Tag: amarna

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Egyptian Artifacts Reading Hieroglyphs

Cartouches of Akhenaten and Nefertiti

While this may just seem like the broken fragment of a statue 𓏏𓅱𓏏𓀾 (and I guess it is), I love this piece at the MET because it contains the cartouches of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and Nefertiti π“„€π“„€π“„€π“„€π“„€π“‡‹π“π“ˆ–π“‡³π“„€π“‡π“˜π“»π“—!Β 

The Amarna Period, and the reign π“‹Ύπ“ˆŽπ“ of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and Nefertiti π“„€π“π“‡π“˜π“— has always fascinated me, ever since I was a child π“π“‡Œπ“€”. Professional Egyptologists have tried to piece together the series of events that shaped this tumultuous time period of Egyptian history, mostly by looking at the hieroglyphs π“ŠΉπ“Œƒπ“ͺ themselves.

Fragmented statue containing the cartouches of Akhenaten and Nefertiti

Let’s read some hieroglyphs π“ŠΉπ“Œƒπ“ͺ! Let’s start at the right column, since the directional symbols point that way!

π“†₯ – King of Upper and Lower Egypt

π“‹Ή – Life

𓐝 – On

𓁧 – Maat

π“ŽŸπ“‡Ώπ“‡Ώ – Lord of the Two Lands

π“‡³π“„€π“†£π“‡³π“¦π“Œ‘π“ˆ–- Neferkheperura-waenre which means “Beautiful are the Forms/Manifestations of Re, the Unique one of Re” (Akhenaten’s throne name)

𓏙𓋹 – Given Life

Now on to the left column! This first part is cut off, but it’s probably a variant Nefertiti’s title of β€œKing’s Great Wife, as you can see the ending of the word β€œ great 𓅩𓂋𓏏”

π“ˆ˜π“π“†‘ – His Beloved

π“„€π“„€π“„€π“„€π“„€π“‡‹π“π“ˆ–π“‡³π“„€π“‡π“˜π“»π“— – Nefertiti (Neferneferuaten Nefertiti)

𓋹𓏏 – May She Live/The Living

𓆖 – Everlasting/Eternal/Eternity

π“Ž›π“‡³π“Ž› – Eternity

What always gets me is Akhenaten’s throne name of π“‡³π“„€π“†£π“‡³π“¦π“Œ‘π“ˆ–- Neferkheperura-waenre. This particular spelling of the throne name is only seen after he changed his given name from Amenhotep IV π“‡‹π“ π“ˆ–π“Š΅π“ŠΉπ“‹Ύπ“Œ€ to Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–. The original spelling, before the name π“‚‹π“ˆ– change was β€œπ“œπ“„€π“†£π“¦π“‡³π“Œ‘π“ˆ–.” The name π“‚‹π“ˆ– is still pronounced the same and has the same meaning, but the falcon glyph π“œ was changed to just the sun disc 𓇳 (both pronounced Re/Ra).Β  Also, all of Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– other names (Horus name, etc) underwent a change, to remove the other deities π“ŠΉπ“ŠΉπ“ŠΉ, but this one didn’t.Β 

I wonder why Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– didn’t change the throne name (π“‡³π“„€π“†£π“‡³π“¦π“Œ‘π“ˆ–) to represent the Aten π“‡‹π“π“ˆ–π“‡³, just like how all of his other names π“‚‹π“ˆ–π“¦ were changed.Β  Nefertiti’s name also underwent a change; her name π“‚‹π“ˆ– went from just Nefertiti π“„€π“π“‡π“˜π“— to Neferneferuaten Nefertiti π“„€π“„€π“„€π“„€π“„€π“‡‹π“π“ˆ–π“‡³π“„€π“‡π“˜π“»π“— around year 5 of Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…žπ“π“ˆ– reign. Year 5 in the reign π“‹Ύπ“ˆŽπ“ of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…žπ“π“ˆ– is significant, because that is when we see most of the changes to Atenism begin to take place. Year 5 is when Aten π“‡‹π“π“ˆ–π“‡³ became the supreme and only god π“ŠΉ, and the other deities π“ŠΉπ“ŠΉπ“ŠΉ could not be worshipped 𓇼𓄿𓀒.

Since this piece contains the β€œupdated” version of Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– throne name and the longer version of Nefertiti’s π“„€π“„€π“„€π“„€π“„€π“‡‹π“π“ˆ–π“‡³π“„€π“‡π“˜π“»π“— name π“‚‹π“ˆ–, we can assume that this piece was made during or after year 5 of Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– reign π“‹Ύπ“ˆŽπ“.

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Egyptian Artifacts

The Amarna Letters

The β€œAmarna Letters” is the modern designation for a group of over 300 𓏲𓏲𓏲 clay tablets that were found at Tell el-Amarna, EgyptΒ π“†Žπ“…“π“π“Š–Β in the 1880s. Amarna as it is commonly called, is the modern name for β€œAkhetatenΒ π“ˆŒπ“π“‰π“‡‹π“π“ˆ–π“Š–.” β€œAkhetatenΒ π“ˆŒπ“π“‰π“‡‹π“π“ˆ–π“Š–β€ was the capital of EgyptΒ π“†Žπ“…“π“π“Š–Β during the reign π“‹Ύ of AkhenatenΒ π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–.Β 

The β€œAmarna Letters” are written on clay tablets in cuneiform script, which was a type of Mesopotamian script! Cuneiform could be used to write many languages, but the language on the β€œAmarna Letters’” tablets is Akkadian. This is significant because it shows the reach that cuneiform/Akkadian had throughout the ancient world! Akkadian was probably the lingua franca (common language/trade language) of the time! 

Most of the letters are written from rulers outside of EgyptΒ π“†Žπ“…“π“π“Š–, and they document diplomatic relations between these territories and EgyptΒ π“†Žπ“…“π“π“Š–. This particular Amarna Letter that is pictured is from Abi-milku of Tyre to the pharaoh 𓉐𓉻 of EgyptΒ π“†Žπ“…“π“π“Š–, AkhenatenΒ π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–Β .Β Abi-milku was asking EgyptΒ π“†Žπ“…“π“π“Š–Β for protectionΒ in return for his loyalty to the pharaoh 𓉐𓉻 AkhenatenΒ π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–!

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Egyptian Artifacts

Non-Royal Art from the Amarna Period

Both of these pieces may seem small, but they are quite interesting!

Both the head of a statue π“„šπ“ˆ–π“π“­π“€Ύ (left) and the statue π“„šπ“ˆ–π“π“­π“€Ύ of two men and a boy (right) are non-royal art pieces from the Amarna Period. The Amarna Period refers to the reign of the pharaoh Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–. Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– is referred to as the heretic pharaoh 𓉐𓉻, because he changed the entire Egyptian religion from the traditional polytheistic to the monotheistic worship 𓇼𓄿𓀒 of the Aten π“‡‹π“π“ˆ–π“‡³.

Besides the dramatic religious shift, and the move of the Egyptian capital from Thebes π“Œ€π“π“Š– to his new capital (aptly named β€œAkhenaten”), one thing that made the Amarna period quite different was the shift in the art style. Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and the royal family were always depicted strangely compared to past Egyptian art styles. Many think this could be due to a genetic connective tissue disease than ran through the family. However, these two 𓏻 pieces show that even the non-royals were also depicted in what is now considered to be typical Amarna style art. Amarna art usually shows people with long limbs, strangely shaped heads, and prominent bellies.

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Egyptian Artifacts

Fragment of a Statue of Akhenaten

My Nonno and Nonna took my sister and I to the Brooklyn Museum for the first time over 15 π“Ž†π“Ύ years ago – one of the things I loved most about it was the beautiful collection of artifacts from the Amarna Period – aka the rule of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–!

This piece is a fragment of a statue π“„šπ“ˆ–π“π“­π“€Ύ of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–. Although the cartouches have been β€œerased,” stylistically, the statue π“„šπ“ˆ–π“π“­π“€Ύ is obviously of him due to the way the chest is carved.

Petrie is credited with finding this – he found 17 π“Ž†π“€ partial statues π“„šπ“ˆ–π“π“­π“€Ύπ“ͺ of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­ during his excavation of the city in the 1890s. He also found tons of statues π“„šπ“ˆ–π“π“­π“€Ύπ“ͺ that seemed to be purposefully smashed. Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­ were definitely unpopular due to not only moving Egypt’s π“†Žπ“…“π“π“Š– capital but also because they changed the religion from polytheistic to the monotheistic worship of the Aten π“‡‹π“π“ˆ–π“‡³. This mass destruction of the statues π“„šπ“ˆ–π“π“­π“€Ύπ“ͺ showed that the Egyptians π“†Žπ“π“€€π“π“ͺ wanted to erase Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– rule.

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Egyptian Artifacts

The Wilbour Plaque

This is one of my absolute favorite pieces and I was so excited to see it again in person at the Brooklyn Museum after so long!

After Hatshepsut π“‡‹π“ π“ˆ–π“ŽΉπ“π“„‚π“π“€Όπ“ͺ, Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– is my second favorite pharaoh 𓉐𓉻 because of just how different/bizarre his rule was compared to everything/everyone else. The Brooklyn Museum has an amazing collection of artifacts from Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– rule!

The top piece in the display is known as the Wilbour Plaque, after Charles Wilbour who acquired it in 1881. The plaque is interesting because it is complete as is it was never part of a larger scene and was most like used as a model for sculptors. While there aren’t any inscriptions to confirm this, it is assumed that the people represented here are Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– and Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­. However, some argue that the person accompanying Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– in the image could either be Tutankhamun π“‡‹π“ π“ˆ–π“π“…±π“π“‹Ήπ“‹Ύπ“‰Ίπ“‡“ or Smenkare π“‡³π“Šƒπ“‰»π“‚“π“‚¦π“†£.

To me this piece is interesting because the Aten π“‡‹π“π“ˆ–π“‡³ is no where in sight! Usually Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– is always accompanied by an image of the sun 𓇳𓏺/Aten π“‡‹π“π“ˆ–π“‡³ with sun rays shining on him. It’s almost kinda weird to see him like this!

The second piece in the display is another sculptor’s model!

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Egyptian Artifacts

Reliefs from Amarna – featuring Nefertiti!

This is a painted limestone sunken relief of Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­.

Relief of Nefertiti at the Brooklyn Museum

Even though her name does not appear on the relief, thanks to the uniqueness of the Amarna art style, it can be easy to tell who is who in the art. The headdress that Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­ is wearing in this relief is the same headdress that the famous Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­ bust in Berlin wears! You can also see the phrase β€œ 𓏙𓋹” which means β€œgiven life” above her head. The rest of the inscription cannot be read.

The second relief is a raised relief and it was once part of a larger image. It shows feet in sandals! The description from the museum says it’s from an unidentified woman π“Šƒπ“π“‚‘π“π“ or queen π“‡“π“π“π“ˆž. This could be Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­, or one of her and Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– daughters.

Feet In Sandals relief at the Brooklyn Museum

The third piece is a bust. According to the museum, scholars used to think this was a bust of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–, Smenkhare π“‡³π“Šƒπ“‰»π“‚“π“‚¦π“†£, or Tutankhamun π“‡‹π“ π“ˆ–π“π“…±π“π“‹Ήπ“‹Ύπ“‰Ίπ“‡“. However, more recently, it is thought to show Ankhesenpaaten, the second daughter of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…žπ“π“ˆ– and Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­. Ankhesenpaaten was the wife/queen π“‡“π“π“π“ˆž of Tutankhamun π“‡‹π“ π“ˆ–π“π“…±π“π“‹Ήπ“‹Ύπ“‰Ίπ“‡“ and during his rule changed her name to Ankhesenamun to reflect the switch back to the old religion. The name Ankhesenamun means β€œshe who lives through Amun.”

Tutankhamun π“‡‹π“ π“ˆ–π“π“…±π“π“‹Ήπ“‹Ύπ“‰Ίπ“‡“ also went through a name change when he switched Egypt’s π“†Žπ“…“π“π“Š– religion back – his original name was Tutankhaten π“‡‹π“π“ˆ–π“‡³π“π“…±π“π“‹Ήπ“ˆ–π“‡³!

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Egyptian Artifacts

Statue of an “Amarna King”

The Amarna Period and Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– reign as pharaoh 𓉐𓉻 has always fascinated me. All of the radical changes that were made – such as changing the religion from polytheistic to the monotheistic worship of Aten π“‡‹π“π“ˆ–π“‡³, to moving the capital, to the changes in the art – it must have been quite crazy during those years!

This is actually one of my favorite pieces in the Brooklyn Museum – the Museum has the statue π“„šπ“ˆ–π“π“­π“€Ύ labeled as β€œAmarna King” but to me it’s clear that this piece represents Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ–. He is represented in typical Amarna art style here: distended belly/large hips, very long arms, narrow neck and angular face. It is not known whether these are exaggerated features, or if the art was meant to be a more realistic representation of what the royal family looked like. Usually Egyptian art depicted people at their finest, with idealized features rather than realistic ones.

In this statue π“„šπ“ˆ–π“π“­π“€Ύ, Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– is wearing the khepresh π“†£π“‚‹π“ˆ™π“‹™ crown with the gold π“‹žπ“ƒ‰π“ƒ‰π“ƒ‰ Uraeus 𓇋𓂝𓂋𓏏𓆗 preserved at the front, a broad collar π“…±π“‹΄π“π“ŽΊπ“‹ necklace and a skirt. While this limestone π“‡‹π“ˆ–π“ˆ™π“Œ‰ statue’s π“„šπ“ˆ–π“π“­π“€Ύ paint is preserved beautifully the gold π“‹žπ“ƒ‰π“ƒ‰π“ƒ‰ that is seen is actually gold leaf and not paint!

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Egyptian Artifacts

Canopic Jar from the Amarna Period

This beautifully π“„€ made canopic jar was made during the reign of Akhenaten π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– (Dynasty 18, c. 1349–1336 B.C.E.).

Since it’s discovery in the Valley of the Kings (Tomb KV55) in 1907, Egyptologists have been trying to figure out who the canopic jars (there are four 𓏽 of them) originally belonged to. The jar has been identified as: Queen Tiye, Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…žπ“π“ˆ– mother 𓅐𓏏𓁐; Queen Nefertiti π“‡‹π“π“ˆ–π“‡³π“„€π“„€π“„€π“„€π“„€π“‡π“π“­, his principal wife π“‡“π“π“π“ˆž; Queen Kiya, his secondary wife; and Princess Merytaten, Akhenaten’s π“‡‹π“π“ˆ–π“‡³π“…œπ“π“ˆ– eldest daughter whom he married later in his reign (🀒).

There were hieroglyphs π“ŠΉπ“Œƒπ“ͺ on the jar to help identify the original owner, however they have been completely faded or erased. Very faint traces of hieroglyphs π“ŠΉπ“Œƒπ“ͺ could identify the owned as Queen Kiya. Some argue that the face looks like Queen Tiye, and that the lid was just placed on Queen Kiya’s jar. I guess we will never know for sure who the canopic jars belonged to!

The face on the lid is wearing what is called the Nubian Wig, which was very popular during the Amarna Period. There is also a hole on the forehead, where a Uraeus 𓇋𓂝𓂋𓏏𓆗 would be. These features indicate that the owner of the jar was in fact part of the royal family.