The Amarna Period: Artistic Changes Transitional art

The Amarna Period: Artistic Changes
For the first four years of Amenhotep IV’s reign, there was no break with traditional artistic conventions. In
Theban tombs we have several examples from this period. The royal scribe Kheruef’s tomb was decorated in
the traditional fashion. Amenhotep IV and his mother Tiye (pronounced Tea) are shown worshipping the
traditional gods. The usual funerary deities, Osiris and Anubis, are still mentioned and the sun-god appears in
the form of falcon-headed Re-Harakhte.
Wall relief from the tomb of the scribe Kheruef. Amenhotep IV is shown with his mother, Tiye.
Transitional art
The tomb of the vizier Ramose is an interesting transition, with examples of both the new and old styles. On the
left of the main doorway is Amenhotep IV enthroned with the goddess Maat in the traditional form. On the
right-hand side, there is an example of the new ‘Amarna’ style, with Akhenaten and Nefertiti leaning out of the
Window of Appearances (The Window of Appearances is an open balcony where the royal family appeared
before the people). The Aten is shown in its fully developed form, with human hands holding the ankh to the
royal pair. Also from this period, in the tomb of Parennefer, ‘Overseer of All Works in the Mansion of Aten’, the
Aten reaches its hands down to the royal couple. For more information on the tomb of Ramose go to
http://egyptsites.wordpress.com/2009/02/07/tomb-of-ramose-tt55/
Left: Amenhotep IV with
goddess Maat on left side of
tomb of the vizier Ramose.
Right: Amenhotep IV as
Akhenaten with wife Nefertiti in
the new Amarna styled art. From
right side of tomb of the vizier
Ramose.
Change in portrait style
A style even further removed from tradition then followed, shown by the
colossal statues of Akhenaten at Karnak. These may have stood in the courtyard
of the temple of the Aten at Karnak. Historian Nicholas Reeves suggests that this
exaggerated figure may represent Nefertiti. Akhenaten (or Nefertiti) is portrayed
in an exaggerated and distorted fashion, with a severe and elongated face and
skull, feminine hips and thighs and sagging stomach. Reeves has written that the
statues may represent Nefertiti as the ancient creator god who represented both
male and female characteristics. Artists would not have produced this style
without direct orders from the king; the royal sculptor Bak explained that
Akhenaten had ‘taught’ him.
Other historians have argued that these portraits of Akhenaten show that he
suffered from some sort of hormonal disturbance. The most recent suggested
diagnosis, Marfan’s syndrome, has been suggested by A. Burridge. But, during
if they were, did they miss their
shown worshipping the traditional gods.
contacts
other,family
more accessible
The usual funerary deities,
Osiris and
this period, all members
ofwiththe
are portrayed
in this
exaggerated style;
and personable, gods? As noted in the
Anubis, are still mentioned and the sunsection,
evidencenormal
for other
god appears in the form
of falcon-headed
later, they are portrayedprevious
in the
more
traditional
manner
gods was found among workers’ houses
Re-Harakhte.
at Amarna.
It is not clear whether Akhenaten
replaced important religious festivals
such as the Feast of Opet, which
featured Amen, in Thebes. The
common people could become
involved in such festivals. Doubtless
the feasting and festivities that would
have followed were important to them.
Were these festivals missing during the
Amarna period?
Transitional art
Right Top: Statue
of Akhenaten/Nefertiti at Karnak
The tomb of the vizier Ramose is
Window of
Appearances
an open
balcony where
the royal family
appeared
before the
people
an interesting transition, with examples
both the newTalatat
and old styles.
Right ofLower:
ofOnAkhenaten
the left of the main doorway is
Amenhotep IV enthroned with the
goddess Maat in the traditional form.
On the right-hand side, there is an
example of the new ‘Amarna’ style, with
Akhenaten and Nefertiti leaning out of
the Window of Appearances. The Aten
is shown in its fully developed form,
with human hands holding the ankh to
the royal pair. Also from this period,
in the tomb of Parennefer, ‘Overseer
of All Works in the Mansion of Aten’,
the Aten reaches its hands down to the
royal couple.
Spontaneity and naturalism
A later phase
showed a less extreme style. The pharaoh and
Artistic
reforms
his family are still represented as never before, including
Review the
evidence
intimate family scenes of Akhenaten and Nefertiti playing
During Akhenaten’s reign,
artistic conventions, style and
subjects changed. Keep the following
questions in mind while reading this
section. You could draw up a summary
chart with the headings:
with their daughters, riding in chariots, embracing, holding
Change in portrait style
A style evenA
further
removed from
hands and dining together.
naturalism
and spontaneity,
tradition then followed, epitomised by
the colossal statues of Akhenaten at
not seen in previous Egyptian
art, is often shown. The scene of the royal couple in a chariot
Karnak. These may have stood in the
Artistic
style
Evidence
How
courtyard of the temple of the Aten.
revolutionary?
with a daughter
leaningHistorian
forward
poke
N. Reeves to
suggests
that the horse is a good example. Another extraordinary
this exaggerated figure may represent
Akhenaten
(or Nefertiti)
scene shows the royalNefertiti.
couple
expressing
grief at their daughter Maketaten’s death, with
1 How were artistic conventions
changed?
2 Why do you think Akhenaten
altered the artistic style?
3 How revolutionary were these
changes?
You will need to read further on
traditional artistic styles if you have
not studied New Kingdom society.
is portrayed in an exaggerated and
distorted fashion, with a severe and
Akhenaten holding Nefertiti’s
arm in consolation. Some extraordinarily natural portraits were
elongated face and skull, feminine
hips and thighs and sagging, corpulent
produced from the workshop
the
stomach (seeof
Figure
6.23 sculptor
on page 278). Thutmosis at Amarna, such as the famous bust of
Reeves argues that the statues may
Nefertiti
as the ancient Many lifelike busts – or perhaps plaster casts –
Nefertiti now in the represent
Berlin
Museum.
creator god who represented both
male and female characteristics. Artists
representing ordinary Egyptians
have also been found, as well as beautiful scenes of nature.
would not have produced this style
without direct orders from the king;
Sympathetic portrayalstheofroyalmarsh
scenes
and birdlife were found in many parts of the city of
sculptor Bak
explained that
For the first four years of Amenhotep IV’s
reign, there was no break with traditional
artistic conventions. In Theban tombs
we have several examples from this
period. The royal scribe Kheruef ’s tomb
was decorated in the traditional fashion.
Figure 6.26 Akhenaten and Nefertiti in a
Left
Top:
Bust
of
Nefertiti
found
at his
Amarna
chariot
Amenhotep
IV and
mother Tiy are
Akhenaten had ‘taught’ him.
Otherbeauty,
examples of this
can beas a backdrop to human activities.
Amarna. Nature is shown as
notstylejust
282
found on relief blocks (talatat) from the
Aten temple at Karnak, with Nefertiti,
and sometimes their daughters,
worshipping the Aten. Some historians
Studies in Ancient Egypt
ISBN 9780170182072
Left
Lower: Relief of Akhenaten and Nefertiti
on chariot with daughter.
06 Ancient Egypt 3E SBCD TXT 4pp.indd 282
Right: Damaged sculpture of tow lovers
holding hands found at Amarna.
Far Right: Damaged relief & ostraca of
marshes and birds at Amarna
06/10/09 4:45 PM