Author Description

English summary: No Queen of the New Kingdom of Egypt, other than Nefertiti, has as prominent a role in Egyptian art as Tiye, the Great Royal Wife of Amenhotep III. The range of her appearances covers virtually the entire spectrum of Egyptian visual media from groups of monumental statues to small wooden figurines, from temple reliefs and sepulchral paintings to scarabs and cylinder seals, and from stelae to decorative jewelry and articles of everyday use. With this study, Christian Bayer is the first to present the complete portraits of Queen Tiye and to discuss their iconography and exact dating in detail. So far, researchers have divided the development of the royal art style of Amenhotep III into four consecutive phases, whereby the so-called "baroque" phase shortly before the pharaoh's death is generally seen as being the pinnacle. Bayer questions this categorization and shows that this development might not have taken place in consecutive phases after all: the "baroque" period should more likely represent the third phase, after which Amenhotep III returned to a more "classical" style as shown in buildings constructed for the Sed festival towards the end of his reign. German description: Keine andere Konigin des Neuen Reiches ausser Nofretete tritt im Denkmalerbestand derart prominent in Erscheinung wie Teje, die Grosse Konigsgemahlin Amenhoteps III. Die Spannbreite ihres Auftretens umfasst nahezu das gesamte Spektrum agyptischer Bildmedien von monumentalen Statuengruppen bis zu kleinen Holzfigurchen, von Tempelreliefs und Grabmalereien bis zu Skarabaen und Rollsiegeln, von Stelen bis zu dekorativen Schmuck- und Gebrauchsgegenstanden. Christian Bayer stellt in seiner Studie erstmals alle Bildnisse der Konigin Teje ausfuhrlich vor und diskutiert eingehend ihre Ikonographie und mogliche Feindatierung. Bislang wurde die Entwicklung des koniglichen Kunststils Amenhoteps III. von der Forschung in vier linear aufeinanderfolgende Phasen eingeteilt, wob