When Chloe Landis first examined the images of Pharaoh Ramesses III from the high gate of his mortuary temple, Medinet Habu, she knew there was an untold story in their depictions of women. Landis, an undergraduate student at the University of California, Los Angeles with a double major in Art History and Egyptology, had studied early scholarship on the site. These scholars viewed the women as mere footnotes to Ramesses III’s sensational murder by members of his “harem.” Landis’ work led her to recount a far more complex story, one that emphasized the lived experiences of these women in ancient Egyptian society and their relationship with the Pharaoh. Landis is also the winner of the Trimmer Travel award from CURAH and the 2019 UCLA Dean’s Prize for Outstanding Undergraduate Research. Her faculty advisor was Kathlyn (Kara) Cooney. CURAH caught up with Landis in the midst of the pandemic to ask about her research.
CURAH: What was the nature of your project?
CL: My research focuses on a monumental gate structure that stands at the entrance of Pharaoh Ramesses III’s mortuary temple called Medinet Habu. This gate, referred to as the Eastern High Gate, has a series of rooms with an unusual series of reliefs on the interior walls depicting Ramesses in attendance by royal women. These images depict Ramesses in in intimate poses with the women, poses which are not only extremely unusual for Egyptian art but are odd given the context of the entrance into the pharaoh’s temple. My project involved studying the High Gate through an art historical lens. I wanted to fill in gaps in our conception of how the High Gate functioned as a ritual space for the pharaoh. I also wanted to understand the relationship between the king and the royal women depicted in the images.
CURAH: What were the easiest and hardest things about the work you did?
CL: I think accessing sources was probably both of the easiest and hardest parts of the project. It was incredibly challenging to understand the reliefs with only a partial picture of them, as I could not visit the High Gate in Egypt and relied solely on excavation photos and line drawings of the reliefs made by epigraphers. Black and white photos from the 1930s are not useful when you’re looking for visible paint remnants or trying to understand orientation and spatial analysis of the reliefs within the High Gate. These problems left some gaps in my analysis.
On the other hand, The Epigraphic Survey from the Oriental Institute of Chicago has excellent excavation photos and an entire volume of documentation of the High Gate in its entirety, including line drawings of the entire gate and translations of texts. The Oriental Institute has incredible online access to their excavation images and publications that were invaluable in my study of the High Gate. Their records also include multiple volumes of documentation of the entire Mediet Habu temple complex. Working through their records gave me crucial context to the High Gate’s purpose and let me compare images to reveal the artistic style under Ramesses III.
CURAH: What kinds of things did you learn? (about ancient Egypt, about scholarship, or about yourself)
CL: I learned that the Eastern High Gate was possibly the site of the murder of Ramesses III, an event which served as the catalyst for my project. Ramesses III was murdered in a plot by members of his so-called harem, their extended families, and officials. It was all documented in a collection called the Turin Judiciary Papyri. These accounts were confirmed by a scan of the king’s mummy that showed his throat had been slit. Because Ramesses’ death was so salacious and possibly occurred within the High Gate, often the reliefs are used almost as footnotes in articles about Ramesses’ murder, rather than discussed in their own right.
I also found much of the early scholarship frames the women as the villains of the story and out for their own ambitions, without reflecting on the complexities of the political atmosphere of the reign of Ramesses III and the involvement of the women’s extended families. When I discovered the biased way these women were discussed in scholarship, they became the passion of my project. I wanted to understand their role in society and how they functioned vis-a-vis the king.
This became the most prevalent when I realized how debated the term “harem” is in the field of Egyptology. Many scholars believe this term, does not capture the realities of the ancient Egyptian institution. A “harem” is a problematic orientalist image, which conjures an idea of women lounging around and only meant to serve the king sexually. But in ancient Egypt it housed royal women and was where royal children were raised. Early European egyptologists named the institution based on their understanding of the Ottoman harem and 19th-century harem paintings. The amount of colonial, orientalist and sexist baggage within egyptology is astounding, but it was essential to work through in beginning to untangle the perception of the women in the High Gate reliefs from their likely purpose.
CURAH: Did you make any discoveries along the way?
I made some very interesting discoveries along the way! I found that through the iconography of the reliefs there are allusions to the king’s sexual power and sexual ability. These allusions broaden our understanding of how the High Gate functioned, not only within the mortuary context, but also as a functional space. Few texts are preserved inside the High Gate, which necessitated greater art historical analysis and this brought me to my most intriguing finds. Ramesses and the women are seen holding and giving each other various fruits, mostly pomegranates, which often are a symbol of fertility. The most interesting plant that I was able to identify was the mandrake. This small yellow plant is believed to have aphrodisiac qualities and has been linked to sexual iconography by Egyptologists who found similar mandrake iconography on objects from the tomb of Tutankhamun. In one scene, Ramesses is not only holding a mandrake tightly to his lap, but appears mostly unclothed, an allusion to his body and sexuality.
The clothing or lack thereof was another discovery I made. The women especially appear to be completely nude, though scholars argue their clothing may have been painted over the nude representation. My analysis showed trace evidence of garments in only a few reliefs. The emphasis on the body is only heightened because the gestures made by the king are sexualized. Scenes show the king caressing the women. In one scene that has been purposely damaged, Ramesses’ hand is placed directly in front of the woman’s genital region.
These visuals of sexual activity and fertility demonstrate Ramesses’ ability to reproduce and regenerate life, a vital attribute for every king in ancient Egypt. But the display of images such as these suggests a social and political need for the king to have these images publicized in monumental stone. Rituals certainly occurred between women who held priestess roles and the king, long before Ramesses and the High Gate was built, but images like these have never been published on a monumental scale. I argue the public presentation of these images demonstrate that the king felt a need to visually display his sexual ability, perhaps to coincide with the rites which occurred within the High Gate or to ensure the act of reproduction would continue forever since it was preserved in the walls. The heightened tensions of Ramesses’ reign that ultimately led to his death may explain why the king would need to reveal his ability to procreate and the royal women’s role in these rituals.
CURAH: How has the project helped you in your career goals?
Though I’ve decided not to follow a path in traditional academia, I’m so grateful for this project in expanding my research skills and igniting my passion for future avenues of research. This project truly put my analytical skills and language knowledge to the test, while providing me with archival research experience that was truly invaluable. I would like to go into the museum education field. This is not directly applicable to egyptology, but I feel that so many of the hard skills I developed have already demonstrated how transferable they are.
