First Intermediate Period of Egypt | |||||||||
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| c. 2181 BC–c. 2055 BC | |||||||||
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| Capital |
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| Common languages | Merykare (last; Herakleopolitan) | ||||||||
| History | |||||||||
• Began | c. 2181 BC | ||||||||
• Ended | c. 2055 BC | ||||||||
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| Today part of | Egypt | ||||||||
Part of a series on the |
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| History of Egypt | ||||||||||||||||
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Greco-Roman Egypt
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French occupation | 1798–1801 | |||||||||||||||
| Muhammad Ali dynasty | 1805–1953 | |||||||||||||||
| Khedivate of Egypt | 1867–1914 |
| British occupation | 1882–1922 |
| Sultanate of Egypt | 1914–1922 |
| Kingdom of Egypt | 1922–1953 |
| Republic | 1953–present |
Egypt portal| XXXIV | 30 BC – 313 AD |
| (speculated) | XXXV | 379 AD – 641 AD |
The First Intermediate Period, described as a 'dark period' in
Very little monumental evidence survives from this period, especially from the beginning of the era. The First Intermediate Period was a dynamic time in which rule of Egypt was roughly equally divided between two competing power bases. One of the bases was at
The fall of the
The Seventh and Eighth Dynasties are often overlooked because very little is known about the rulers of these two periods.
Sometime after the obscure reign of the Seventh and Eighth Dynasty kings a group of rulers arose in
The founder of the Ninth Dynasty, Akhthoes or Akhtoy, is often described as an evil and violent ruler, most notably in Manetho's writing. Possibly the same as
A distinguished line of nomarchs arose in
The South was dominated by warlords, the best-known of whom is Ankhtifi, whose tomb was discovered in 1928 at Mo’alla, 30 km south of Luxor. He was a nomarch or provincial governor of the nome based at Hierakonpolis, but he then expanded to the south and conquered a second nome centred on Edfu. He then tried to expand to the north to conquer the nome centred on Thebes, but was unsuccessful, as they refused to come out and fight.
His tomb is highly decorated and contains an extremely informative autobiography in which he paints a picture of Egypt riven by hunger and famine from which he, the great Ankhtifi, had rescued them. ‘I gave bread to the hungry and did not allow anyone to die’. This economic disaster is much debated by modern commentators: it seems that every ruler made similar claims. But it seems clear that for all practical purposes, Ankhtifi was the ruler and there was no higher power to whom he owed allegiance. The unity of Egypt had broken down.
It has been suggested that an invasion of Upper Egypt occurred contemporaneously with the founding of the Heracleopolitan kingdom, which would establish the Theban line of kings, constituting the Eleventh and
By around 2060 BC, Intef II had defeated the governor of
The emergence of what is considered literature by modern standards seems to have occurred during the First Intermediate Period, with a flowering of new literary genres in the Middle Kingdom.[23] A particularly important piece is the Ipuwer Papyrus, often called the Lamentations or Admonitions of Ipuwer, which although not dated to this period by modern scholarship may refer to the First Intermediate Period and record a decline in international relations and a general impoverishment in Egypt.[24]
The First Intermediate Period in Egypt was generally divided into two main geographical and political regions, one centered at Memphis and the other at Thebes. The Memphite kings, although weak in power, held on to the Memphite artistic traditions that had been in place throughout the Old Kingdom. This was a symbolic way for the weakened Memphite state to hold on to the vestiges of glory in which the Old Kingdom had reveled.[25] On the other hand, the Theban kings, physically isolated from Memphis (the capital of Egypt in the Old Kingdom) and the Memphite center of art, were forced to develop their own "Pre-Unification Theban Style" of art to fulfill their kingly duty of creating order out of chaos through art.[26]
There is not much known about the style of art from the North (centered in Heracleopolis) because not much is known about the Heracleopolitan kings: little information is provided detailing their rule on monuments from the North. However, much is known about the Pre-Unification Theban Style, as the Theban kings of the Pre-Unification Eleventh Dynasty used art to reinforce the legitimacy of their rule, and many royal workshops were created, forming a distinctive Upper Egyptian style of art different from the Old Kingdom canon.[26]
Reliefs from the Pre-Unification Theban style of art consist primarily of either high raised relief or deep sunk relief with incised details. Figures depicted have narrow shoulders and a high small of the back, with rounded limbs and a lack of musculature in males; males also sometimes are shown with rolls of fat (a characteristic that originated in the Old Kingdom to portray mature males) and have angular breasts and, while the female breast is more angular or pointed or is shown through a long gentle curve with no nipple (in other periods, the female breast is depicted as curved). Facial features characteristic of this style include a large eye, which is outlined with a band of relief meant to represent eye paint. The band meets the outer eye corner and this line usually runs back to the ear. The eyebrow above the eye is mostly flat; it does not mimic the shape of the eyelid. A deep incision is used in the creation of the broad nose, and the ear is both large and oblique.[26]
An example of Pre-Unification Theban reliefs is the Stela of the Gatekeeper Maati, a limestone stela from the reign of Mentuhotep II, ca. 2051-2030 BCE. In this stela, Maati is seated at an offering table with a jar of sacred oils in his left hand, and the text surrounding him references other figures from his life, such as the treasurer Bebi and the ancestor of the ruling Intef family, demonstrating the close bonds that tie together rulers and followers in Theban society during the First Intermediate Period.[27]
Strong facial features and the round modeling of limbs is also seen in statues, as seen in the Limestone Statue of the Steward Mery, from the 11th Dynasty of the First Intermediate Period, also under the reign of Mentuhotep II.[28]
Males with pronounced, angular breasts portrayed with rolls of fat, as well as females with angular or pointed breasts are seen in the collection of Limestone Reliefs of High Official Tjetji. The Limestone Relief of High Official Tjetji contains 14 horizontal lines of text at the top of the relief, with an account of Tjetji's life. Five vertical columns on the right of the relief dictate an elaborate offering formula particular to the First Intermediate Period. Tjetji faces right with two smaller males on the left that are most likely official staff. Tjetji himself is depicted as a mature official with a pronounced breast, rolls of fat on his torso, and a calf-length kilt. The officials shown on the left are more youthful and wear shorter kilts, symbolizing that they are less mature and active.[26] The depiction of the female figure specific to the First Intermediate Period is also seen in the Limestone Relief of High Official Tjetji; in the image provided, the angular breast can be seen.[26]
The building projects of the Heracleopolitan kings in the North were very limited. Only one pyramid believed to belong to King Merikare (2065–2045 BC) is mentioned to be somewhere at Saqqara. Also, private tombs that were built during the time pale in comparison to the Old Kingdom monuments, in quality and size. There are still relief scenes of servants making provisions for the deceased as well as the traditional offering scenes which mirror those of the Old Kingdom Memphite tombs. However, they are of a lower quality and are much simpler than their Old Kingdom parallels.[29] Wooden rectangular coffins were still being used, but their decorations became more elaborate during the rule of the Heracleopolitan kings. New Coffin Texts were painted on the interiors, providing spells and maps for the deceased to use in the afterlife.
Artworks that survived from the Theban Period show that the artisans took on new interpretations of traditional scenes. They employed the use of bright colors in their paintings and changed and distorted the proportions of the human figure. This distinctive style was especially evident in the rectangular slab stelae found in the tombs at Naga el-Deir.[30] In terms of royal architecture, the Theban kings of the early eleventh dynasty constructed rock cut tombs called saff tombs at El-Tarif on the west bank of the Nile. This new style of mortuary architecture consisted of a large courtyard with a rock-cut colonnade at the far wall. Rooms were carved into the walls facing the central courtyard where the deceased were buried, allowing for multiple people to be buried in one tomb.[31] The undecorated burial chambers may have been due to the lack of skilled artists in the Theban kingdom.
| Preceded by | Time Periods of Egypt 2181-2055 BC |
Succeeded by |
