1. Selection of Source Material
The reconstruction of Thuya began with a careful examination of available statues and artistic depictions. One primary source was a well-preserved statue showing her with distinct African features, including a broad nose, full lips, and a rounded face. Another significant reference was a statue from the Louvre, which provided further clarity on her facial structure, particularly the circular shape of her face and the projection of her features. These statues, despite some damage and potential tampering, offered consistent details about her phenotype, reinforcing her African ancestry. Additional depictions, such as couple statues with her husband Yuya, were also considered, though some were deemed less reliable due to stylistic inconsistencies or possible alterations.
2. Restoration of Damaged Artefacts
Several of Thuya’s statues showed signs of deliberate tampering, particularly around the nose and eyes. Darkened edges and unnatural narrowing of facial features suggested attempts to alter her original appearance. One statue had a completely reconstructed nose, which appeared artificially narrow compared to other depictions. Despite these modifications, the underlying African traits remained discernible. The restorer focused on identifying areas where the original form could be inferred, such as the broad nasal base and full lips, while disregarding later alterations that contradicted consistent features across multiple sources.
3. Phenotype Analysis
Thuya’s phenotype was marked by pronounced African characteristics. Her face was notably circular, with full cheeks and a rounded forehead. The eyes were moderately large, though not as slanted as her daughter Tiye’s, which took after Yuya’s eye shape. The nose, though sometimes narrowed in statues, was consistently broad in less tampered depictions. Her lips were full and slightly protruding, a feature preserved even in damaged artefacts. The prognathism (forward projection of the jaw) visible in side profiles further emphasised her African lineage. Body proportions from full-length statues revealed broad shoulders and a curvaceous yet muscular build, aligning with typical African female physiques.
4. Overlay Technique
To ensure accuracy, the reconstruction process involved overlaying multiple artistic representations of Thuya. Early attempts were compared against the Louvre statue and other reliable sources to refine facial proportions. Digital tracing was used to match the exact contours of her shoulders, arms, and hips from statues, ensuring the reconstruction reflected her actual physique. Adjustments were made to the eyes and nose bridge after noticing discrepancies between different depictions, with the final version striking a balance between the most consistent features.
Further overlays were done to check consistency with her mummy. There was striking alignment and consistency. It is important to note that the mummification process dehydrates soft tissues to a high degree that distorts them to a point where many phenotypic traits become unrecognisable and difficult to infer from the mummy alone. This is why our reconstruction process utilises primary portraiture contemporaneous to the subject for accurate estimates of soft tissue restoration. The mummy overlay merely adds credence to the restorative process.
5. Historical and Anthropological Context
Thuya held the title “Lady of the Hau-nebut,” indicating high status in the royal court. Her lineage was closely tied to nobility, and her daughter Tiye’s statues often mirrored her pose, suggesting a familial artistic tradition. The name “Thuya” has been linked by some Egyptologists to Nubian origins, though the term “Nubian” in Egyptology often broadly refers to African identities beyond Egypt. Her phenotypic traits, such as the broad nose and full lips, align with indigenous African populations, countering narratives that seek to distance her from Black African heritage.
6. Iterative Refinement
Initial reconstructions captured Thuya’s round face but missed subtleties like the fullness above her eyes and the exact lip shape. Later versions corrected these details, incorporating insights from the Louvre statue and other sources. The nose was adjusted to reflect a moderate width, avoiding extremes seen in tampered artefacts. The final iteration aimed for a balance where any of her statues could be placed beside the reconstruction without glaring inconsistencies.
7. Final Presentation
The completed reconstruction presents Thuya as a woman with a strongly African visage—round face, full cheeks, broad nose, and pronounced lips. Her body proportions, traced directly from statues, emphasise a robust, curvaceous figure typical of African women. Comparisons with her mummy show compatibility in skull structure, particularly the prognathism and wide cheekbones, though the mummification process narrowed some features. The reconstruction intentionally avoids speculative extremes, instead offering a plausible representation grounded in the most reliable artistic and anthropological evidence.
Conclusion
Thuya’s reconstruction underscores her African identity through consistent phenotypic markers across multiple sources. The process highlighted the challenges of working with altered artefacts but ultimately reinforced her place within the broader context of indigenous African nobility in ancient Egypt. The final image serves as a corrective to Eurocentric interpretations, presenting her as she was likely seen in life: a dignified, unmistakably African woman of high status.
Leave a Reply