Abstract In this article, the writer discusses that the relationship between the arts and religion in Egypt was such that artists and architects were part of the bureaucracy. As employees of the state; their work became an expression of the permanency of both the state and the gods. In this essay the writer restricts considerations to relief art in both temples and tombs together with a brief discussion of architecture. The writer briefly elaborates on the function of art in Egyptian society and outlines traditional representations of Pharaoh. From here, the writer discusses the reasons why, during the Amarna period, artistic style, form and composition underwent a radical change. The writer then briefly considers the role architecture played in validating Akhenaten's unique religious role and demonstrates how art became an even more potent propagandistic weapon of state, used by Akhenaten to sell the validity of his special relationship with the god Aten to his people. This paper includes two small figures illustrating art of the time.
From the Paper "The change in style that was adopted by artists in the Amarna period cannot be explained, in isolation, simply by the fact that arts' religious basis had been thoroughly overturned. What does explain this change though is the nature of the monotheistic deity that was adopted, the Aten, represented as rays of sunlight emanating from the disk of the sun represented truth and reality. Ancients looking at the sun would, just as we would today, be temporarily blinded by its power, motivating the interpretation of the Aten as representative of these values. Thus, given the premise that the king was the sole mortal (along with his family) capable of worshipping this god, any representation of Pharaoh must in and of itself be portrayed accurately without taking liberties to disguise frailty or weakness. Further to this, Pharaoh was no longer a god-king in this world, for certain he held a unique spiritual relationship with the singular deity but this does not afford him god-status, similarly removing the need for stylisation and a formulaic representation."
Abstract Focuses on the Amarna Letters. Evidence of grammar and syntax of the language of the scribes in Canaan. Their importance in providing information about the early social and political history of Syria and Palestine in the Biblical period. Background and history of the El-Amarna site in Egypt. History of the Pharaoh The written word during the Amarna period. The Armana archive.
From the Paper "THE AMARNA LETTERS
We do not know, of course, exactly when civilization began, in terms of writing down daily events, creating grammar, fashioning a language that could be understood by the people, and developing a means of informing, educating and unifying ancient people. However, the Amarna Letters, actually grammatically detailed in four intensive volumes by Rainey (1996), provide interesting insight and information about ancient Canaan "on the verbal system in the Byblos letters… and the Akkadian grammar, written by the scribes in Canaan (and) thoroughly treated and usually put in a wider context" (Van Soldt, 1998, p. 1). This stems from a thorough review by Van Soldt of a book by Anson F. Rainey, Linguistic A Analysis of the Mixed Dialect used by Scribes from Canaan (four volumes, 1996)."
Abstract This paper discusses funerary art of the Amarna period in Egypt: 1372-1350 BC. It looks at how Amarna art differs from the stylized representations found in older art forms. The paper focuses on examining the canopic jar as it appears in the Amarna period and then compares these to earlier art on these objects. The paper includes photographs for visual explanation. It suggests that technology played a major role in the development of art throughout the period.
From the Paper "This level of detail and portrayal of emotion occurs in other changes in the representation of the royal family. During the Amarna period, we begin to see representations of the royal family showing affection to his daughters. In the past this was strictly taboo and the royal family was represented as emotionless (Smith, p. 186). During this period we begin to see the royal family represented in a more humanistic attitude. They begin to be portrayed as humans, rather than above the capability of human emotion. This change in attitude broke traditional conventions and represented a new paradigm that permeated Egyptian art from this point forward."
Abstract This paper discusses the life of King Akhenaten (who eventually changed his name to Amenhotep) who came to power in c.1352 B.C.E. and ruled for seventeen years. It evaluates the several transformations in art, politics, culture and religion he made during his short reign such as the dismissal of Egyptian polytheism in favor of the worship of a single god. There is also a review of the royal art works during his reign which become known as the Amarna art period.
From the Paper "Amenhotep was mostly well remembered for his radical transformations. Plenty of people thought he was a shame to Egypt, to others he was a Christ-like visionary. In honor of the sun disk Aten, Amenhotep changed his name to Akhenaten. He also changed the format for Egyptian religion from several gods to a monotheistic religion involving Aten. Some believe his mother, Tiy, helped bring this change forth. Nefertiti may have also fueled his religious appetite. It is also believed that Akhenaten was a mentor of the biblical figure Moses. Akhenaten was a firm believer in maat or divine truth and centered his religion around this."
Abstract This essay examines the religious reforms implemented throughout King Akhenaten's reign of Ancient Egypt often termed the Amarna Period (c. 1360 ? 1343 B.C.). It investigates how these reforms differed from the traditional religion that was practised in Ancient Egypt at the time as well as the rationale and motives behind them. It examines the impact of these reforms and why, in the end, they were only temporary in nature, not lasting beyond Akhenaten's reign.
From the Paper "As discussed, there were numerous religious reforms put forward by Akhenaten during his reign. However not all were successful. Indeed there were many problems with the changes Akhenaten implemented. His reforms were introduced with such force that they met with strong resistance. Despite Akhenaten's desire for there to be one god, the Aten, and his attempts to remove all other deities, the Egyptian people continued to worship the traditional gods (Ashcroft 2003, Stange 2000). Akhenaten's worship of the Aten was not as shared or supported by the Egyptian people as the Aten, as sole god, did not satisfy all of the Egyptian's religious requirements. R. David suggests the reason behind this is that "the Aten had no moral philosophy or attractive mythology which could inspire the general worshipper" (David 1993:157)."
Abstract The paper gives a very real and accurate description life of Akhenaten. From his seemingly amazing, though heretical, accession to the throne of Egypt, to the establishment of his new city Akhentaten near Tel El Amarna. The paper fully describes the life of Akhenaten, his achievements, the changes he made to the Empire as well as his downfall from the Egyptian throne. All information and hypotheses are accurately justified with prime, confident primary and secondary sources and critically analysed to achieve a great satisfaction of critical use of sources.
From the Paper "Akhenaten declared to all Egypt that he was son of Aten and proposed that he was Aten is human form (an incarnation), and to worship Aten, he should be worshiped as a god. Roebuck provides evidence of how Akhenaten considered himself a god, Roebuck (1966) explains ?The kings shared a divinity of Aten and spoke of himself as Aten's son and co-regent, but the other gods of Egypt were laid aside.? Evidence here sates that Akhenaten saw himself as son of Aten. Throughout upper and lower Egypt, Akhenaten was depicted as a godly figure, portrayed larger than any other person, a clear sign in Egyptian culture and art, that he was more important than any other person and just as important as a god. Bradley (1999) sates "The size and position of the image of the king in scenes was an affirmation of the king's divinity, the king became the focus of worship" The Pharaoh's size and position in art was very important. Before Akhenaten kings were always shown was larger than any other, but not larger than that of a god. This source clearly explains that fact that Akhenaten was just as large as a god, so therefore considered himself a god."
Tags:amarna, amenhotep, aten, delta, disk, egypt, nile, sun, tel
An examination of the life and beliefs of the pharaoh Amenophis IV, who renamed himself Akhenaten and changed the entire structure of Egyptian civilization during his reign from 1353 - 1336 B.C.
Abstract This paper explores the life and times of Amenophis IV, who replaced the polytheistic traditions of Egypt with the monotheistic cult of Aten soon after he succeeded his father as pharaoh. The writer describes the historical and religious background leading up to his changes and the cult of Aten in detail. The paper also describes the distinct and innovative form of art, known as Amarna art, that was initiated by Akhenaten, and many of the reliefs and sculptures that remain from this period, including several of his queen, Nefertiti. In addition, the paper explains how Horemheb systematically dismantled Aten's temples and shrines, effectively eliminating any trace of Akhenaten or his monotheistic cult. The writer concludes that Akhenaten remains to this day and perhaps always will be an enigma in Egyptian history.
Outline:
The Ascension of Amenophis IV
The One True God
New God, New Art
Nefertiti - "The Beautiful One is Come"
Erasing Akhenaten
Heretic or Genius?
From the Paper "Amenophis IV, who by the end of his fifth year of reign had taken the name Akhenaten, initiated a vastly distinct form of art during his time as pharaoh, which has been designated as the "Amarna Period". Akhenaten's fervent devotion to a monotheistic religion was extremely evident in the various pieces of art from this period. There seems to be a direct correlation between the exclusive role of Aten, Akhenaten's sun-god, and that of the pharaoh, stressing Aten's unique position in Egyptian religion. Aten's names were written in cartouches, like those of the royal family, and the royal family was close to Aten to the point of monopolization. The king and queen were Aten's delegates, and it was only to them that Aten, portrayed as a sun-disc, extended its arm-like rays in reliefs and carvings."
Abstract This paper examines the life of King Akhenaten who came to power in c.1352 B.C.E. and ruled Egypt for seventeen years. Akhenaten was a firm believer in "maat" or divine truth and centered his religion around this. His divine truth policy changed art and culture in Egypt. This paper considers these changes, in particular the effect on art at the time by reviewing certain works of art from that time period.
From the Paper "Akhenaten and His Family portrays Akhenaten and Nefertiti sitting casually on their thrones playing with their three daughters. The sun disk Aten reaches down his beams; the beams end in hands that tough the royal's, some hands holding Ankh?s. The scarves and clothing they wear seems to drape and flow from their bodies. The position that the family sits in is unusually casual for Egyptian art, as compared with works such as Menkaure and His Wife, Queen Khamereenebty ca.2515 B.C.E., which was made of slate and composed of tight, structured stance. Nefertiti's throne, with lotus and papyrus blossoms at the base, suggests a united upper and lower Egypt. "
Tags: art, aten, aton, god, history, mythology, nefertiti, religion, sun
Examines creation, history, geography, sociopolitical and economic factors, land use, design and urbanism theories related to this royal city built in the mid-14th Century B.C.
4,050 words (approx. 16.2 pages), 11 sources, 1999, $ 135.95
Abstract "The site of the city of Akhenaten, the only virtually complete ancient town to have survived from ancient Egypt, lies 160 miles south of Cairo, midway between the modern towns of Minya and Asyut (Weigall 92).
From the Paper "The site of the city of Akhenaten, the only virtually complete ancient town to have survived from ancient Egypt, lies 160 miles south of Cairo, midway between the modern towns of Minya and Asyut (Weigall 92). It is only at el-Amarna that a comprehensive range of official and residential buildings have been preserved, comprising the essential elements of an Egyptian royal city of the mid-fourteenth century BCE. This paper will look at how urbanism theories apply to the city of Amarna.
INTRODUCTION
The city of Amarna (or "Horizon of the Sun Disk") is located on the eastern side of the Nile in Middle Egypt, half way between Cairo and Luxor. The ancient city is formed by a bay of cliffs to the east and the Nile to the west, taking the shape of an archer's bow, with the Nile as the string and the city couched ..."
Abstract This research provides six specific examples of how the gods were believed to communicate with humanity in ancient Egypt. The research describes ways in which divine-to-human acts of communication were thought to take place in various periods of Egyptian civilization and the content of the patterns of belief. It discusses how perceptions and beliefs appear to have altered over the course of the culture's several-thousand-year tenure, before it was absorbed by Rome in the first century BC. Egypt's pharaonic period, which begins with the Old Kingdom (about 3200 BC), ends in 525 BC, which coincides with the emergence of Greek influence and the infancy of Rome. The paper shows that it is a truism that Greeks and Romans alike considered Egypt to be an ancient civilization.
From the Paper "What began in the Old Kingdom as a perception of the underworld as a place of wondrous information and potentiality was transformed by the time of the New Kingdom into a perception of the underworld as almost instrumental in the project of transfiguration of human experience into divine experience. As Hornung says, the figure of Osiris in the Old Kingdom period is given precedence over the pharaoh "as if it were a title; later [Osiris] is placed before the name of each deceased individual," which shows that godhead could be incorporated in or infused humankind, the oneness symbolic of perfect communication between matter and spirit."
Abstract This paper reviews and discusses Redford's controversial theme presented in his book, "Akhenaten - The Heretic King". Redford's theme contends that Akhenaten was not the enlightened pharaoh historians have made him out to be. The paper points out how Redford, through research and evidence from history, successfully argues that Akhenaten was actually a ruthless tyrant who possessed poor administrative skills and completely lacked a sincere desire to transform the country. The paper further notes Redford's position that Akhenaten did not care about his public and was not exactly a shrewd soldier, and this is what led to his ultimate downfall. Some of the criticisms aimed at Redford's book are mentioned, but the paper concludes by stating that the book is a worthwhile read.
From the Paper "The first few chapters of the book deal with the background of Akhenaten's reign, his family history and how it ascended the throne. The author tells us about Akhenaten's father and the family in which the heretic king was born. This section doesn?t present anything controversial, debatable or shocking. However with Akhenaten's ascension to the throne, the book takes an interesting turn as author makes several insightful and very original observations regarding this period. A large part of this book is devoted to Akhenaten's change of religion and his personal religious beliefs, which bring us to the Aten controversy."
Abstract This paper examines the extent to which, within the ancient Egyptian worldview, art was a religious endeavour and expression. It looks at how Akhnaton's redefinition of religion had a profound impact on ancient Egyptian art, injecting it with a degree of realism never before seen.
From the Paper "The civilization of the Ancient Egyptians, encompassing art at its very core, was one borne out of religious and cultural beliefs and values. According to numerous art historians, archeologists and Egyptologists, within the context of Ancient Egyptian culture and religion, art was not a luxury or a pastime but, as Leslie A. White states, part and parcel of Ancient Egypt and its religious framework (91-92). Dietrick E. Thomeson explains this view even further, arguing that the fusion between art and religion was such in Ancient Egypt that it was the first, and one of the very few, if not only, countries in history in which artists and architects were state employees and bureaucrats."
