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
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 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
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."
