Akhenaten and Nefertiti

The Rising of Akhenaten to the throne marked the starting of the most intriguing and controversial geological era of Egyptian history. Akhenaten had been crowned as co-regent pharaoh leastways eight years before his fathers death, but at the starting of his reign he rapidly set about applying his radical religious views. Akhenaten's grandfather (Thutmosis IV), had already hinted at a new emphasis on the adoration of the sun disc Aten, and his father had nurtured this by working the cult of the sun. Akhenaten came right out into the open and stated his fidelity to God Aten in orientation to all other Egyptian deities, though he did not instantly condemn the revere of God Amun.

The reigns of Akhenaten and Nefertiti swept only 17 years from 1352 to 1336 B.C.E. Even Akhenatens artists raised the palace, tombs, and temples with many prospects of music making. This brief period seen a dramatic change in Egyptian religion. Akhenaten collapsed the worship of Amun, the King of the Gods, and replaced the god Aten, the physical disk of the sun. He involved Amuns temples and moved the royal court from homes in Thebes and Memphis to a new metropolis at the site of Tell El-Amarna. Thus this period is named the Amarna Period and takes the reign of Tutankhamun, who reinstated the religion of Amun and taken back the royal court to Thebes. The richness and variety of the scenes of music-making establish some key styles in music in this time. Many prospects show Akhenatens six daughters taking on the sistrum and menattwo sacred rattles used in worship proposing that the royal daughters had a marked role in the musical life of Atens cult. Likewise, the presence of foreign musicians at court in draughts demonstrates the wide nature of Akhenatens reign. The outside musicians may have attended foreign wives to court, though the demonstrate that Nefertiti, his primary wife, was a foreigner is not determinate.

During the Amarna Time Period the royal daughters and the queen played the sistrum for the Aten instead than Goddess Hathor. Though Hathor had been the essential deity assorted with sistrum playing in conventional Egyptian religion, her worship was not applied during the Amarna Period. Thus the two sistra determined in the tomb of Tutankhamun and the sistrum described on a block from an Amarna constructing miss the normal decoration with Hathors head. Rather than the sistra from this period have easy handles shaped like papyrus plants. The rattle disks themselves are housed on snake-shaped poles. Perhaps the sound of the sistrum was connected with the cobra who protects the royal family.
 
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Some Chapters of the Book of the died:
 
Chap. C AND CXXIX . THE BOOK OF MAKING PERFECT TH...
Chap. XCIX. THE CHAPTER OF BRINGING ALONG A BOAT I...
Chap. XCVIII. TI- lE CHAPTER OF BRINGING ALONG A B...
Chap. XCVI AND Chap. XCVII . THE CHAPTER OF BEING...
Chap. XCV . THE CHAPTER OF BEING NIGH UNTO THOTH. ...
Chap. XCIV . THE CHAPTER OF PRAYING FOR AN INK-POT...
Chap. XCIII . THE CHAPTER OF NOT SAILING TO THE EA...
Chap . XCII . THE CHAPTER OF OPENING THE TOMB TO T...
Chap. XCI. THE CIIAPTER OF NOT LETTING THE SOUL OF...
Chap . XC. THE CFIAPTER OF DRIVING EVIL RECOLLECTI...
Chap. LXXXIX . THE CHAPTER OF CAUSING THE SOUL TO ...
Chap. LXXXVIII . THE CHAPTER OF MAKING THE TRANSFO...
Chap . LXXXVII . THE CHAPTER OF MAKING THE TRANSFO...
Chap. LXXXVI . THE CHAPTER OF MAKING THE TRANSFORM...
Chap . LXXXV . THE CHAPTER OF MAKING THE TRANSFORM...
Chap. LXXXIV . TIIE CHAPTER OF MAKING THE TRANSFOR...
Chap. LXXXIII . THE CHAPTER OF MAKING THE TRANSFOR...
Chap. LXXXII . THE CHAPTER OF MAKING THE TRANSFORM...
Chap. LXXXI B . THE CHAPTER OF MAKING THE TRANSFOR...
Chap . LXXXI A . THE CHAPTER OF MAKING THE TRANSFO...
Chap. LXXX. THE CHAPTER OF MAKING THE TRANSFORMATI...
Chap. LXXIX . THE CHAPTER OF BEING TRANSFORMED INT...
Chap . LXXVIII. THE CHAPTER OF MAKING THE TRANSFOR...
Chap. LXXVII . THE CHAPTER OF MAKING THE TRANSFORM...
Chap. LXXVI . THE CHAPTER OF A MAN TRANSFORMING HI...
Chap. LXXV . THE CHAPTER OF JOURNEYING TO ANNU AND...
Chap. LXXIV . THE CHAP'T'ER OF LIFTING UP THE FEET...
Chap . LXXIII . See Chapter IX
Chap . LXXII . THE CHAPTER OF COMING FORTH BY DAY ...
Chap. LXX. ANOTHER CHAPTER . From the Papyrus of M...
Chap . LXXI. THE CHAPTER OF COMING FORTH BY DAY. F...
Sepa (god)
Sah (god)
Chap. LXIX. ANOTHER CHAPTER . From the Papyrus of ...
Ka
Ba

Akhenaten Tomb (KV55)

Of all the royal mummies always discovered none has ever stimulated more controversy then the one found in Akhenaten Tomb (KV55) in the Valley of the Kings.

At the starting of the 20th Century, Theodore Davis, a wealthy American digging in Egypt, discovered a tomb in which a burial from the Amarna time period had been reinterred. This tomb was distinctly incomplete, and the burial a quick one. Gilded wooden inlay panels on the floor and against the wall. They endured the damaged image of Akhenaten idolizing the sun disc and the name of Queen Tiy.

In a niche were four pretty alabaster jars that taken the internal organs of the mummies. Dwelling on the floor was a badly weakened but beautiful coffin made with thousands of spread in-lays and semi-precious rocks in the shape of particular wings. The cartouches containing the residents name had been chopped out.

When they opened the coffin they discovered a mummy covered in gold-leaf. But as they referred the mummy it collapsed to dust leaving the shovels with a pile of disjointed bones at the bottom of the coffin. But below the skeleton, the last plane of gold, appeared to have the riddled named of Akhenaten written on it. The hip was wide alike a female's. The head was extended.

What actually became of Akhenaten's mummy still stays a mystery. Fragments of sculpture and cutting from the royal tomb at Akhetaten presents that his body was primitively put there, but no mark of the mummy remains. It is potential that followers of the Aten dreaded for it's destruction, which would refuse him extended life, and moved the body to a place of refuge.

Akhenaten is maybe unfairly not accredited with being a particularly prosperous Pharaoh. Records seem to show that he allowed Egyptian determine wane but this may not be right. These ideas are placed on the famous Amarna Tabletsfound in Akhetaten in some of which Egyptian liege cities plead for assistance, but no replies|responses are preserved.

As there is no living record of Egyptian territory being lost at this period it is possible that Akhenaten was merely skilfully playing one city against the other to accomplish through diplomacy what would otherwise demand military force.
 
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Akhenaten Family

Queen Nefertiti is frequently mentioned to in history as "The Most Pretty Woman in the World." The Berlin bust seen from two dissimilar angles, is indeed, the most identified depiction of Queen Nefertiti. Assured in the workshop of the notable sculptor Thutmose, the bust is thought to be a sculptor's model. The technique which starts with a carved part of limestone, claims the stone core to be first plastered and then richly substitute. Flesh steps on the front give the bust life.

Her full lips are raised by a bold red. Although the crystal inlay is wasted from her left eye, both eyelids and brows are sharp in black. Her graceful extended neck balances the tall, flat-top crown which clothes her sleek head. The bright colors of the her necklace and crown demarcation the yellow-brown of her easy skin. While everything is etched to perfection, the one fault of the part is a broken left ear. Because this important sculpture is still in creation, it is no wonder why Nefertiti stays "The Most Pretty Woman in the World."

Nefertiti's roots are confusing. It has been proposed to me that Tiy was as well her mother. Another proposition is that Nefertiti was Akhenaten's cousin. Her strong nurse was the wife of the vizier Ay, who could have been Tiy's brother. Ay sometimes called himself "the God's father," suggesting that he might have been Akhenaten's father-in-law. Yet Ay never specifically mentions to himself as the father of Nefertiti, although there are mentions that Nefertiti's sister, Mutnojme, is marked prominently in the ornamentations of the tomb of Ay. We will never acknowledge the truth of this bloodline. Maybe they didn't know either.

This enshrine stela also from the early section of the Amarna period depicts Akhenaten, Nefertiti, and Princesses Meretaten, Mekeaten, and Ankhesenpaaten revering the Aten as a family. Dorothea Arnold in her article "Prospects of the Royal Female Image during the Amarna Time Period" discusses the superfluity of reliefs showing intimate family moments. While Akhenaten tips forward to give Meretaten a kiss, Mekeaten works on her mother's lap and regards up lovingly.

At the very time Ankhesenpaaten, the lowest, sits on Nefertiti's shoulder and plays with her earring. Arnold takes that the shrine stela "concerns to the Aten religion's concept of conception" in which the King and Queen are seen as "a earlier 'first pair." At the top of the piece, the sun-god, Aten, described by a advanced circle, extends his life-giving rays to the Royal Family. The relief uses the concept of the "window of appearances" or a shot of life. The forms are framed by a base structure which proposes the form of a square window. Aldred in his book Egyptian Art names this "a brief moment in the lives of five beings as they are caught in an act of mutual affection". In actuality, the crowned palace at Akhetaten had a window from which the royal pair could determine the city and address their matters.

It is recognized that Akhenaten and Nefertiti had 6 daughters. No son was ever presented in rests.

The names of the daughters were:

- Meritaten (about 1349 BC)
- Neferneferure and Setepenre (about1338).
- Neferneferuaten (about 1339 BC)
- Meketaten and Ankhenspaaten (about 1346 BC)

In 1337 BC the recognized family, with all Nefertiti's daughters was presented for the close time.

In 1336 BC Meketaten died in accouchement.

In 1335 Nefertiti appeared to vanish, taken dead.

This limestone rest found in the Royal Tomb at Amarna pictures Akhenaten, Nefertiti, and 2 of their daughters making an proposing to the sun-disk Aten. Akhenaten and Nefertiti hold flowers to be laid on the table below the "life-giving" beams of the Aten. The figures are etched in the other style, a feature of the early half of the Amarna period. Nefertiti, sporting the double hook headdress mentioned in the stela loyalty, is the small figure placed behind her larger plate husband. The compostion mirrors early cosmetic agencies of the royal couple. To emphasize the posture and power of the pharaoh, Egyptian iconographical custom required the female realize to be smaller in plate than the male.
 
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