PERSONALITY 1.1 Geography, topography and resources of Egypt and its neighbours
Using your map of Egypt and your own knowledge describe the resources found in Egypt and it’s neighbours. (3 marks) (3/3)
In the 18th Dynasty, Egypt and its neighbours had a wealth of natural resources such as turquoise, honey and semi-precious stones. From the map given in class, we can see that two of Egypt’s neighbours are Afghanistan and Sinai. In Sinai they had an extensive amount of Turquoise the Egyptians could trade their resources for, and the same occurred with Afghanistan and their semi-precious stones. Egypt itself had a wealth of honey throughout the region.
PERSONALITY 1.2 Historical Overview of the Eighteenth Dynasty
Explain the significance of religion during the 18th Dynasty.
Religion in the 18th Dynasty Egypt was prominent in many aspects of life including the position of the Pharaoh, the religious role of the Pharaoh and the belief in an afterlife. The position of the Pharaoh as the earthly manifestation of the gods in conjunction with the Pharaoh’s need to appease the gods through temples and cults and the belief that life led to an afterlife all demonstrate how significant religion was at the time.
The mythology of the royal birth, that being that Amun is depicted taking the form of the reigning king, impregnating the principle queen with an heir demonstrating that royalty is descended from and can communicate with the gods. This is a scene often depicted in wall paintings and hieroglyphic stories found throughout Egypt. In placing the Pharaoh in this position the people of Egypt display to modern historians that the gods are their highest power and they do many things in their lives for the sole purpose of appeasing them and asking for their love and compassion to reap the rewards later. This also allowed the Pharaoh to be the head of all aspects of his kingdom including the political, religious and military spheres, whereas if he were not depicted as a godly manifestation, he would have to relinquish control of religion to the high priests rather than be able to rule over them. People found religion significant enough for the Pharaoh to need to be in a divine position to solidify power.
The religious role of the Pharaoh is tied in with Ma’at – the divine order of the universe. His role is to uphold and maintain this to prevent chaos and destruction to his people and lands. The way the Pharaoh would do this is by being involved in religion, as he proclaims to be the gods in flesh, and ensuring that religion was spread through the whole region and that there were followers to appease each god to spare their wrath. This also included the construction and restoration of temples or shrines, such as Tutankhamun did which is evident through the Restoration Stella. This again promoted religion and appeased the gods further. The people saw this as their Pharaoh looking after them by keeping the divine order in check and avoiding the gods’ anger to keep the land fertile and the people happy.
Almost everything the Pharaoh and people did on earth was to appease the gods, and this was largely due to their belief in the afterlife and that they needed to live good lives to enter into a good afterlife. This was a prominent belief and it is shown in the way the burial practices are carried out. Derived from the story of Osiris, god of the Underworld, shown in many places throughout Egypt, including the Book of the Dead, the rituals of mummification and opening of the mouth were meticulously carried out in funerals. This demonstrates the firm beliefs the people had in the workings of the afterlife and that one had to be good and appease their gods in order to be able to enter into a pleasurable afterlife.
The mythology of the royal birth, that being that Amun is depicted taking the form of the reigning king, impregnating the principle queen with an heir demonstrating that royalty is descended from and can communicate with the gods. This is a scene often depicted in wall paintings and hieroglyphic stories found throughout Egypt. In placing the Pharaoh in this position the people of Egypt display to modern historians that the gods are their highest power and they do many things in their lives for the sole purpose of appeasing them and asking for their love and compassion to reap the rewards later. This also allowed the Pharaoh to be the head of all aspects of his kingdom including the political, religious and military spheres, whereas if he were not depicted as a godly manifestation, he would have to relinquish control of religion to the high priests rather than be able to rule over them. People found religion significant enough for the Pharaoh to need to be in a divine position to solidify power.
The religious role of the Pharaoh is tied in with Ma’at – the divine order of the universe. His role is to uphold and maintain this to prevent chaos and destruction to his people and lands. The way the Pharaoh would do this is by being involved in religion, as he proclaims to be the gods in flesh, and ensuring that religion was spread through the whole region and that there were followers to appease each god to spare their wrath. This also included the construction and restoration of temples or shrines, such as Tutankhamun did which is evident through the Restoration Stella. This again promoted religion and appeased the gods further. The people saw this as their Pharaoh looking after them by keeping the divine order in check and avoiding the gods’ anger to keep the land fertile and the people happy.
Almost everything the Pharaoh and people did on earth was to appease the gods, and this was largely due to their belief in the afterlife and that they needed to live good lives to enter into a good afterlife. This was a prominent belief and it is shown in the way the burial practices are carried out. Derived from the story of Osiris, god of the Underworld, shown in many places throughout Egypt, including the Book of the Dead, the rituals of mummification and opening of the mouth were meticulously carried out in funerals. This demonstrates the firm beliefs the people had in the workings of the afterlife and that one had to be good and appease their gods in order to be able to enter into a pleasurable afterlife.
Describe the significance of the role of the Pharaoh
The Pharaoh of New Kingdom times had several significant roles they were required to fulfil in order to maintain Ma’at and ensure the kingdom’s prosperity during his reign, these being the religious, warrior/hunter, administrative and builder roles. The people saw the Pharaoh as the physical manifestation or vessel of the gods, which gave him authority over the religious sphere, and included in his role as a religious figurehead was the requirement that he appease the gods, a part of upholding Ma’at. This could be achieved through how he presided over the religious aspect of Egyptian life such as his interaction with the Priests, his way of relating with the gods such as celebrating festivals, as well as through his other roles. One way to appease the gods was to show them respect through building and restoring their shrines and temples, which was a part of the builder role of the Pharaoh and was the aim of many building programs throughout the New Kingdom. The warrior/hunter Pharaoh image was upheld in order to communicate to the population that the Pharaoh was strong, courageous and able to defend them from threats. This image helped to uphold Ma’at as it kept the people from falling into chaos when a threat emerged. Lastly, the Pharaoh was required to be an administrator and, as seen in letters that have survived through the years, the leader of Egypt was involved in many decisions both big and small. He was also the only one to hold the power of sentencing an individual to death, which demonstrates how highly the Pharaoh is placed. Each of these roles contribute to the peace and longevity of the people and land of Egypt as they each provide a way to uphold order and structure in society to maintain Ma’at.
PERSONALITY 1.5 Roles of the king and relationship to the gods, especially Amun
Describe the relationship of the king to Amun
The King’s right to rule was dictated by the chief god of the time, Amun. In the early years of the Dynasty, the Egyptians believed in divine oracles to speak prophecies that allowed for the god to make his choice of Pharaoh known to the people. Pharaohs, such as Amenhotep III, claimed through a series of wall paintings and carvings, on the walls of Luxor, that he was the divine son of Amun, which gave him further solidification to his claim to the throne. Furthermore, this right to rule was renewed in festivals such as the Heb-Sed and the Opet. This allowed for the prominence and wealth of the cult of Amun, as it was therefore linked with the wealth and power of the Pharaoh, both gaining support and supporting their leader.
PERSONALITY 2.1 Family background and evidence for early years
Describe Akhenaten’s family background
Akhenaten’s own blood relations contain five pharaohs of the 18th dynasty and one from the 17th dynasty, making his royal blood rather potent. Many of his ancestor’s children are female, marrying them mostly to males within the royal family, such as Amenhotep III marrying his daughter Sitamun and Akhenaten marrying two of his own daughters. The marriage to daughters and daughters of relatives also led to these women to become principal wives to Pharaohs, making the background of many of the woman and men in Akhenaten’s family powerful and prominent in their own ways.
What does Akhenaten’s family background tell us about marriage and succession in the amarna age?
If deduced from Akhenaten’s family tree, the marriage of Pharaohs and royal children was often kept within the family, marrying close relatives, siblings or even parents. Though there were some outside marriages, these too were loosely related or perhaps came from one of the more prominent elite or common families. The succession, similarly, seemed to have stayed within the family with a majority of the 18th Dynasty Pharaohs coming from the same bloodline as Akhenaten.
PERSONALITY 3.1 Titles and changes to his royal image over time
What do Akhenaten’s titles reveal about him?
The change from the focus on Re to Aten is another display of the change he made to the state religion. His titles as Amenhotep IV expressed an agenda to continue the golden age, to rise the crown, to be strong, great, satisfying the gods and so on. This then changed upon his titulary change to Akhenaten where the agenda essentially changed to being strong, for the Aten, being great, for the Aten, and just generally worship and act in the name and for the Aten.
PERSONALITY 3.5 Religious policy: reforms, nature, importance and impact of Aten worship
Describe the way in which the Aten was worshipped.
The Aten was worshipped by the offering of food, drink and flowers while accompanied by music and singing that would have praised him as their god. The temple was a sanctuary for the royal family’s worship as well as the high priests; those worthy to be in the presence of the god, but no ordinary people. Foreign dignitaries and royals gave taxes and gifs in a section of the temple under the watchful god’s rays, making the exchange in his name. The Aten was prayed to through the Pharaoh by worshipping the royal family.
PERSONALITY 3.6 Artistic innovations and development: representations of the Aten, Akhenaten and the royal family; the natural world
How was Akhenaten depicted?
His head was thin and long with a sharp chin, almond shaped eyes and full, fleshy lips. His neck was elongated as well as his other limbs. The King’s physique was more feminine with a thin build and broad hips and breasts. He was often depicted genderless, that is, without any genitals male or female. His thighs and buttocks were also plumper while his stomach was softer. Some poses are still the traditional warrior and leader poses, however there are many poses that differ from this such as being with his family, the same size as his wife, mostly just in a more natural pose that shows an emotional reaction.
Describe the artistic innovations that occurred under Akhenaten (10 Marks) 8/10
Akhenaten made several changes to artistic representations of himself, his family and natural landscapes during his reign. This is evident around the third year of his reign in line with many of his religious innovations.
In regards to his own image, Akhenaten altered it so much to the point it is often described as ‘grotesque’, yet the poses Akhenaten had himself depicted in are more natural than other Pharaohs’ depictions. Originally a Pharaoh’s image had much to do with his image of being a warrior and a protector of his people, thus requiring him to seem more masculine. Akhenaten disregarded this idea and instead his image seemed more feminine with breasts, a flat stomach, thick thighs, big lips and almond shaped eyes. Other notable differences was his elongated appearance, which left many scholars to believe these changes were the result of the king developing signs of a disease. The temple walls at Karnak and several statues of the Pharaoh host such an image of him. In the carvings at Karnak is where one of the more natural and well known images of the Pharaoh sitting with his family – also in scale with his wife and children as opposed to older Pharaohs always depicting themselves larger than life.
As mentioned, there were alterations made to the image of the Royal family during Akhenaten’s reign, being more prominent and in scale with their king, husband and father being one of the more obvious changes. Scholars noticed that in several images of the family, including the carving at Karnak, that the family is in proportion with the Pharaoh and that the children were carved to seem roughly the age they were at the time the carving was created. Other images of the children show the children and their parents ageing, which was a quality not seen in past generations of royal children. The family's image shared some attributes of their father/husband’s new image, though they were far subtler, as can is seen in the Karnak image as well as several busts of Nefertiti.
Natural landscapes seen in carvings, mosaics and frescoes were decorated in more vivid colours and more realistic and natural themes. In this era of landscape images there was more of a focus on plant life rather than animals, though they were often shown in frolicking depictions, and further being more accurate in the depiction of such subjects. The art of the landscapes also held a focus on what the sun brings to the land and the life it infuses plant life and animals with. Where older art focussed on the eternal, as in people and the flora and fauna that lived as long or longer such as tall trees, Amarna art instead chose to focus on the more short-lived aspects of nature such as flowers and small bushes.
Akhenaten changed many aspects of artistic culture in the New Kingdom, particularly to himself with some more minor changes to his family and the natural landscape images. These changes were some never before seen in Egypt’s artistic history and some of the changes are unexplainable aside from possible connections to the religious innovations they coincide with.
In regards to his own image, Akhenaten altered it so much to the point it is often described as ‘grotesque’, yet the poses Akhenaten had himself depicted in are more natural than other Pharaohs’ depictions. Originally a Pharaoh’s image had much to do with his image of being a warrior and a protector of his people, thus requiring him to seem more masculine. Akhenaten disregarded this idea and instead his image seemed more feminine with breasts, a flat stomach, thick thighs, big lips and almond shaped eyes. Other notable differences was his elongated appearance, which left many scholars to believe these changes were the result of the king developing signs of a disease. The temple walls at Karnak and several statues of the Pharaoh host such an image of him. In the carvings at Karnak is where one of the more natural and well known images of the Pharaoh sitting with his family – also in scale with his wife and children as opposed to older Pharaohs always depicting themselves larger than life.
As mentioned, there were alterations made to the image of the Royal family during Akhenaten’s reign, being more prominent and in scale with their king, husband and father being one of the more obvious changes. Scholars noticed that in several images of the family, including the carving at Karnak, that the family is in proportion with the Pharaoh and that the children were carved to seem roughly the age they were at the time the carving was created. Other images of the children show the children and their parents ageing, which was a quality not seen in past generations of royal children. The family's image shared some attributes of their father/husband’s new image, though they were far subtler, as can is seen in the Karnak image as well as several busts of Nefertiti.
Natural landscapes seen in carvings, mosaics and frescoes were decorated in more vivid colours and more realistic and natural themes. In this era of landscape images there was more of a focus on plant life rather than animals, though they were often shown in frolicking depictions, and further being more accurate in the depiction of such subjects. The art of the landscapes also held a focus on what the sun brings to the land and the life it infuses plant life and animals with. Where older art focussed on the eternal, as in people and the flora and fauna that lived as long or longer such as tall trees, Amarna art instead chose to focus on the more short-lived aspects of nature such as flowers and small bushes.
Akhenaten changed many aspects of artistic culture in the New Kingdom, particularly to himself with some more minor changes to his family and the natural landscape images. These changes were some never before seen in Egypt’s artistic history and some of the changes are unexplainable aside from possible connections to the religious innovations they coincide with.
PERSONALITY 3.7 Foreign policy: Syria-Palestine, Nubia
Describe Akhenaten’s Foreign Policy
Akhenaten’s attitudes toward foreign policy was one of the contributors to the destruction of the Golden Age experienced under the reign of his father before him as, from exchanges with Nubia and Syria-Palestine, he is seen to have been a pacifist who avoided warfare, wasting the chance for political advancement and putting Egypt in economic disarray.
With Nubia, the policy was a traditional one including the construction of towns and military campaigns. Aten altered the dedication of one town in his early reign, changing it from Amun to the Aten and branching out with his religious alterations. Akhenaten did, however, contribute to the quashing of a rebellion, though it seems that the army was largely under the control of Thutmose, rather than the Pharaoh himself.
In Akhenaten’s early years his armies were instructed to campaign against the Apiru, outlaw bands in Palestine, who were resettled in Nubia. Akhenaten was not the first to initiate this policy, but was the first to also relocate Nubian rebels in Palestine. Akhenaten was known to have had at least one war with the Hittites, who were a rapidly growing power at the time. Talatat and Reliefs that depict the battle indicate the war was fought in the first five years when the temples were decorated, and the retaking of Abdi-Ashirta of Amurru’s cities may have been a part of this conflict. Rib-Addi of Babylos, who also often wrote to complain about the actions if Aziru of Amurru who was later detained and imprisoned, records the victory. Upon Aziru’s release he began the defecation of the Hittites, indicating how difficult the Pharaoh found maintaining control over his sphere of influence.
With Nubia, the policy was a traditional one including the construction of towns and military campaigns. Aten altered the dedication of one town in his early reign, changing it from Amun to the Aten and branching out with his religious alterations. Akhenaten did, however, contribute to the quashing of a rebellion, though it seems that the army was largely under the control of Thutmose, rather than the Pharaoh himself.
In Akhenaten’s early years his armies were instructed to campaign against the Apiru, outlaw bands in Palestine, who were resettled in Nubia. Akhenaten was not the first to initiate this policy, but was the first to also relocate Nubian rebels in Palestine. Akhenaten was known to have had at least one war with the Hittites, who were a rapidly growing power at the time. Talatat and Reliefs that depict the battle indicate the war was fought in the first five years when the temples were decorated, and the retaking of Abdi-Ashirta of Amurru’s cities may have been a part of this conflict. Rib-Addi of Babylos, who also often wrote to complain about the actions if Aziru of Amurru who was later detained and imprisoned, records the victory. Upon Aziru’s release he began the defecation of the Hittites, indicating how difficult the Pharaoh found maintaining control over his sphere of influence.
Evaluate the effectiveness of Akhenaten’s foreign policy.
Akhenaten, unlike his predecessor, had an imbalance of priorities as he focused on his religious innovation that left foreign policy to suffer his neglect, and this led to wars and a deterioration of Egypt’s wealth and influence, particularly over the regions of Nubia and Syria-Palestine. In comparison to Amenhotep III’s reign, Akhenaten was neglectful in his foreign policy and did not make many decisions that benefitted Egypt’s relationships with its neighbours. While Akhenaten applied traditional foreign policy in Nubia, constructing towns and running military campaigns, he did branch out his religious innovations to this neighbour. In Syria and Palestine Akhenaten began to lose control of some of the area due to the uprising of rebels, namely Aziru of Amurru and Habiru respectively, who sought to take a portion of both regions for themselves. Combining these elements of his foreign policy, they contribute to the poor state of Egypt’s relationships with its neighbours and the loss of wealth that was experienced in Egypt at the time.
PERSONALITY 4.2 Assessment of his life and Reign
To what extent was the nature of Akhenaten’s religious reforms revolutionary? (15 Marks) 12/15
Akhenaten made several changes to artistic representations of himself, his family and natural landscapes during his reign. This is evident around the third year of his reign in line with many of his religious innovations.
In regards to his own image, Akhenaten altered it so much to the point it is often described as ‘grotesque’, yet the poses Akhenaten had himself depicted in are more natural than other Pharaohs’ depictions. Originally a Pharaoh’s image had much to do with his image of being a warrior and a protector of his people, thus requiring him to seem more masculine. Akhenaten disregarded this idea and instead his image seemed more feminine with breasts, a flat stomach, thick thighs, big lips and almond shaped eyes. Other notable differences was his elongated appearance, which left many scholars to believe these changes were the result of the king developing signs of a disease. The temple walls at Karnak and several statues of the Pharaoh host such an image of him. In the carvings at Karnak is where one of the more natural and well known images of the Pharaoh sitting with his family – also in scale with his wife and children as opposed to older Pharaohs always depicting themselves larger than life.
As mentioned, there were alterations made to the image of the Royal family during Akhenaten’s reign, being more prominent and in scale with their king, husband and father being one of the more obvious changes. Scholars noticed that in several images of the family, including the carving at Karnak, that the family is in proportion with the Pharaoh and that the children were carved to seem roughly the age they were at the time the carving was created. Other images of the children show the children and their parents ageing, which was a quality not seen in past generations of royal children. The family's image shared some attributes of their father/husband’s new image, though they were far subtler, as can is seen in the Karnak image as well as several busts of Nefertiti.
Natural landscapes seen in carvings, mosaics and frescoes were decorated in more vivid colours and more realistic and natural themes. In this era of landscape images there was more of a focus on plant life rather than animals, though they were often shown in frolicking depictions, and further being more accurate in the depiction of such subjects. The art of the landscapes also held a focus on what the sun brings to the land and the life it infuses plant life and animals with. Where older art focussed on the eternal, as in people and the flora and fauna that lived as long or longer such as tall trees, Amarna art instead chose to focus on the more short-lived aspects of nature such as flowers and small bushes.
Akhenaten changed many aspects of artistic culture in the New Kingdom, particularly to himself with some more minor changes to his family and the natural landscape images. These changes were some never before seen in Egypt’s artistic history and some of the changes are unexplainable aside from possible connections to the religious innovations they coincide with.
In regards to his own image, Akhenaten altered it so much to the point it is often described as ‘grotesque’, yet the poses Akhenaten had himself depicted in are more natural than other Pharaohs’ depictions. Originally a Pharaoh’s image had much to do with his image of being a warrior and a protector of his people, thus requiring him to seem more masculine. Akhenaten disregarded this idea and instead his image seemed more feminine with breasts, a flat stomach, thick thighs, big lips and almond shaped eyes. Other notable differences was his elongated appearance, which left many scholars to believe these changes were the result of the king developing signs of a disease. The temple walls at Karnak and several statues of the Pharaoh host such an image of him. In the carvings at Karnak is where one of the more natural and well known images of the Pharaoh sitting with his family – also in scale with his wife and children as opposed to older Pharaohs always depicting themselves larger than life.
As mentioned, there were alterations made to the image of the Royal family during Akhenaten’s reign, being more prominent and in scale with their king, husband and father being one of the more obvious changes. Scholars noticed that in several images of the family, including the carving at Karnak, that the family is in proportion with the Pharaoh and that the children were carved to seem roughly the age they were at the time the carving was created. Other images of the children show the children and their parents ageing, which was a quality not seen in past generations of royal children. The family's image shared some attributes of their father/husband’s new image, though they were far subtler, as can is seen in the Karnak image as well as several busts of Nefertiti.
Natural landscapes seen in carvings, mosaics and frescoes were decorated in more vivid colours and more realistic and natural themes. In this era of landscape images there was more of a focus on plant life rather than animals, though they were often shown in frolicking depictions, and further being more accurate in the depiction of such subjects. The art of the landscapes also held a focus on what the sun brings to the land and the life it infuses plant life and animals with. Where older art focussed on the eternal, as in people and the flora and fauna that lived as long or longer such as tall trees, Amarna art instead chose to focus on the more short-lived aspects of nature such as flowers and small bushes.
Akhenaten changed many aspects of artistic culture in the New Kingdom, particularly to himself with some more minor changes to his family and the natural landscape images. These changes were some never before seen in Egypt’s artistic history and some of the changes are unexplainable aside from possible connections to the religious innovations they coincide with.