KING DJOSER

Djoser, also known as Netjerikhet was the second King of the 3rd Dynasty of the Old Kingdom in ancient Kemet (c. 2650–c. 2575 BCE). He undertook the construction of the earliest important stone building in Kemet including the famous Step Pyramid and the Meridian Labyrinth or Labyrinth of Hawara,. His reign, which lasted around 19 years, was marked by great technological innovation in the use of stone architecture. His minister, Imhotep, a talented architect and physician, was himself deified by his Greek acolytes in later periods long after his death. The funerary complex of King Djoser at Saqqara, with its Step Pyramid, is the most extraordinary architectural complex of the Old Kingdom.

The statue of King Djoser, a notable figure from the Third Dynasty of ancient Kemet, is primarily recognized for its representation in the Saqqara complex. This statue typically depicts Djoser seated, embodying both authority and divinity. He is often shown wearing traditional royal garb, which includes a kilt, nemes headdress and a false beard, symbolizing his status as a nswt-bjtj (pharaoh).

The statue’s limb proportions have been described as unusually long by some academics, who may be unaware that these are typical tropical body proportions—a physiological trait common among Nile Valley Africans, adapted for efficient heat dissipation in hot climates. Several academic studies have documented that ancient Egyptians exhibited limb proportions consistent with the tropical adaptations of native continental Africans from the Niger River to the Nile. For instance,Michele M. Bleuze et al., published in the American Journal of Physical Anthropology in 2014. The study states:​

"Intralimb indices in the Kellis 2 sample are not significantly different from those in the Egyptian, Upper Nubian, Lower Nubian, West African, and East African groups..."

Bleuze, M. M., Wheeler, S. M., Dupras, T. L., Williams, L. J., & Molto, J. E. (2014). An exploration of adult body shape and limb proportions at Kellis 2, Dakhleh Oasis, Egypt. American Journal of Physical Anthropology, 153(3), 496–505. https://doi.org/10.1002/ajpa.22450

Another study that supports the claim regarding limb proportions in ancient Egyptians is by Sonia R. Zakrzewski, in her 2003 study published in the American Journal of Physical Anthropology, noted:​

"The raw values... suggest that Egyptians had the 'super-Negroid' body plan described by Robins (1983). The values for the brachial and crural indices show that the distal segments of each limb are longer relative to the proximal segments than in many 'African' populations." ​

Zakrzewski, S. R. (2003). Variation in ancient Egyptian stature and body proportions. American Journal of Physical Anthropology, 121(3), 219–229. https://doi.org/10.1002/ajpa.10224

Djoser’s facial features are depicted with a sense of serenity and strength, and his gaze is directed forward, signifying his eternal watch over his kingdom. Unfortunately his nose and eyes have been vandalized. On the Relief of King Djoser you can see his full lips and round snub nose still fully intact. The relief also gives us a side view of his dreadlocks.

The earliest depiction of a headdress that can definitely be identified as a "proto-nemes" is to be found on the ka statue of the Dynasty III king, Djoser, which was originally in the serdab attached to his Step Pyramid Complex at Saqqara, but is now in the Cairo Museum. On his ka statue, Djoser is shown wearing what appears to be a shrunken form of the nemes, for although the overall shape of his headcovering is similar to the later versions of the nemes, on closer inspection Djoser is found to be wearing his hair in the tripartite style, which can be seen sticking out from beneath the kerchief. The kerchief is shown with short pointed lappets, and instead of a tightly secured queue behind, the ends of the kerchief are left loose in a point; therefore, it should be classified as a proto-nemes.

Radiating from his nemes head wrap are thick twisted dreadlocks which hang down to around the middle of his back. Djoser is also shown with a beard that wraps around the chin from ear to ear, the Early Dynastic royal beard. One of the only other Early Dynastic instance of the dreadlock hairstyle is found on an ivory figurine from the Main Deposit, now in the Ashmolean Museum (E.4976).

One of the notable features of this statue is his Nemes head wrap, which represents his kingship and divine right to rule. Beneath this crown, Djoser has long, robust dreadlocks bulging from underneath his Nemes head wrap. These locs can be interpreted as a symbol of his connection to the divine and his royal lineage, aligning with the broader representation of pharaohs as intermediaries between the gods and the people.

In a 2009 study British archeologist Geoffrey Tassie acknowledges the importance of Kemetic hair in the portrayal of social and class status stating, "hairstyles were a means of displaying status. An institutionalized cannon for hairstyles was established coinciding with the creations of administrative institutions. These codified hairstyles continued to serve as the norms for identifying members of the administration or signs of authority." The study of ritualistic and hierarchal hairstyles in ancient Africa is called ethno-trichology.

"Hairstyles such as plaits, curls, and what may be interpreted as locks or twists were commonly worn and held ritual or social meaning."

Tassie, G. J. (2008). The social and ritual contextualisation of ancient Egyptian hair and hairstyles from the Protodynastic to the end of the Old Kingdom (Doctoral dissertation, University College London). UCL Discovery: https://discovery.ucl.ac.uk/id/eprint/18730/

The study of ancient African hairstyles, particularly in Kemetic society, underscores the profound cultural significance of hair as a symbol of social status, authority, and ritual. As Geoffrey Tassie highlights in his 2009 study, hairstyles were not simply a personal choice, but rather an institutionalized means of displaying one's position within the social hierarchy. The codification of these hairstyles alongside the development of administrative institutions played a crucial role in maintaining order and signaling authority.

Tassie’s work emphasizes the importance of hair in the daily life and governance of ancient Egypt, offering valuable insights into the social dynamics of the time. The field of ethno-trichology, which explores the ritualistic and hierarchical aspects of African hairstyles, reveals the depth of symbolism that hair held in African cultures. Hairstyles like plaits, curls, and what could be interpreted as locks or twists were not only aesthetic choices but integral components of identity, serving as markers of social and spiritual significance. Through this lens, hair becomes a powerful tool for understanding the complexities of ancient African societies.

Tassie’s study remains a foundational work in the ongoing exploration of these rich cultural practices and their relevance in both historical and modern contexts.

Reconstruction by: www.youtube.com/kingsmono

"King of Upper Kemet…Beautiful is the Ka-Soul of Ra who appears in Waset"

"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~ 35th & 36th Principals of Ma'at