Akhenaten (Part 5): Amarna Art, An Introduction.
By the time of his Sed-Festival, Amunhotep IV’s reforms had begun to gather serious momentum. The King was even introducing new forms of representation, reshaping the human body and altering conventions at a fundamental level. In these early phases of Amarna Art, the pharaoh’s vision manifested in some bizarre and distorted imagery…
Nefertiti and Meritaten worship the Aten (ATP).
A figure of the King, showing the exaggerated features of early Amarna Art (ATP).
The King worships Aten, who holds ankh (life) to his nose (ATP).
Nefertiti comparison: in the “traditional” style (left) and in the early Amarna style (right) (ATP).
Mourners in the tomb of Ramose, a famous scene (Davies 1941).
Ramose’s funeral procession: porters carry a bed, boxes, chair, scribal palette, vases, portable shrines, stools and sandals (Davies 1941).
Ramose and his wife Meryt-Ptah, with female relatives before them (Davies 1941).
Servants anoint Ramose, who wears the garb and accessories of the Vizier (Davies 1941).
Ramose, now depicted in the Amarna style, adorned with gold dispensed by the King and Queen (Davies 1941).
Amunhotep IV (now Akhenaten) and Nefertiti dispense rewards to Ramose (Davies 1941).
Bek and his wife Taheret (Berlin).
One of the “Akhenaten Colossi,” enormous statues of the King from Karnak (Wikimedia).
Special Thanks to My Patrons!
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