The essay analyses the changes of the Opet festival procession between the regents Hatshepsut and Tutankhamun, as some changes of the procession occur during this period. The purpose of this study is to fill in some of the knowledge gaps that exist and to combine different areas that have been researched with areas ​​where little research has been done. The purpose is to provide an insight into how the environment and politics played a role in the religious contexts of the Opet festival. The approach uses the reliefs of the Opet festival found in Luxor Temple and in Karnak Temple to see how the festival changed. By examining how the festival procession evolved and analysing what the changes were due to, one can answer the main question: Why did the processions in the Opet festival change? The focus will be to analyse Hatshepsut (1479–1457 B.C.), Amenhotep III (1388–1351 B.C.) and Tutankhamun's (1341–1323 B.C.) political and religious position, and to investigate whether it affected the development of the procession of the Opet Festival and if so, how it affected the change. Furthermore, by analysing the landscape through the study of the movement of the Nile and the annual cycle of the river and using the concepts of "constructed landscapes" and "ideational landscapes" as a starting point for analysing the temples and processional ways. This study also provides something for future projects to build on, as there are currently not many studies on the processions of the Opet Festival, more research is needed in this area. Since this is an approach that has not been done before, by looking at the political and historical aspects as well as the environmental aspects and how they affect the processions of the Opet festival, will this fill some of the knowledge gaps currently present. / Uppsatsen analyserar förändringarna i Opet festivalens processioner mellan regenterna Hatshepsut och Tutankhamun, då många förändringar i processionen skedde under denna period. Syftet med denna studie är att fylla några av de kunskapsluckor som finns genom att kombinera olika områden som det har forskats mycket om för att analysera ett område som det inte har forskats lika mycket om. Syftet är att ge en inblick i hur miljön och politiken spela en roll i de religiösa sammanhangen som fanns i forntida Egypten. Tillvägagångsättet kommer vara att använda relieferna av Opet festivalen som finna i Luxortemplet och i Karnaktemplet för att se hur festivalen förändrades. Genom att undersöka och redovisa hur processionen under festivalen utvecklades och analysera vad de förändringarna berodde på, kan studien besvara huvudfrågan: Varför förändrades processionerna i Opet festivalen? Fokuset kommer vara att analysera Hatshepsut (1479–1457 f.v.t.), Amenhotep III (1388–1351 f.v.t.) och Tutankhamuns (1341–1323 f.v.t.) politiska och religiösa ståndpunkt, samt undersöka om det påverkade utvecklingen av Opet festivalens procession och i så fall hur det påverka förändringen. Samt analysera landskapet genom att studera Nilens rörelse och översvämning och även använda begreppen konstruerat -och idémässigt landskap som startpunkt för att analysera templen och processionsvägarna. Denna studie kan också ge något för framtida projekt att bygga på, då det i nuläget inte finns många undersökningar om Opet festivalens processioner, behövs det mer forskning inom detta område. Då det här är en infallsvinkel som inte gjorts tidigare, genom att kolla på de politiska och historiska aspekterna samt miljöaspekterna och hur de påverka processionerna av Opet festivalen, kommer detta fylla några av de kunskapsluckor som finns i nuläget.

The Colossi of Memnon are a prominent feature of the constructed landscape at ancient Thebes (modern day Luxor, Egypt). They were built on the West Bank during the later years of Amenhotep III reign and they stood in front of his royal cult temple, Mansion of Millions of Years, known today colloquially as Kôm el-Hetan. There is no consensus on the purpose of the statues and it is plausible that they were meant to represent multiple things. However, what all the theories surrounding their purpose have in common is that they are all reliant on the visibility of the statues. The Theban Harbours and Waterscapes Survey led by Angus Graham (Uppsala University) discovered that the royal cult temple and colossi statues was built on top of an elevated area of what is believed to be have been a pre-existing wadi fan (Toonen et al.2018; 2019). To the east of the temple, a minor channel of the Nile river was also discovered. The aim of this thesis was to analyse the visibility and visual experience of the Colossi of Memnon during the 18thDynasty. By analysing the boreholes from the Theban Harbours and Waterscapes Survey, I have (re)constructed the geological features of the surrounding landscape in a game engine (Unity). The visual analysis was done by a combined GIS spatial analysis and a VR based phenomenological approach. I concluded that the levees of the minor channel of the Nile were not elevated high enough to create any substantial blocking of the view from the floodplain or from inside of the channel during the low season. It was only when you got up close to the levees and kneeled on the ground that you would lose sight of parts of the colossi. As the surface level of the Nile rose during its annual cyclethe, it would be easier to observe the statues from any part of the minor channel. As for the visual experience of observing the Colossi of Memnon from different parts of the model, the experience only changed slightly from viewing the statues from the view of the floodplain or the channel. What changed the experience drastically was if you approached the statues from the front of from the side. As you approached the statues from the front you had the statues standing symmetrically in front of the temple and they are in turn facing you. Being in front of the Colossi statues creates a feeling of being part of the statues’ experience. Not only where the humans meant to see the statues, I believe that the statues were meant to see us. This as the most ideal location to observe and visually experience the statues, is where we are in the view of both the Colossi of Memnon. The experience of the statues fades as you approach them from their side where you become the observer rather than the observed. The visual experience from the side also results in that you do not get to fully take part in the experience that both statues provide. This is because one of them becomes slightly blocked by the other. / <p>På grund av pandemi utfördes opponering på distans över Zoom</p>

Since the discovery of the Apis bull catacombs known as the Serapeum in the 1800’s by Auguste Mariette, Saqqara has become a topic of interest amongst archaeologists and Egyptologists. This in turn has prompted many new research attempts to try and better understand the function and significance of the funerary practices which took place there. The nearby town of Memphis was home to the Apis bull god who represented Ptah though in death it came to represent Osiris. This paper is an attempt to provide a new interpretation of the New Kingdom Apis bull funerary monuments placed within the Saqqara landscape from Amenhotep III’s reign through to Rameses II’s reign, with a special focus placed on the Serapeum. For this paper landscape archaeology was used to better understand the choice of location by Amenhotep III. The aim is to reveal why the Serapeum was built in the first place and by whom. It was found that whilst Amenhotep III began the burial practice, the change from individual to multiple burials occurred under Rameses II’s reign. Canopic jars as well as a dedication stela were used to determine that the shift occurred under Khaemwaset’s influence it is argued that the Serapeum was built to connect the graves to strengthen the ties between past and present kings. This connection was made as a way to promote their right to rule. / Ända sedan upptäckten av Apis-katakomberna, även känd som Serapeum, år 1851 av Auguste Mariette, har Saqqara genererat stort intresse bland arkeologer och egyptologer. Detta har lett till det gjorts flertalet studier kring att försöka förstå dess funktion och betydelse kring de begravningsceremonier som där hölls. Apis var en gud gestaltad som tjur och hade sin hemvistelse i den närliggande staden Memfis Apis i döden representerade av guden Ptah, medan Apis i livet representerade guden Osiris. Denna uppsats gör ett försök att ge en nytolkning av kring Apis-tjuren och de begravningsmonument som är placerad i Saqqara-regionen, där fokus ligger på just Serapeumet under Nya riket-epoken, en tidsepok som sträcker sig från Amenhotep III till Rameses II. För att bättre förstå valet av Serapeums placering och vem som byggde det, användes landskapsarkeologi som arbetsmetod.I denna uppsats framgår det, trots att Amenhotep III började med individuella begravningsceremonier, skiftades detta till multipla begravningsceremonier i och med att Rameses II kom till makten. Vidare upptäcktes det i arbetets gång att Kanopiska kärl samt dedikationsstela användes för att fastställa att detta skifte inträffade under Khaemwaset’s inflytande och att Serapeum byggdes för att binda samman tidigare konungar med nuvarande och därmed stärka banden mellan dessa. Syftet med denna sammanbindning var så att nuvarande konungar bättre kunde hävda sin rätt att regera.

The reign of Amenhotep III represents one of the most crucial period of the Eighteenth Dynasty. Over the course of this dynasty, royal ideology, as a major means of power of the Egyptian ruler, was constantly being developed and underwent significant alterations. One long lasting debate has focused on the possibility that Amenhotep III was already deified during his lifetime, but up to now no detailed study that would analyse contemporary documents, whether connected to the king himself or related to his officials, has taken place. The aim of this thesis was to find and answer to this question by means of an analysis of written and iconographic sources from both the royal sphere as well as the domain of the officials. The result of this research, based among others on an in-depth study of the names, epithets and iconography of the ruler, indicates that Amenhotep III was already deified during his life and it allows even the definition of his divine characteristics and aspects as a solar god. Powered by TCPDF (www.tcpdf.org)