The Pharaoh whom history could not forget!


This is a painting of the upper part of a colossal statue of the apostate Pharaoh Amenhotep IV/Akhenaten originating from Karnak, possibly sculpted by the artist ‘Bek’. Made from sandstone, this statue stands at 2.05m (6ft 8inch).

Back in its day, the complete statue would have been almost three times as tall. The bust would have been highly decorated with vibrant colours, remnants of which can still be seen: traces of blue on the side flank of his headdress, blue in the crevices of his beard, yellow along the band on his crown and red on his lips which is somewhat unusual for a statue of a male in ancient times.

However, Akhenaten was anything but a traditionalist as he strived to push his campaign for the primacy of the cult of the Aten, establish bureaucracy, and defy convention.

His new art movement was very provocative, placing himself in direct opposition of the former, traditional art forms.

Early in Akhenaten’s reign, temples were constructed dedicated to the Aten at a location in Karnak. This particular statue would have adorned a colonnade in one of the temples along with other statues ranging quite variably in height and design. These are the earliest known sculptures of the Pharaoh and they set a precedent – he was going to start exactly how he meant to go on! The statues have been described rather unfavourably by some historians as being somewhat gauche; no longer would Egypt be adorned by cherub faced and rather muscular/slender Royals. Akhenaten started an art revolution – ‘truth in art’ or ‘living in Ma’at’. Sculptures of the King and his family were in some ways striking and dramatic, with elongated features and hooded eyes, and in other ways somewhat sensuous in design, naturalistic and intimate showing amazing freedom than in preceding times.

The King of Egypt now had a pot belly, long slender limbs, large thighs and breasts. His wife Nefertiti was also not exempt from this exacting artistic style.

These new innovations would take hold quickly however, the style of the art changed throughout Akhenaten’s reign. The standard of craftsmanship and design throughout is evident and the sculptors, having grown accustomed to the changes, produced works of surpassing beauty with elegant precision, with sculpture being the most prominent.

This level of freedom must have brought the artists great joy as they were challenged with this radical shift. Rather than sticking to hard, straight lines, the new art style had movement and fluidity, flowers and plants swayed in the breeze rather than standing upright and the people were depicted with graceful, flexible fingers, wrists and toes with expressive faces.

The city of Akhetaten (Akhenaten’s capital) must have been a place of vivacious beauty enlivened with this fresh flair of sculpture and decoration.

A little about the background of this painting: The Hieroglyphics used are an excerpt from ‘The Great Hymn to the Aten’ discovered in the unused tomb of Aye “Master of all the Kings horses”, who would later be Pharaoh, albeit for a very short time.

Although historical evidence of the Amarna period is somewhat inexplicit, it is thought that the Great Hymn may have been a composition of Akhenaten himself, as the conduit for the divine power of the Aten.

The Great Hymn is engraved within 13 columns and is a beautiful, devoted ode to the sun God by his loyal son, the King of Egypt - “there is no one else who knows you except your son Neferkheperure-Waenre” (Akhenaten’s praenomen).
Tags: kings
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