a retinue of 317 ladies-in-waiting. Tiye is also mentioned on the scarab. The length of the text is 10 lines, the average length of these scarabs is 7,2 cm.
Inscription of a scarab.
It is believed that in 1500 BC, the pharaoh Tuthmosis brought pomegranate to Egypt from Asia. The pomegranate was the symbol of fertility, because of the many seeds borne within the fruit, and the heathen regarded it as a sacred plant. Nar*titee, which in the local dialect means “the blossom of pomegranate trees”.
From Naharin the land of the two Rivers, comes Side, wife of Orion, represented by the blossom of the pomegranate.
THE FLOWER REPRESENTS MATURE ELEGANCE My mothers cousins name was Gulanur; it literally translates into "fire flower" in Persian and the flower of the heavenly light of the Sun, expressed as a Pomegranate in Armenian, otherwise simply known as a pomegranate flower. Gulnar represents the SCARLET red AS color of the pomegranate flower.
Pomegranate trees are self-fruitful, which means the flowers on the pomegranate are both male and female. Pollinating insects and hummingbirds assist in spreading the pollen from flower to flower.
Anarkali, ANAR*KALI means pomegranate*flower, a beautiful pom-pom-like delicate deep red/orange blossom on a graceful tree. Pomegranates have featured in the myths and legends of every culture, today very often symbolizing fertility, yesterday a lot more. For issues relating to life/death we see how the pomegranate stains and appears to ‘bleed’ when cut, associating it with coagulated blood and in many tales stood for death in life and alternately for life in death.
The flower of the Pomegranate tree: Manipulating the relative ratio of flower types to environmental conditions can be very advantageous. When talking of blossoms and fertility, we must be aware of the most relevant fact - that I believe gives the pomegranate its prime place on the question of love, sex, fertility - that the flower of the pomegranate expresses the idea of Bisexuality. Each individual flower has both male and female structures, i.e. it combines both sexes in one structure. Flowers of this kind are called perfect, having both stamens and carpels. Other terms used for this condition are androgynous, hermaphroditic, monoclinous and synoecious. The pomegranate needs a pomologist/pollinator. Confined to an orchard as is a sexually confined controlled culture.
Priests and Pomologists or Fruticulturalists which comes from Romance languages (from Latin fructus and cultura) is the same as Pomologist which is more commonly used. Pomological research, from the beginning of time must have been focused on the domestication, development, enhancement, cultivation. The physiological studies of fruit trees. The ancient and modern goals of fruit tree domestication and improvement, must primarily include expert knowledge regarding the pollination of plants, the enhancement of fruit quality and the regulation of reproduction/production.
The Titan Orion was represented as "marrying" Side, a name that in Boeotia means "pomegranate", thus consecrating the primal hunter to the Goddess.The wife of Orion/Hayg Nure in Armenian, in Greek myth, is said to have tried to compete with Hera in smarts and beauty and so it goes that Side was punished, being tricked into thinking, or made to believe she had caused the death of her own children. She threw herself from a rock where the first new pomegranate tree grew from the place where her blood spilled on the ground.So. Death, forbidden love, light, life, blood, fecundity, seduction and temptation. Not much to live up to.
The flowers are bright red and 3 cm (1.2 in) in diameter, with three to seven petals.[3] Some fruitless varieties are grown for the flowers alone.
The 7th letter of the Armenian alphabet is the letter "eh" is the verb "to be" and is a symbol for existence 'IS' The pomegranate is, "eh" THE ULTIMATE ARMENIAN SYMBOL OF EXISTENCE. A reminder of faith, hope and love. The pomegranate IS the symbol of abundance, prosperity, imagination/creativity. The pomegranate is the messenger of being and becoming of the one/all of life/existence
ONTOLOGY or ANNA*TAU*LOGY.
Plant reproductive morphology is the study of the physical form and structure (the morphology) of those parts of plants directly or indirectly concerned with sexual reproduction.
Among all living organisms, flowers, which are the reproductive structures of angiosperms, are the most varied physically and show a correspondingly great diversity in methods of reproduction.[I am alluding to the ancient cultural, philosophical, concept of being autochthonous, The root of the word autochthonous traces back to the Greek word autokhthon, meaning literally “sprung from the land itself.” In mythology, autochthones are those mortals who have sprung from the soil, rocks and trees. They are rooted and belong to the land/orchard eternally. An autochthon is not the same as the offspring of Gaia, called gegenes (earth-born), although later the terms have been conflated.
To the poet the Pomegranate Flowers looking like tongues of flame blazing in red bowl-like cups. In late autumn the beautiful flowers ripen into beautiful fruits.
The pomegranate, a fiery and beautiful fruit, originally, in the time of Innana the Pomegranate was offered by the male to a female as a proposition. It the female bit into it and sucked on the juice it meant that offer to copulate was accepted. In Armenian culture the pomegranate symbolizes the same concept, however the more modest version, where both parties are mindful of the social consequences of free love and lust. The new order, expected them to unite only after a contract with the family was first entered into. The Armenian paradigm from day one was based on monogamy and devotional brotherly sisterly love, and sex and lust a very private matter.
In ancient times, the fruit characterized Siunik and Artsakh regions. In Armenian mythology, the pomegranate symbolized fertility, abundance and marriage.
Ancient custom widely accepted in Armenia was performed at weddings. A bride was given a pomegranate fruit, which she threw against a wall, breaking it into pieces for the scattered pomegranate seeds ensured the bride future children. It was accepted to put the fruit next to the bridal couple during the first night of marriage. The pomegranate was among those fruits, and was said to also ensure happiness. We can assume that the couple enjoyed a pomegranate wine as well. "The symbol of the pomegranate is connected with insemination. It protected a woman from infertility and protected a man's virile strength," says Stepanyan. Some have gone as far as to suggest, that the pomegranate is the messenger of the 'Heavens' that it encapsulated the concept of being, it represented the philosophical paradigm, that all natural phenomena can be expressed through the ontology of this fruit. The evidence of the last 5000 years suggests that they knew what they were doing and they did do a great job, of reflecting the universe experience of life through it. It is that it is.
Traditionally, the pomegranate has been represented in literature, art and architecture as a symbol of fertility with remarkable continuity. On many occasions, Parajanov accurately reconstructs this meaning of the fruit. It is doubtful, however, that his intention was ethnographic precision. Symbols are rarely democratic and we will see that the fruit has always also been culturally appropriated by the dominating regimes governing the Caucasus. So, too, during Soviet Armenia. Parajanov was well aware of this. He rightly associates the Pomegranate with violence and political control.
Symbols reinforcing Armenia’s self-perception, symbols like the pomegranate, represent ancient traditional customs and provide the scholar with a perfect insight, a slice of political life, an example of the original ancient brilliant creative PIE inventions, galvanizing cultures and traditions.
The pomegranate figures so prominently in Parajanov’s work that it is unjust to pin its meaning down to one instance of nationalist ambiguity. In all three of his films, the fruit appears in the context of important celebrations or liminal moments, accompanying the protagonists’ passage to adulthood, marriage, journey or death. As we shall see, pomegranates have symbolized religious and civic rituals throughout much of their history in the Caucasus, which is well documented by literature, art and architecture. Most importantly, the origin and practice of these traditions are not exclusive to Armenia.
An ancient Assyrian Seal depicted the Pomegranate tree as the tree of life symbol.
Many ancient fertility goddesses worshiped by different pre-Christian cultures throughout the Near East like Kubaba, Inanna, Nar, Nana and Anahitā, have all been associated with the fruit.
In the Greek myth of Persepone (seventh century BC), in which Hades gives the kidnapped girl a pomegranate to eat, where after she is obliged to remain his wife.14 The pomegranate has similar properties of seduction and desire in the Song of Solomon of the Old Testament. The second century Roman geographer Pausanias gives an account of the origin of Attis in Phrygia ascribing his birth to Nana, a virgin, who was impregnated by putting a pomegranate in her bosom.17 The pomegranate is thus most often represented as a gift or remedy with divine powers capable to impregnate, heal impotence, change the mind of unwilling lovers and seal marital contracts. Clearly, the pomegranate’s symbolic and ritualistic properties of fertility, sexual desire, and marriage were shared by many early Mediterranean and Near Eastern cultures. One of the struggles at the center of Parajanov’s films, then, is to point at the tension of what symbols represent in the collective conscious and how that collective is. It must have seemed frightening to Parajanov to share a symbolic repertoire with the dominating political force. That may be why his symbols are impossible to pin down to one meaning, why they fold and unfold upon each other in endless multiplications. If anything, the fruit thus represents symbolic failure.The more the pomegranate was shaped into a national symbol, the less it was able to uphold a connection to real cultural practices.
IN SEARCH OF TiYa as ThIa
Ancient Greek: Θεία, translit. Theía, also rendered Thea or Thia), also called Euryphaessa "wide-shining", is a Titaness. Her brother/consort is Hyperion, a Titan and god of the sun, and together they are the parents of Helios (the Sun), Selene (the Moon), and Eos (the Dawn).
“Matia is none other than princess Meritaten, the sister or half-sister of Tutankhamun and the daughter of Akhenaten and Nefertiti,” Zivie told AFP.
Maia (sometimes written Matia), was the wet-nurse of the Ancient Egyptian king Tutankhamun. She is known from her rock-cut tomb found at Saqqara. Matia bears the titles wet nurse of the king, educator of the god's body and great one of the harem. Tutankhamun, is shown sitting on Matia's.
Maia (sometimes written Matia), was the wet-nurse of the Ancient Egyptian king Tutankhamun. She is known from her rock-cut tomb found at Saqqara. Matia bears the titles wet nurse of the king, educator of the god's body and great one of the harem. Tutankhamun, is shown sitting on Matia's.
Tey was the wife of Kheperkheprure Ay also called "Aya", who was the penultimate pharaoh of Ancient Egypt's 18th dynasty. She was also the wet nurse, 'governess' of Queen Nefertiti.
Her husband, Ay filled an important role in the courts of several pharaohs – Amenhotep III, Akhenaten and Tutankhamen – before ascending the throne himself, as the male line of the royal family became extinct. He is believed to be connected to the royal family; he was probably a brother of Queen Tiye (wife of Amenhotep III). On inscriptions from the Amarna period, Tey is called “nurse of the Great Royal Wife”. This indicates that even if Ay was Nefertiti's father, Tey was not her mother; according to this theory, she was possibly the second wife of Ay after Nefertiti's mother died.[2] However, Ay and his wife Tey are never called the father and mother of Nefertiti and Tey's only connection with Nefertiti was that she was the 'nurse of the great queen' Nefertiti which must mean that Ay was not Nefertiti's father. It has been proposed that Mutbenret was Ay and Tey's daughter who later married Horemheb, Ay's successor on the throne. However the name Mutbenret and Mutnedjmet, Horemheb's queen are not identical which implies that these two different women. It is also possible that Ay's intended successor, Nakhtmin, was his son, possibly by Tey.
The dignitary named Ay is called Second Prophet of Amun, high priest of Mut and Steward of Queen Tey on a statue now in the Brooklyn Museum. This man's parents are recorded on the statue as Mutemnub and Nakhtmin. Mutemnub is said to be a sister of Queen Tey, and the inscription is usually interpreted to mean that she was the sister of Tey, the wife of Ay.
In the Phoenician History, a literary work attributed to Sanchuniathon, a daughter of Uranus/Heaven and Gaia/Earth is called Dione and also Baaltis. She is a sister of Kronos/Elus whom the latter made his wife after their father sent her, and her sisters, to kill Kronos/Elus. The latter gave the city Byblos to Dione. The exact identity of this Dione is uncertain: Sanchuniathon may have meant to identify her with Dione the Titaness. From her name Baaltis and association with Byblos she is taken to be Ba‘alat Gebal, the patron goddess of Byblos.
However, some scholars identify Tione her with Asherah, proposing that Sanchuniathon merely uses Dione as a translation of Asherah's epithet Elat. When Ay took the throne after the death of Tutankhamen, Tey became his Great Royal Wife. Queen Tey also held the titles Hereditary Princess (iryt-p`t), Great of Praises (wrt-hzwt), Lady of The Two Lands (nbt-t3wy), Great King’s Wife, his beloved (hmt-niswt-wrt meryt.f), and Mistress of Upper and Lower Egypt (hnwt-Shm’w T3-mhw).[9]
However, some scholars identify Tione her with Asherah, proposing that Sanchuniathon merely uses Dione as a translation of Asherah's epithet Elat. When Ay took the throne after the death of Tutankhamen, Tey became his Great Royal Wife. Queen Tey also held the titles Hereditary Princess (iryt-p`t), Great of Praises (wrt-hzwt), Lady of The Two Lands (nbt-t3wy), Great King’s Wife, his beloved (hmt-niswt-wrt meryt.f), and Mistress of Upper and Lower Egypt (hnwt-Shm’w T3-mhw).[9]
Queen Tey is depicted in the tomb of Ay (WV23) in the Valley of the Kings. She appears behind Ay in a scene where Ay appears to be pulling lotus flowers from a marsh. The images are rather severely damaged. Tey may have been buried with her husband in WV23, and fragments of female human bones found in the tomb may be Tey's.
The colossal statue of Amenhotep III and Tiye is a monolith group statue of Egyptian pharaoh Amenhotep III of the eighteenth dynasty, his Great Royal Wife Tiye, and three of their daughters. It is the largest known dyad ever carved.
Tiye was married to Amenhotep III by the second year of his reign. He had been born of a secondary wife of his father and needed a stronger tie to the royal lineage.[4] He appears to have been crowned while still a child, perhaps between the ages of six to twelve. They had at least seven, possibly more children:
1) Sitamun – The eldest daughter, who was elevated to the position of Great Royal Wife around year 30 of her father's reign.[7]
3) Henuttaneb – Not known to have been elevated to Queenship, though her name does appear in a Cartouche at least once.
4) Nebetah – Sometimes thought to have been renamed Baketaten during her brother's reign.
5) Crown Prince Thutmose – Crown Prince and High Priest of Ptah, pre-deceasing his father.
6) Amenhotep IV/Akhenaten – Succeeded his father as pharaoh, husband of Queen Nefertiti, father of Ankhesenamun, who married Tutankhamun.
7) Smenkhkare – traditionally seen as one of Akhenaten's immediate successors, today some Egyptologists such as Aidan Dodson believe he was the immediate predecessor of Neferneferuaten and a junior co-regent of Akhenaten who did not have an independent reign.[8] Sometimes identified with the mummy from KV55, and therefore Tutankhamun's father.
8) The Younger Lady from KV35 – A daughter of Amenhotep III and Tiye, mother of Tutankhamun and sister-wife of KV55. Presumably one of the already-known daughters of Amenhotep III and Tiye.
9) Beketaten – Sometimes thought to be Queen Tiye's daughter, usually based on a stelae with Baketaten seated next to Tiye at dinner with Akhenaten and Nefertiti.[1]
Tushratta merely writes,
| “ | Say to Nimmureya [i.e., Amenhotep III], the king of Egypt, my brother, my son-in-law, whom I love and who loves me: Thus Tušratta, the king of Mitanni, who loves you, your father-in-law. For me all goes well. For you may all go well. For your household for Tadu-Heba [i.e., Tadukhepa], my daughter, your wife, who you love, may all go well. For your wives, for your sons, for your magnates, for your chariots, for your horses, for your troops, for your country, and for whatever else belongs to you, may all go very, very well.
Thus Šauška of Nineveh, mistress of all lands: "I wish to go to Egypt, a country that I love, and then return." Now I herewith send her, and she is on her way. Now, in the time, too, of my father,...[she] went to this country, and just as earlier she dwelt there and they honored her, may my brother now honor her 10 times more than before. May my brother honor her, [then] at [his] pleasure let her go so that she may come back. May Šauška (i.e., Ishtar), the mistress of heaven, protect us, my brother and me, a 100,000 years, and may our mistress grant both of us great joy. And let us act as friends. Is Šauška for me alone my god[dess], and for my brother not his god[dess]?[32]
| ” |
The likeliest explanation is that the statue was sent to Egypt "to shed her blessings on the wedding of Amenhotep III and Tadukhepa, as she had been sent previously for Amenhotep III and Gilukhepa."[33] As Moran writes:
The contents of Amarna letter EA21 from Tushratta to his "brother" Amenhotep III strongly affirms this solution. In this correspondence, Tushratta explicitly states,
| “ | I have given...my daughter [Tadukhepa] to be the wife of my brother, whom I love. May Šimige and Šauška go before her. May they m[ake he]r the image of my brother's desire. May my brother rejoice on t[hat] day. May Šimige and Šauška grant my brother a gre[at] blessing, exquisi[te] joy. May they bless him and may you, my brother, li[ve] forever.[35] |
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