1. Selection of Source Material
The reconstruction process began with a thorough examination of existing artefacts depicting Queen Tiye, including her iconic bust and statuettes. These sources provided detailed representations of her facial features, skin tone, and hairstyles. Additionally, the mummy identified as the “KV-35 Elderly Lady,” believed by many scholars to be Queen Tiye, served as a critical reference. The bust, in particular, was noted for its lifelike quality, with deliberate varnishing and colouring that preserved her dark brown complexion, distinct eyebrow arches, large eyes, and full lips. All together, giving the most realistic depiction of the queen so life like, one may feel as if the queen herself were staring at them. Other portraiture show phenotypic continuity with the bust.
2. Restoration of Damaged Artifacts
The bust of Queen Tiye showed signs of deliberate varnishing, with variations in colour visible in the crown bands, eyebrows, pupils, and lips. This confirmed that the dark hue was an intentional artistic choice rather than a result of wood ageing. Similarly, her mummy, found in a ransacked tomb, had suffered significant damage, including exposure to the elements, which affected the preservation of her hair and skin. The hair, initially braided, had loosened over time, creating a wavy pattern often misinterpreted as evidence of non-African ancestry.
Later scrutiny of the primary bust revealed signs of sabotage around the nose of the figurine bust. Sadly, an unsurprising revelation given the Eurocentric and racist tendencies of the current handlers of Africa’s antiquities. The nose bridge shows clear tool marks and its shape is anatomically unrealistic. No doubt an attempt to narrow the nose. Subsequent reconstruction iterations corrected the defect.
3. Phenotype Analysis
Queen Tiye’s features were analysed to ensure accuracy. Her bust revealed a broad nose, full lips, and pronounced cheekbones—traits consistent with African phenotypes. The mummy’s facial structure, though desiccated, aligned with these features. Notably, the downturn of her lips and the width of her nose were preserved in both the bust and the mummy. Her large eyes, a striking feature in the bust, were also reflected in the mummy, confirming the artistic accuracy of her depictions.
4. Overlay Technique
To validate the reconstruction, an overlay technique was employed, comparing the bust and the mummy. The alignment of facial features—such as the mouth, nose, and eyes—confirmed that the bust was a realistic representation. This technique also highlighted the high cheekbones and prognathism typical of African ancestry, further corroborating the authenticity of the reconstruction.
5. Historical and Anthropological Context
Queen Tiye’s portrayal in multiple artefacts consistently depicted her with African features and hairstyles, such as braids and twists. Her statues showed her with tightly braided hair, while her mummy’s hair, though loosened, retained patterns indicative of a braid-out style—a common African hair treatment. The use of resins and natural dyes, like henna and indigo, in her hair care regimen was also noted, reflecting cultural practices still observed in parts of Africa today.
6. Iterative Refinement
The reconstruction underwent several refinements to ensure fidelity to the source material. Initial attempts focused on capturing her likeness as depicted in the bust, while subsequent adjustments incorporated details from the mummy, such as the texture of her hair and the subtle ageing of her skin. The final iteration presented her as a woman in her 40s, with a dignified expression befitting her status as a powerful ruler.
7. Final Presentation
The completed reconstruction portrayed Queen Tiye as a striking African woman with dark brown skin, large eyes, and pronounced cheekbones. Her hair was styled in a braid-out, reflecting the natural texture of African hair and the cultural practices of the time. The lifelike quality of the bust was preserved, with no distortion or exaggeration of features. This reconstruction not only honoured Queen Tiye’s legacy but also countered erroneous narratives about her appearance, reaffirming her African identity.
The process underscored the importance of combining artistic representation with anthropological evidence to produce an accurate and respectful depiction of historical figures. Queen Tiye’s reconstruction stands as a testament to the sophistication of Kemetic artistry and the enduring legacy of African civilisations.
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