How was Hatshepsut influential?

Answer 1

Senenmut was, without doubt, the most important man in Hatshepsut's life. Twenty-five statues of Senenmut have so far been discovered, more than almost any other non-royal individual in the history of ancient Egypt. When Neferure was still a child, Hatshepsut's architect Senmut was her tutor. The actual nature of his relationship with Hatshepsut is unknown, but he was one of her strongest supporters, probably even one of her top advisers. During his career, he gained over 40 titles, including "chief architect." He disappeared some time before the end of Hatshepsut's reign, and it is unknown what actually happened to him. The architect Senmut designed the temple with rows of colonnades that reflect vertical patterns displayed by the cliff backdrop. In this way the temple is a successful example of architectural harmony between man and nature. A ramp connects the three levels of the temple, and on either side of the lower end of the incline were T-shaped papyrus pools. On the ground level the ramp was in antiquity lined with 200 sandstone statues of sphinxes with Hatshepsut's head. The third level is decorated with 22 life size statues featuring Hatshepsut in the Osirde shape. It was a matter of fashion.

Answer 2

Yes she was. She builds the Djeser-Djeseru. We know it as The Mortuary Temple of Queen Hatshepsut. It is located at Deir el-Bahri, The Obelisks of Hatshepsut and The Red Chapel. She lived in the Palace of Ma'at. It was rectangular structure. The capital was Thebes, Amarna, and then again Thebes. In terms of trade, Hatshepsut was not blind to the need of bolstering Egypt's economy' and indeed, the Punt expedition is but the climax of her consistent trading enterprises with Lebanon, Crete, Syria, West Africa, South Africa, Aswan and the reopening of mines in Mt. Sinai. She traded Ivory, gold, silver and other goods for eating. Hatshepsut's legacy is also extant in the enduring architectural innovations she incorporated into her building program. The design of Djeser-Djeseru is a prime example; although there exist a few doubtful precursors of the terraced template originality of the design cannot be gainsaid.' The thematic structure of the three terraces, from her role as pharaoh, to legitimization of her rule and achievements, to the worship of the deities is indisputably her own invention, as were the ramps linking them, imitating the glory of a sun's ray. Thutmose III modeled his mortuary temple on Hatshepsut's whilst Akhenaten incorporated the design of the ramps into his own buildings. Similarly, the design of Hatshepsut's tomb, with the three successive passageways leading to the burial chamber, her royal sarcophagus, her resting stations for Amun's barque were likewise replicated by her successors. Therefore, Hatshepsut's reign was characterized by a myriad of architectural innovations that became her legacy, to be admiringly integrated into the buildings of the future generations of pharaohs. Extreme prosperity and renaissance in art and building projects mark the beginning of this period. Towards the end of the 19th Dynasty the increasing power of the priesthood corrupts the central government. During the 20th Dynasty tomb robbing is done by officials. The priesthood becomes hereditary and begins to assume secular power. The government breaks down.