Akhenaten (pronounced ), also spelled Echnaton, Akhenaton, ( egy, ꜣḫ-n-jtn ''ʾŪḫə-nə-yātəy'', , meaning "Effective for the Aten"), was an ancient Egyptian pharaoh reigning or 1351–1334 BC, the tenth ruler of the Eighteenth Dynasty. Before the fifth year of his reign, he was known as Amenhotep IV ( egy, jmn-ḥtp, links=no, meaning " Amun is satisfied", Hellenized as ''Amenophis IV''). As a pharaoh, Akhenaten is noted for abandoning Egypt's traditional polytheism and introducing Atenism, or worship centered around Aten. The views of Egyptologists differ as to whether the religious policy was absolutely

monotheistic Monotheism is the belief that there is only one deity, an all-supreme being that is universally referred to as God. Cross, F.L.; Livingstone, E.A., eds. (1974). "Monotheism". The Oxford Dictionary of the Christian Church (2 ed.). Oxford: Oxford ...

, or whether it was monolatry, syncretistic, or henotheistic. This culture shift away from traditional religion was reversed after his death. Akhenaten's monuments were dismantled and hidden, his statues were destroyed, and his name

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Atenism

Egyptians worshipped a sun god under several names, and solar worship had been growing in popularity even before Akhenaten, especially during the Eighteenth Dynasty and the reign of Amenhotep III, Akhenaten's father. During the New Kingdom of Egypt, New Kingdom, the pharaoh started to be associated with the sun disc; for example, one inscription called the pharaoh Hatshepsut the "female Ra, Re shining like the Disc," while Amenhotep III was described as "he who rises over every foreign land, Nebmare, the dazzling disc." During the Eighteenth Dynasty, a religious hymn to the sun also appeared and became popular among Egyptians. However, Egyptologists question whether there is a causal relationship between the cult of the sun disc before Akhenaten and Akhenaten's religious policies.

Implementation and development

The implementation of Atenism can be traced through gradual changes in the Aten#Iconography, Aten's iconography, and Egyptologist Donald B. Redford divided its development into three stages—earliest, intermediate, and final—in his studies of Akhenaten and Atenism. The earliest stage was associated with a growing number of depictions of the sun disc, though the disc is still seen resting on the head of the falcon-headed sun god Ra-Horakhty, as the god was traditionally represented. The god was only "unique but not exclusive." The intermediate stage was marked by the elevation of the Aten above other gods and the appearance of cartouches around his inscribed name—cartouches traditionally indicating that the enclosed text is a royal name. The final stage had the Aten represented as a sun disc with sunrays like long arms terminating in human hands and the introduction of a new epithet for the god: "the great living Disc which is in jubilee, lord of heaven and earth." In the early years of his reign, Amenhotep IV lived at Thebes, the old capital city, and permitted worship of Egypt's traditional deities to continue. However, some signs already pointed to the growing importance of the Aten. For example, inscriptions in the Theban TT188, tomb of Parennefer from the early rule of Amenhotep IV state that "one measures the payments to every (other) god with a level measure, but for the Aten one measures so that it overflows," indicating a more favorable attitude to the cult of Aten than the other gods. Additionally, near the Temple of Karnak, Amun-Ra's great cult center, Amenhotep IV erected several massive buildings including temples to the Aten. The new Aten temples had no roof and the god was thus worshipped in the sunlight, under the open sky, rather than in dark temple enclosures as had been the previous custom. The Theban buildings were later dismantled by his successors and used as infill for new constructions in the Temple of Karnak; when they were later dismantled by archaeologists, some 36,000 decorated blocks from the original Aten building here were revealed that preserve many elements of the original relief scenes and inscriptions. One of the most important turning points in the early reign of Amenhotep IV is a speech given by the pharaoh at the beginning of his second regnal year. A copy of the speech survives on one of the pylon (architecture), pylons at the Karnak, Karnak Temple Complex near Thebes. Speaking to the royal court, scribes or the people, Amenhotep IV said that the gods were ineffective and had ceased their movements, and that their temples had collapsed. The pharaoh contrasted this with the only remaining god, the sun disc Aten, who continued to move and exist forever. Some Egyptologists, such as Donald B. Redford, compared this speech to a proclamation or manifesto, which foreshadowed and explained the pharaoh's later religious reforms centered around the Aten. In his speech, Akhenaten said:

The temples of the gods fallen to ruin, their bodies do not endure. Since the time of the ancestors, it is the wise man that knows these things. Behold, I, the king, am speaking so that I might inform you concerning the appearances of the gods. I know their temples, and I am versed in the writings, specifically, the inventory of their primeval bodies. And I have watched as they [the gods] have ceased their appearances, one after the other. All of them have stopped, except the god who gave birth to himself. And no one knows the mystery of how he performs his tasks. This god goes where he pleases and no one else knows his going. I approach him, the things which he has made. How exalted they are.

In Year Five of his reign, Amenhotep IV took decisive steps to establish the Aten as the sole god of Egypt. The pharaoh "disbanded the priesthoods of all the other gods... and diverted the income from these [other] cults to support the Aten." To emphasize his complete allegiance to the Aten, the king officially changed his name from Amenhotep IV to Akhenaten ( egy, ꜣḫ-n-jtn, links=no, meaning "Effective for the Aten"). Meanwhile, the Aten was becoming a king itself. Artists started to depict him with the trappings of pharaohs, placing his name in cartouches—a rare, but not unique occurrence, as the names of Ra-Horakhty and Amun-Ra had also been found enclosed in cartouches—and wearing a uraeus, a symbol of kingship. The Aten may also have been the subject of Akhenaten's royal

Sed festival The Sed festival (''ḥb-sd'', conventional pronunciation ; also known as Heb Sed or Feast of the Tail) was an ancient Egyptian ceremony that celebrated the continued rule of a pharaoh. The name is taken from the name of an Egyptian wolf god, ...

early in the pharaoh's reign. With Aten becoming a sole deity, Akhenaten started to proclaim himself as the only intermediary between Aten and his people, and the subject of their personal worship and attention—a feature not unheard of in Egyptian history, with Fifth Dynasty pharaohs such as Nyuserre Ini proclaiming to be sole intermediaries between the people and the gods Osiris and Ra. By Year Nine of his reign, Akhenaten declared that Aten was not merely the supreme god, but the only worshipable god. He ordered the defacing of Amun's temples throughout Egypt and, in a number of instances, inscriptions of the plural 'gods' were also removed. This emphasized the changes encouraged by the new regime, which included a ban on Cult image, images, with the exception of a rayed solar disc, in which the rays appear to represent the unseen spirit of Aten, who by then was evidently considered not merely a sun god, but rather a universal deity. All life on Earth depended on the Aten and the visible sunlight. Representations of the Aten were always accompanied with a sort of hieroglyphic footnote, stating that the representation of the sun as all-encompassing creator was to be taken as just that: a representation of something that, by its very nature as something transcending creation, cannot be fully or adequately represented by any one part of that creation. Aten's name was also written differently starting as early as Year Eight or as late as Year Fourteen, according to some historians. From "Living Ra#Relationship to other gods, Re-Horakhty, who rejoices in the horizon in his name Shu (Egyptian god), Shu-Ra, Re who is in Aten," the god's name changed to "Living Re, ruler of the horizon, who rejoices in his name of Re the father who has returned as Aten," removing the Aten's connection to Re-Horakhty and Shu, two other solar deities. The Aten thus became an amalgamation that incorporated the attributes and beliefs around Re-Horakhty, universal sun god, and Shu, god of the sky and manifestation of the sunlight. Akhenaten's Atenist beliefs are best distilled in the Great Hymn to the Aten. The hymn was discovered in the tomb of Ay (pharaoh), Ay, one of Akhenaten's successors, though Egyptologists believe that it could have been composed by Akhenaten himself. The hymn celebrates the sun and daylight and recounts the dangers that abound when the sun sets. It tells of the Aten as a sole god and the creator of all life, who recreates life every day at sunrise, and on whom everything on Earth depends, including the natural world, people's lives, and even trade and commerce. In one passage, the hymn declares: "O Sole God beside whom there is none! You made the earth as you wished, you alone." The hymn also states that Akhenaten is the only intermediary between the god and Egyptians, and the only one who can understand the Aten: "You are in my heart, and there is none who knows you except your son."

Atenism and other gods

Some debate has focused on the extent to which Akhenaten forced his religious reforms on his people. Certainly, as time drew on, he revised the names of the Aten, and other religious language, to increasingly exclude references to other gods; at some point, also, he embarked on the wide-scale erasure of traditional gods' names, especially those of Amun. Some of his court changed their names to remove them from the patronage of other gods and place them under that of Aten (or Ra, with whom Akhenaten equated the Aten). Yet, even at Amarna itself, some courtiers kept such names as Ahmose ("child of the moon god", the owner of tomb 3), and the sculptor's workshop where the famous Nefertiti Bust and other works of royal portraiture were found is associated with an artist known to have been called Thutmose (sculptor), Thutmose ("child of Thoth"). An overwhelmingly large number of Egyptian faience, faience amulets at Amarna also show that talismans of the household-and-childbirth gods Bes and Taweret, the eye of Horus, and amulets of other traditional deities, were openly worn by its citizens. Indeed, a cache of royal jewelry found buried near the Amarna royal tombs (now in the National Museum of Scotland) includes a finger ring referring to Mut, the wife of Amun. Such evidence suggests that though Akhenaten shifted funding away from traditional temples, his policies were fairly tolerant until some point, perhaps a particular event as yet unknown, toward the end of the reign. Archaeological discoveries at Akhetaten show that many ordinary residents of this city chose to gouge or chisel out all references to the god Amun on even minor personal items that they owned, such as commemorative scarabs or make-up pots, perhaps for fear of being accused of having Amunist sympathies. References to Amenhotep III, Akhenaten's father, were partly erased since they contained the traditional Amun form of his name: Nebmaatre Amunhotep.

After Akhenaten

Following Akhenaten's death, Egypt gradually returned to its traditional polytheism, polytheistic religion, partly because of how closely associated the Aten became with Akhenaten. Atenism likely stayed dominant through the reigns of Akhenaten's immediate successors, Smenkhkare and Neferneferuaten, as well as early in the reign of Tutankhaten. For some years the worship of Aten and a resurgent worship of Amun coexisted. Over time, however, Akhenaten's successors, starting with Tutankhaten, took steps to distance themselves from Atenism. Tutankhaten and his wife Ankhesenpaaten dropped the Aten from their names and changed them to Tutankhamun and Ankhesenamun, respectively. Amun was restored as the supreme deity. Tutankhamun reestablished the temples of the other gods, as the pharaoh propagated on his Restoration Stela: "He reorganized this land, restoring its customs to those of the time of Re. ... He renewed the gods' mansions and fashioned all their images. ... He raised up their temples and created their statues. ... When he had sought out the gods' precincts which were in ruins in this land, he refounded them just as they had been since the time of the first primeval age." Additionally, Tutankhamun's building projects at Thebes and Karnak used talatat's from Akhenaten's buildings, which implies that Tutankhamun might have started to demolish temples dedicated to the Aten. Aten temples continued to be torn down under Ay and Horemheb, Tutankhamun's successors and the last pharaohs of the Eighteenth Dynasty. Horemheb might also have ordered the demolition of Akhetaten, Akhenaten's capital city. Further underlining the break with Aten worship, Horemheb claimed to have been chosen to rule by the god Horus. Finally, Seti I, the second pharaoh of the Nineteenth Dynasty, ordered the name of Amun to be restored on inscriptions where it had been removed or replaced by Aten.

Artistic depictions

Styles of art that flourished during the reigns of Akhenaten and his immediate successors, known as Amarna art, are markedly different from the art of ancient Egypt, traditional art of ancient Egypt. Representations are more realism (arts), realistic, expressionism, expressionistic, and realism (arts), naturalistic, especially in depictions of animals, plants and people, and convey more action and movement for both non-royal and royal individuals than the traditionally static representations. In traditional art, a pharaoh's divine nature was expressed by repose, even immobility. The portrayals of Akhenaten himself greatly differ from the depictions of other pharaohs. Traditionally, the portrayal of pharaohs—and the Egyptian ruling class—was idealized, and they were shown in "stereotypically 'beautiful' fashion" as youthful and athletic. However, Akhenaten's portrayals are unconventional and "unflattering" with a sagging stomach; broad hips; thin legs; thick thighs; large, "almost feminine breasts;" a thin, "exaggeratedly long face;" and thick lips. Based on Akhenaten's and his family's unusual artistic representations, including potential depictions of gynecomastia and androgyny, some have argued that the pharaoh and his family have either suffered from aromatase excess syndrome and craniosynostosis, sagittal craniosynostosis syndrome, or Antley–Bixler syndrome. In 2010, results published from genetic studies on Akhenaten's purported mummy did not find signs of gynecomastia or Antley-Bixler syndrome, although these results have since been questioned. Arguing instead for a symbolic interpretation, Dominic Montserrat in ''Akhenaten: History, Fantasy and Ancient Egypt'' states that "there is now a broad consensus among Egyptologists that the exaggerated forms of Akhenaten's physical portrayal... are not to be read literally". Because the god Aten was referred to as "the mother and father of all humankind," Montserrat and others suggest that Akhenaten was made to look androgynous in artwork as a symbol of the androgyny of the Aten. This required "a symbolic gathering of all the attributes of the creator god into the physical body of the king himself", which will "display on earth the Aten's multiple life-giving functions". Akhenaten claimed the title "The Unique One of Re", and he may have directed his artists to contrast him with the common people through a radical departure from the idealized traditional pharaoh image. Depictions of other members of the court, especially members of the royal family, are also exaggerated, stylized, and overall different from traditional art. Significantly, and for the only time in the history of Egyptian royal art, the pharaoh's family life is depicted: the royal family is shown mid-action in relaxed, casual, and intimate situations, taking part in decidedly naturalistic activities, showing affection for each other, such as holding hands and kissing. Akhenaten with blue crown

Nefertiti also appears, both beside the king and alone, or with her daughters, in actions usually reserved for a pharaoh, such as "smiting the enemy," a traditional depiction of male pharaohs. This suggests that she enjoyed unusual status for a queen. 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.

Speculative theories

Akhenaten's status as a religious revolutionary has led to much speculative reason, speculation, ranging from scholarly hypotheses to non-academic fringe science, fringe theories. Although some believe the religion he introduced was mostly monotheistic, many others see Akhenaten as a practitioner of an Aten monolatry, as he did not actively deny the existence of other gods; he simply refrained from worshiping any but the Aten.

Akhenaten and monotheism in Abrahamic religions

The idea that Akhenaten was the pioneer of a monotheistic religion that later became Judaism has been considered by various scholars. One of the first to mention this was Sigmund Freud, the founder of psychoanalysis, in his book ''Moses and Monotheism''. Basing his arguments on his belief that the Exodus story was historical, Freud argued that Moses had been an Atenist priest who was forced to leave Egypt with his followers after Akhenaten's death. Freud argued that Akhenaten was striving to promote monotheism, something that the biblical Moses was able to achieve. Following the publication of his book, the concept entered popular consciousness and serious research. Freud commented on the connection between Names of God in Judaism#Adonai, Adonai, the Egyptian Aten and the Syrian divine name of Adonis as stemming from a common root; in this he was following the argument of Egyptologist Arthur Weigall. Jan Assmann's opinion is that 'Aten' and 'Adonai' are not linguistically related. There are strong similarities between Akhenaten's Great Hymn to the Aten and the Book of Psalms, Biblical Psalm Psalm 104, 104, but there is debate as to relationship implied by this similarity. Others have likened some aspects of Akhenaten's relationship with the Aten to the relationship, in Christian tradition, between Jesus, Jesus Christ and God, particularly interpretations that emphasize a more monotheistic interpretation of Atenism than a henotheistic one. Donald B. Redford has noted that some have viewed Akhenaten as a typology (theology), harbinger of Jesus. "After all, Akhenaten did call himself the son of the sole god: 'Thine only son that came forth from thy body'."

James Henry Breasted James Henry Breasted (; August 27, 1865 – December 2, 1935) was an American archaeologist, Egyptologist, and historian. After completing his PhD at the University of Berlin in 1894, he joined the faculty of the University of Chicago. In 1901 he ...

likened him to Jesus, Arthur Weigall saw him as a failed precursor of Christ and Thomas Mann saw him "as right on the way and yet not the right one for the way". Although scholars like Brian Fagan (2015) and Robert Alter (2018) have re-opened the debate, in 1997, Redford concluded:

Before much of the archaeological evidence from Thebes and from Tell el-Amarna became available, wishful thinking sometimes turned Akhenaten into a humane teacher of the true God, a mentor of Moses, a christlike figure, a philosopher before his time. But these imaginary creatures are now fading away as the historical reality gradually emerges. There is little or no evidence to support the notion that Akhenaten was a progenitor of the full-blown monotheism that we find in the Bible. The monotheism of the Hebrew Bible and the New Testament had its own separate development—one that began more than half a millennium after the pharaoh's death.

Possible illness

The unconventional portrayals of Akhenaten—different from the traditional athletic norm in the portrayal of pharaohs—have led Egyptologists in the 19th and 20th centuries to suppose that Akhenaten suffered some kind of genetic abnormality. Various illnesses have been put forward, with adiposogenital dystrophy, Frölich's syndrome or Marfan syndrome being mentioned most commonly. Cyril Aldred, following up earlier arguments of Grafton Elliot Smith and James Strachey, suggested that Akhenaten may have suffered from Frölich's syndrome on the basis of his long jaw and his feminine appearance. However, this is unlikely, because this disorder results in infertility, sterility and Akhenaten is known to have fathered numerous children. His children are repeatedly portrayed through years of archaeological and iconographic evidence. Burridge suggested that Akhenaten may have suffered from Marfan syndrome, which, unlike Frölich's, does not result in mental impairment or sterility. Marfan sufferers tend towards tallness, with a long, thin face, elongated skull, overgrown ribs, a funnel or pigeon chest, a high curved or slightly cleft palate, and larger pelvis, with enlarged thighs and spindly calves, symptoms that appear in some depictions of Akhenaten. Marfan syndrome is a dominant characteristic, which means sufferers have a 50% chance of passing it on to their children. However, DNA tests on Tutankhamun in 2010 proved negative for Marfan syndrome. By the early 21st century, most Egyptologists argued that Akhenaten's portrayals are not the results of a genetic or medical condition, but rather should be interpreted as stylized portrayals influenced by Atenism. Akhenaten was made to look androgynous in artwork as a symbol of the androgyny of the Aten.

Cultural depictions

Akhenaten's life, accomplishments, and legacy have been preserved and depicted in many ways, and he has figured in works of both high culture, high and popular culture since his rediscovery in the 19th century AD. Akhenaten—alongside Cleopatra and Alexander the Great—is among the most often popularized and fictionalized ancient historical figures. On page, Amarna novels most often take one of two forms. They are either a ''Bildungsroman'', focusing on Akhenaten's psychological and moral growth as it relates to establishing Atenism and Akhetaten, as well as his struggles against the Theban Amun cult. Alternatively, his literary depictions focus on the aftermath of his reign and religion. A dividing line also exists between depictions of Akhenaten from before the 1920s and since, when more and more archeological discoveries started to provide artists with material evidence about his life and times. Thus, before the 1920s, Akhenaten had appeared as "a ghost, a spectral figure" in art, while since he has become realistic, "material and tangible." Examples of the former include the romance novels ''In the Tombs of the Kings'' (1910) by Lilian Bagnall—the first appearance by Akhenaten and his wife Nefertiti in fiction—and ''A Wife Out of Egypt'' (1913) and ''There Was a King in Egypt'' (1918) by Norma Lorimer. Examples of the latter include ''Akhnaton King of Egypt'' (1924) by Dmitry Merezhkovsky, ''Joseph and His Brothers'' (1933–1943) by Thomas Mann, ''Akhnaton'' (1973) by Agatha Christie, and ''Akhenaten, Dweller in Truth'' (1985) by Naguib Mahfouz. Akhenaten also appears in ''The Egyptian'' (1945) by Mika Waltari, which was adapted into the movie ''The Egyptian (film), The Egyptian'' (1953). In this movie, Akhenaten, portrayed by Michael Wilding, appears to represent Jesus Christ and his followers proto-Christians. A sexualized image of Akhenaten, building on early Western interest in the pharaoh's androgyny, androgynous depictions, perceived potential homosexuality, and identification with Oedipus complex, Oedipal storytelling, also influenced modern works of art. The two most notable portrayals are ''Akenaten'' (1975), an unfilmed screenplay by Derek Jarman, and ''Akhnaten (opera), Akhnaten'' (1984), an opera by Philip Glass. Both were influenced by the unproven and scientifically unsupported theories of Immanuel Velikovsky, who equated Oedipus with Akhenaten, although Glass specifically denies his personal belief in Velikovsky's Oedpius theory, or caring about its historical validity, instead being drawn to its potential theatricality.Philip Glass, Glass, Philip (1987) ''Music by Philip Glass'' New York: Harper & Row. p.137-138. In the 21st century, Akhenaten appeared as an antagonist in comic books and video games. For example, he is the major antagonist in limited series (comics), limited comic-book series ''Marvel: The End'' (2003). In this series, Akhenaten is abducted by an alien order in the 14th century BC and reappears on modern Earth seeking to restore his kingdom. He is opposed by essentially all of the other superheroes and supervillains in the Marvel comic book universe and is eventually defeated by Thanos. Additionally, Akhenaten appears as the enemy in the ''Assassin's Creed Origins Assassin's Creed Origins#The Curse of the Pharaohs, The Curse of the Pharaohs'' downloadable content (2017), and must be defeated to remove his curse on Thebes. His afterlife takes the form of 'Aten', a location that draws heavily on the architecture of the city of Amarna. American death metal band Nile (band), Nile depicted Akhenaten's judgement, punishment, and erasure from history at the hands of the Ancient Egyptian deities, pantheon that he replaced with Aten, in the song ''Cast Down the Heretic'', from their 2005 album Annihilation of the Wicked.

Ancestry

Notes and references

Notes

Bibliography

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Clayton, Peter (2006). ''Chronicle of the Pharaohs'', Thames and Hudson * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

External links

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The City of Akhetaten

M.A. Mansoor Amarna Collection

Grim secrets of Pharaoh's city
BBC
Ancestry and Pathology in King Tutankhamun's Family
Hawass
The Long Coregency Revisited: the Tomb of Kheruef
by Peter Dorman, University of Chicago
Royal Relations, Tut's father is very likely Akhenaten. National Geographic 09. 2010
{{Authority control Akhenaten, 14th-century BC Pharaohs Pharaohs of the Eighteenth Dynasty of Egypt 14th-century BC births 1330s BC deaths Atenism Egyptian religious leaders Founders of religions Historical negationism in ancient Egypt Children of Amenhotep III Tutankhamun 14th-century BC religious leaders City founders