Thirty-five centuries ago the sun had a daughter: Hatshepsut. Youngest daughter of the Pharaoh, she was a lithe and magical child. But when her older sister died, it became her duty to purify the dynasty's bloodline. She was to wed Thothmes, her father's illegitimate son, who was heir to the throne. But fearing his son's incompetence, Hatshepsut's father came to her with startling news. She was to be Pharaoh, ruler of the greatest empire the world had ever known--provided, of course, that the unprecedented ascension by a woman did not inspire the priests to treason or instill in her half-brother and future consort sufficient hatred to have her put to death. This is the premise for Child of the Morning, based closely on the historical facts. Hatshepsut assumed the throne at the age of fifteen and ruled brilliantly for more than two decades. Her achievements were immortalized on the walls of her magnificent temple at Deir el-Bahri, built by her architect and lover, Senmut. Sensuous and evocative, Child of the Morning is the story of one of history's most remarkable women.

"Gay Robins discusses the role of royal women, queenship and its divine connotations, and describes the exceptional women who broke the bounds of tradition by assuming real power."--Back cover.

First published in 1988. In all past commentaries on Senenmut and his time, 1 the single most pervasive problem with which modem scholars--and no doubt even contemporary ancient Egyptians--have had the most difficulty in coming to terms is perhaps the fact of Hatshepsut's kingship. The motives for her accession, the extent of her power, the nature of her political support, the legacy of her rule, and the reasons for her proscription are all themes that derive from the monumental and chronological data that must form the basis of any evaluation of her reign. In the course of the past century, as an increasing number of monuments belonging to Senenmut have been discovered or newly identified, each one has understandably provided an opportunity for a reinterpretation of the career of this powerful courtier; yet each has also provided the chance for fresh commentary on Hatshepsut's kingship and her presumed rivals for the throne of Egypt.

Since the nineteenth century, when art history became an established academic discipline, works of art have been 'read' in a variety of ways. These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work's perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it's made of). The methodologies discussed here (formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, structuralism, race and gender) reflect the multiplicity of meanings in an artistic image. The second edition includes nineteen new images, new sections on race, gender, orientalism, and colonialism, and a new epilogue that analyzes a single painting to illustrate the different methodological viewpoints.