Unveiling the Mysteries: Ahmose Nefertari and the Symbolism of Egyptian Art

Ahmose Nefertari was the sister and Great Royal Wife of King Ahmose I, the first king of the 18th Dynasty. After wresting control from the Hyksos and unifying a fragmented Egypt, Ahmose I became the first ruler of Egyptian origin to usher in what is known as Egypt’s Golden Age, also referred to as the New Kingdom.

Ahmose Nefertari and Ahmose I are believed to have been the children of King Seqenenre Tao (also known as Seqenera Djehuty-aa or Sekenenra Taa) and Ahhotep I. Seqenenre Tao’s reign was brief, and he was brutally killed in battle. Ahhotep I, his Great Royal Wife, is thought to have been an influential and beloved ruler. She was the daughter of Queen Tetisheri and King Senakhtenre Ahmose.

Approximately a century after their deaths, both Amenhotep I and his mother, Ahmose Nefertari, became deified and were subjects of a cult of recognition and worship within the Deir el-Medina and Theban region for about 400 years. Their images appear on numerous stelae and tombs, even though they were not rulers during the periods when these likenesses were created.

The reason for their deified status and worship is not entirely clear. However, it is thought to be related to Amenhotep I’s empathy and support for the workers in the famous workers’ village of Deir el-Medina, where the cult of dedication to the pair was fervently followed for centuries.

Why is Ahmose Nefertari sometimes depicted black after her death?

Contrary to some internet claims, Nefertari’s black skin is not an indication of African origin; rather, it is a symbolic representation of her being deceased.

The use of color in Ancient Egyptian art follows a rather straightforward formula that even a basic historian or Egyptologist can comprehend. This formula is essential for understanding the representations in Egyptian art.

Despite the immense talent of Ancient Egyptian artisans in both sculpture and 2-dimensional art forms, they favored a simplistic structure for their art due to the functional and spiritual purposes behind such depictions.

Although there are outliers where pieces deviate from the regular canon, the general palette for human figures in Egyptian art tended to follow a main color scheme:

1. **Yellow or peach tone for women**: Throughout history and various cultures worldwide, fairer skin in women was a favorable image, not necessarily linked to race or ethnicity but rather to societal status. Fairer skin indicated less time spent outdoors working and more time living in comfort or luxury. This depiction of yellow-skinned women alongside red-skinned men presented an image of hardworking men providing for their families. These ideals might seem problematic today, but they were prevalent throughout varied histories, and it would be wrong to label Egyptians as prejudiced for this representation.

2. **Red or reddish-brown for men**: Red skin suggested a healthy, tanned man fit for outdoor activities like hunting or agriculture. This was an idealized depiction, as Egyptians wanted to be represented at their best even in death. Even kings had to prove their fitness during festivals, so regardless of a man’s true appearance, he would be depicted as healthy and adorned in fine garments and wigs. In death, even the elite wanted to be seen maintaining the agriculture of the Field of Reeds, Egypt’s heavenly realm.

3. **Black for the deceased or immortal**.
4. **Green (later periods also saw some deities depicted in blue) for the deceased or immortal**.

Black was an important color in Egypt, symbolizing the fertile silt of the Nile that brought life to Egypt, known as the “Black Land” (km.t). The annual Nile flood left behind fertile soil that allowed agriculture to flourish, making Egypt a life-sustaining land amid barren deserts, referred to as the “Red Land” (dshrt). The black skin of Osiris, the god of the Underworld, represented fertility and the resurrection of life. Similarly, green skin symbolized rebirth and regeneration.

Egyptians were practical in depicting people from other cultures or ethnicities, showing their cultural costumes and distinctive facial features. These depictions were important to showcase Egyptian power, with foreigners often represented as tribute bearers or subdued victims. Nubian archers, for example, were depicted with their traditional feathered headdresses, dark skin, and distinctive facial scars, while Libyans and Asiatics were shown with different costumes and facial hair. These representations were even documented in the Hymn to the Aten by King Akhenaten and in the tomb of Seti I.

The Egyptian obsession with fertility was evident throughout their history, with many deities associated with fertility or rebirth. Festivals and rituals were centered around securing the land’s fertility to ensure the community’s survival and prosperity.

“The countries of Syria and Nubia, the land of Egypt,
Thou settest every man in his place,
Thou suppliest their necessities:
Everyone has his food, and his time of life is reckoned.
Their tongues are separate in speech,
And their natures as well;
Their skins are distinguished,
As thou distinguishest the foreign peoples.“
Great Hymn to the Aten, as written in tombs at Amarna (ancient Akhet-Aten).

Ancient Egyptians did not discriminate based on color. They judged individuals by their adherence to Egyptian customs and language, allowing foreigners to integrate into Egyptian society and achieve high ranks. This inclusivity extended to slaves, who sometimes married into families or were adopted.

In conclusion, the depiction of Ahmose Nefertari with black skin after her death was a symbolic representation of her deceased status, reflecting the cultural and spiritual beliefs of Ancient Egypt.