The Colossal Statues of Akhenaten at East Karnak depict the 18th Dynasty pharaoh, Akhenaten (also known as Amenophis IV or Amenhotep IV), in a distorted representation of the human form. The statues are believed to be from early in his reign, which lasted arguably from either 1353 to 1336 BCE or 1351 to 1334 BCE. The excavation, begun by Henri Chevrier in 1925, uncovered twenty-five fragments of the broken colossi in Eastern Karnak in Thebes, which are now located in the Egyptian Museum in Cairo, Egypt.
The statues were divided into three categories based on size, the largest of which were 12.75 metres (41.83 feet) tall and the smallest, 8.55 metres (28.05 feet). [1] The pharaoh is depicted with a distorted physique not present elsewhere in the artwork of ancient Egypt. He is portrayed with a protruding stomach, thin arms, and exaggerated facial features, such as a long nose, hanging chin and thick lips. [2] One statue in particular has been the subject of much debate as it represents the king apparently nude and lacking genitals. [3] There are various theories about the destruction of the statues, one of which suggests that his elder coregent, Amenhotep III, had the statues dismantled and covered up. [4] A second theory suggests that Akhenaten himself had the statues torn down with a change of planning in the construction of the Aten temple. [4]
The colossi of Akhenaten were discovered accidentally in 1925 while a drainage ditch was being dug east of the enclosure wall of the Great Temple of Amun. [2] The sandstone statues were inscribed with the name Amenhotep IV, and were found fallen prostrate on the ground. Henri Chevrier, the chief inspector of antiquities at Karnak, became interested in the site and spent the next twenty-five years periodically excavating the site in hopes of uncovering more. [2] Chevrier discovered the foundations of a wall angled southwest and twenty-eight stone bases, which he assumed were the pedestals of the fallen statues. [2]
Traditionally, pharaohs are depicted idealistically in Egyptian art – heroic and robust. The departure from cultural norms that occur with the colossi of Akhenaten, therefore, has sparked numerous debates among scholars. It is very unlikely that an artist would have voluntarily produced such an image of the king in such a different style without it being commissioned by the pharaoh himself. Some scholars characterize the style of art during the reign of Akhenaten as ‘expressionistic’ and find a relation between representations such as the colossi and the religious revolution of the time, which were supported by Akhenaten. [2] Although the pharaoh, and in some instances, other members of the Royal Family, are depicted in unorthodox ways, he did not alter standard practices of Egyptian art outside of depictions of the human body and depicted non-royals in the classical style.
The mystery behind the colossal statues of Akhenaten at East Karnak has led to numerous interpretations of the material. One theory regarding the purpose of the statues suggests that the pharaoh wished to separate himself from ordinary people and associate him solely with divinity and the Royal Family. [4]
Another theory suggests that Akhenaten was depicted in his true form, claiming that he suffered from a disease that caused the disfigurations. Several pathologists have studied the abnormalities of the statues’ physical attributes. One resulting diagnosis is that Akhenaten suffered from a disorder of the endocrine system called Froehlich's syndrome. [2] However, this theory has been debunked due to the facts that most who suffer from this disease are mentally retarded and unable to sire children, both of which are side effects Akhenaten did not appear to have. [2] Another related theory is that Akhenaten may have suffered from a rare genetic disorder known as Marfan's syndrome. [2] This hypothesis will rely on the results of DNA testing of the KV 55 tomb, in which it is theorized lies Akhenaten's mummy. Until then, however, it remains inconclusive.
Numerous theories exist about one particular statue in the collection, which represents the king naked without genitalia. One such theory concludes that these physical oddities symbolize the manifestations of the bisexual nature of the sun-god who impregnated himself to create the universe. [2] In contrast, historian K.R. Harris explains that at least some of the colossi, this one in particular, represents not Akhenaten, but Nefertiti wearing a close-clinging garment, which is undetectable because the feet of the statue are missing. [2] Other queens in Egyptian history have been depicted with masculine features, such as Hatshepsut, therefore this argument may not be far off. [2] Harris alternatively suggests that the colossi statues may be the personifications of deities, such as Aten, Shu, or Atum. [2]
Lastly, a related debate surrounds the actual site where the statues were discovered. Some scholars maintain that the statues and colonnades discovered were the remains of a temple built by the pharaoh. References exist that support this theory (i.e. in the tomb of the vizier Ramose at Western Thebes). [2] Others argue that the site consists of the ruins of a palace Akhenaten built. The Akhenaten Temple Project in 1975, however, concluded that the remains were indeed that of the Atem Temple. [1]
Akhenaten, also spelled Akhenaton or Echnaton, was an ancient Egyptian pharaoh reigning c. 1353–1336 or 1351–1334 BC, the tenth ruler of the Eighteenth Dynasty. Before the fifth year of his reign, he was known as Amenhotep IV.
Nefertiti was a queen of the 18th Dynasty of Ancient Egypt, the great royal wife of Pharaoh Akhenaten. Nefertiti and her husband were known for their radical overhaul of state religious policy, in which they promoted the earliest known form of monotheism, Atenism, centered on the sun disc and its direct connection to the royal household. With her husband, she reigned at what was arguably the wealthiest period of ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband's death and before the ascension of Tutankhamun, although this identification is a matter of ongoing debate. If Nefertiti did rule as Pharaoh, her reign was marked by the fall of Amarna and relocation of the capital back to the traditional city of Thebes.
The Karnak Temple Complex, commonly known as Karnak, comprises a vast mix of temples, pylons, chapels, and other buildings near Luxor, Egypt. Construction at the complex began during the reign of Senusret I in the Middle Kingdom and continued into the Ptolemaic Kingdom, although most of the extant buildings date from the New Kingdom. The area around Karnak was the ancient Egyptian Ipet-isut and the main place of worship of the 18th Dynastic Theban Triad, with the god Amun as its head. It is part of the monumental city of Thebes, and in 1979 it was added to the UNESCO World Heritage List along with the rest of the city. The Karnak complex gives its name to the nearby, and partly surrounded, modern village of El-Karnak, 2.5 kilometres north of Luxor.
Amenhotep III, also known as Amenhotep the Magnificent or Amenhotep the Great and Hellenized as Amenophis III, was the ninth pharaoh of the Eighteenth Dynasty. According to different authors, he ruled Egypt from June 1386 to 1349 BC, or from June 1388 BC to December 1351 BC/1350 BC, after his father Thutmose IV died. Amenhotep was Thutmose's son by a minor wife, Mutemwiya.
Kiya was one of the wives of the Egyptian Pharaoh Akhenaten. Little is known about her, and her actions and roles are poorly documented in the historical record, in contrast to those of Akhenaten's ‘Great royal wife’, Nefertiti. Her unusual name suggests that she may originally have been a Mitanni princess. Surviving evidence demonstrates that Kiya was an important figure at Akhenaten's court during the middle years of his reign, when she had a daughter with him. She disappears from history a few years before her royal husband's death. In previous years, she was thought to be mother of Tutankhamun, but recent DNA evidence suggests this is unlikely.
Tadukhipa, in the Hurrian language Tadu-Hepa, was a princess of the Mitanni kingdom. The daughter of King Tushratta of Mitanni and his queen Juni, and niece of Artashumara. Tadukhipa's aunt Gilukhipa had married Pharaoh Amenhotep III in his 10th regnal year. Tadukhipa was to marry Amenhotep III more than two decades later.
Meritaten, also spelled Merytaten, Meritaton or Meryetaten, was an ancient Egyptian royal woman of the Eighteenth Dynasty of Egypt. Her name means "She who is beloved of Aten"; Aten being the sun-deity whom her father, Pharaoh Akhenaten, worshipped. She held several titles, performing official roles for her father and becoming the Great Royal Wife to Pharaoh Smenkhkare, who may have been a brother or son of Akhenaten. Meritaten also may have served as pharaoh in her own right under the name Ankhkheperure Neferneferuaten.
Atenism, also known as the Aten religion, the Amarna religion, and the Amarna heresy, was a religion in ancient Egypt. It was founded by Akhenaten, a pharaoh who ruled the New Kingdom under the Eighteenth Dynasty. The religion is described as monotheistic or monolatristic, although some Egyptologists argue that it was actually henotheistic. Atenism was centred on the cult of Aten, a god depicted as the disc of the Sun. Aten was originally an aspect of Ra, Egypt's traditional solar deity, though he was later asserted by Akhenaten as being the superior of all deities. In the 14th century BC, Atenism was Egypt's state religion for around 20 years, and Akhenaten met the worship of other gods with persecution; he closed many traditional temples, instead commissioning the construction of Atenist temples, and also suppressed religious traditionalists. However, subsequent pharaohs toppled the movement in the aftermath of Akhenaten's death, thereby restoring Egyptian civilization's traditional polytheistic religion. Large-scale efforts were then undertaken to remove from Egypt and Egyptian records any presence or mention of Akhenaten, Atenist temples, and Atenist assertions of a uniquely supreme god.
God's Wife of Amun was the highest-ranking priestess of the Amun cult, an important religious institution in ancient Egypt. The cult was centered in Thebes in Upper Egypt during the Twenty-fifth and Twenty-sixth dynasties. The office had political importance as well as religious, since the two were closely related in ancient Egypt.
The Temple of Amenhotep IV was an ancient monument at Karnak in Luxor, Egypt. The structures were used during the New Kingdom, in the first four years of the 18th Dynasty reign of the Egyptian Pharaoh Akhenaten, when he still used the name Amenhotep IV. The edifices may have been constructed at the end of the reign of his father, Amenhotep III, and completed by Akhenaten.
Talatat are limestone blocks of standardized size used during the 18th Dynasty reign of the Pharaoh Akhenaten in the building of the Aton temples at Karnak and Akhetaten. The standardized size and their small weight made construction more efficient. Their use may have begun in the second year of Akhenaten's reign. After the Amarna Period talatat construction was abandoned, apparently not having withstood the test of time.
Panehesy was an Egyptian noble who bore the titles of 'Chief servitor of the Aten in the temple of Aten in Akhetaten'.
Tomb TT188, located in the necropolis of El-Assasif in Thebes in Egypt, is the tomb of the Steward and King's Cupbearer Parennefer. It has been excavated by the Akhenaten Temple Project. The work has been thoroughly published by Susan Redford with architectural study and drawings by Keith Meikle.
Mutemwiya was a minor wife of the Eighteenth Dynasty pharaoh Thutmose IV, and the mother of Pharaoh Amenhotep III. Mutemwiya's name means "Mut in the divine barque". While unconfirmed, it has been suggested that she acted as regent during the minority of her son Amenhotep III.
The High Priest of Amun or First Prophet of Amun was the highest-ranking priest in the priesthood of the ancient Egyptian god Amun. The first high priests of Amun appear in the New Kingdom of Egypt, at the beginning of the Eighteenth Dynasty.
Bek or Bak was the first chief royal sculptor during the reign of Pharaoh Akhenaten. His father Men held the same position under Akhenaten's father Amenhotep III; his mother Roi was a woman from Heliopolis.
The colossal red granite statue of Amenhotep III is a granite head of the 18th Dynasty ancient Egyptian Pharaoh Amenhotep III. Dating from around 1370 BCE, it was found in the temple enclosure of Mut at Karnak in Upper Egypt. Two parts of the broken colossal statue are known: the head and an arm. Both parts are now in the British Museum.
The Eighteenth Dynasty of Egypt is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. The Eighteenth Dynasty spanned the period from 1550/1549 to 1292 BC. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose.
The Amarna Era includes the reigns of Akhenaten, Smenkhkare, Tutankhamun and Ay. The period is named after the capital city established by Akhenaten, son of Amenhotep III. Akhenaten started his reign as Amenhotep IV, but changed his name when he discarded all other religions and declared the Aten or sun disc as the only god. He closed all the temples of the other Gods and removed their names from the monuments. Smenkhkare, then Tutankhamun, succeeded Akhenaten. Discarding Akhenten's religious beliefs, Tutankhamun returned to the traditional gods. He died young and was succeeded by Ay. Many kings did their best to remove all traces of the period from the records. The Amarna art is very distinctive: the royal family was portrayed with extended heads, long necks and narrow chests. They had skinny limbs, but heavy hips and thighs, with a marked stomach.
The colossal statue of Amenhotep III and Tiye is a monolith group statue of Egyptian pharaoh Amenhotep III of the eighteenth dynasty, his Great Royal Wife Tiye, and three of their daughters. It is the largest known dyad ever carved. The statue originally stood in Medinet Habu, Western Thebes; today it is the centerpiece of the main hall of the Egyptian Museum in Cairo.