Please forward o worship the king pdf error screen to 198. Not to be confused with Akhaten. Statue of Akhenaten in the early Amarna style.
Akhenaten tried to shift his culture from Egypt’s traditional religion, but the shifts were not widely accepted. After his death, his monuments were dismantled and hidden, his statues were destroyed, and his name excluded from the king lists. He was all but lost from history until the discovery during the 19th century of the site of Akhetaten, the city he built and designed for the worship of Aten, at Amarna. The future Akhenaten was a younger son of Amenhotep III and Chief Queen Tiye.
The eldest son Crown Prince Thutmose was recognized as the heir of Amenhotep III but he died relatively young and the next in line for the throne was a prince named Amenhotep. Sandstone fragment from the temple of Amenhotep III showing a young prince, probably Akhenaten before he became a king. In February 2014, the Egyptian Ministry for Antiquities announced what it called conclusive evidence that Akhenaten shared power with his father for at least 8 years. The evidence came from the inscriptions found in the Luxor tomb of Vizier Amenhotep-Huy. Bronze plate with the titulary of Amenhotep IV before he changed his name to Akhenaten, British Museum. Amenhotep IV was crowned in Thebes and there he started a building program. He decorated the southern entrance to the precincts of the temple of Amun-Re with scenes of his worshiping Re-Harakhti.
In the tomb of Ramose, Amenhotep IV appears on the west wall in the traditional style, seated on a throne with Ramose appearing before the king. On the other side of the doorway, Amenhotep IV and Nefertiti are shown in the window of appearance, with the Aten depicted as the sun disc. In the Theban tomb of Parennefer, Amenhotep IV and Nefertiti are seated on a throne with the sun disk depicted over the king and queen. The documents were found in Gurob and are dated to regnal year 5, third month of the Growing Season, day 19. A month before that Amenhotep IV had officially changed his name to Akhenaten. Fragment with cartouche of Akhenaten, which is followed by epithet Great in his Lifespan and the title of Nefertiti Great King’s Wife.
Aten, with characteristic rays seen emanating from the solar disk. Some recent debate has focused on the extent to which Akhenaten forced his religious reforms on his people. Following Akhenaten’s death, change was gradual at first. Within a decade a comprehensive political, religious and artistic reformation began promoting a return of Egyptian life to the norms it had followed during his father’s reign. Limestone statuette of Akhenaten, Nefertiti, and a princess. Limestone trial piece showing the distinctive Amarna-style elongation of Akhenaten’s face. Styles of art that flourished during this short period are markedly different from other Egyptian art.
In some cases, representations are more naturalistic, especially in depictions of animals and plants, of commoners, and in a sense of action and movement for both nonroyal and royal people. Early artistic representations of her tend to be indistinguishable from her husband’s except by her regalia, but soon after the move to the new capital, Nefertiti begins to be depicted with features specific to her. Questions remain whether the beauty of Nefertiti is portraiture or idealism. Why representations of Akhenaten depict him in a bizarre, strikingly androgynous way, remains a vigorously debated question. Religious reasons have been suggested, such as to emulate the creative nature of the Aten, who is called in Amarna tomb texts “mother and father” of all that is. Until Akhenaten’s mummy is positively identified, such theories remain speculative. E, Brooklyn Museum This relief depicts Akhenaten and Nefertiti late in their reign.
Brown quartzite inlay head of Akhenaten or Nefertiti. As Amenhotep IV, Akhenaten was married to Nefertiti at the very beginning of his reign, and six daughters were identified from inscriptions. A secondary wife of Akhenaten named Kiya is known from inscriptions. Some have theorized that she gained her importance as the mother of Tutankhamen, Smenkhkare, or both.
Meketaten — year 3, possibly earlier. Ankhesenpaaten, later Queen of Tutankhamun — year 4. Tutankhaten — year 8 or 9 — renamed Tutankhamun later. Alabaster sunken relief depicting Akhenaten, Nefertiti, and daughter Meritaten. Early Aten cartouches on king’s arm and chest. It has been proposed that Akhenaten may have taken some of his daughters as sexual consorts, to attempt to father a male heir by them, but this is very debatable. It does seem certain that like his father, Amenhotep III, Akhenaten named at least one daughter as Great Royal Wife, but this does not necessarily indicate she was his sexual consort as the position was also an important ceremonial position.
Meritaten is recorded as Great Royal Wife to Smenkhkare in the tomb of Meryre II in Akhet-Aten. She is also listed alongside King Akhenaten and King Neferneferuaten as Great Royal Wife on a box from the tomb of Tutankhamen. Letters written to Akhenaten from foreign rulers make reference to Meritaten as ‘mistress of the house’. Meketaten’s death, at perhaps the age of 10 to 12, is recorded in the royal tombs of Amarna about the year 13 or 14. Her death was attributed to possibly from childbirth, because of a depiction of an infant with her. Because no husband is known for Meketaten, the assumption has been that Akhenaten was the father.
Some view this to indicate that Akhenaten fathered his own grandchildren. Others hold that, since these grandchildren are not attested to elsewhere, they are fictions invented to fill the space originally filled by Kiya’s child. Rather than a lover, however, Smenkhkare is likely to have been a half-brother or a son to Akhenaten. Twelve years after the death of Amenhotep III, she is still mentioned in inscriptions as queen and beloved of the king, but kings’ mothers often were. Akhenaten in the typical Amarna period style.
It shows Akhenaten standing before 2 incense stands, Aten disc above. Early in his reign, Akhenaten had conflicts with Tushratta, the king of Mitanni, who had courted favor with his father against the Hittites. Iasked your father Mimmureya for statues of solid cast gold, one of myself and a second statue, a statue of Tadu-Heba , my daughter, and your father said, ‘Don’t talk of giving statues just of solid cast gold. I will give you ones made also of lapis lazuli. I will give you too, along with the statues, much additional gold and goods beyond measure. Plaster portrait study of a pharaoh, Ahkenaten or a co-regent or successor.