Amun and Tutankhamun
Egyptian Museum, Turin (Italy)
Atenism, or the Amarna heresy, refers to the religious changes associated with the eighteenth dynasty Pharaoh Akhenaton. In the 14th century BC it was Egypt's state religion for around 20 years, before subsequent rulers returned to the traditional gods and the Pharaohs associated with Atenism were erased from Egyptian records.
So Amarna heresy created a problem for subsequent monarchs. It became necessary for them to demonstrate their re-allegiance to the traditional gods, the sacerdotal caste, and especially to the god of the Theban capital, Amun.
This sculpture demonstrates the subservience of the king to the god in no uncertain terms.
The king’s placement to the left of the god underscores his subordination, as do his smaller dimensions, his lack of a headdress other than the nemes-head cloth and the fact that he stands whereas the god sits. Like a wife in a double sculpture, the king shows his love by embracing the god, a gesture that is not reciprocated. Instead, the god’s left hand is occupied, holding the ankh-symbol of life.
Indeed, the Amarna features of the king are so compelling as to suggest that this sculpture is the product of the immediate Amarna successor, King Tutankhamun. The fact that the inscription is that of the later King Haremhab is usually explained away as an usurpation, a common royal phenomenon.
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©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Amun and Tutankhamun
Egyptian Museum, Turin (Italy)
Atenism, or the Amarna heresy, refers to the religious changes associated with the eighteenth dynasty Pharaoh Akhenaton. In the 14th century BC it was Egypt's state religion for around 20 years, before subsequent rulers returned to the traditional gods and the Pharaohs associated with Atenism were erased from Egyptian records.
So Amarna heresy created a problem for subsequent monarchs. It became necessary for them to demonstrate their re-allegiance to the traditional gods, the sacerdotal caste, and especially to the god of the Theban capital, Amun.
This sculpture demonstrates the subservience of the king to the god in no uncertain terms.
The king’s placement to the left of the god underscores his subordination, as do his smaller dimensions, his lack of a headdress other than the nemes-head cloth and the fact that he stands whereas the god sits. Like a wife in a double sculpture, the king shows his love by embracing the god, a gesture that is not reciprocated. Instead, the god’s left hand is occupied, holding the ankh-symbol of life.
Indeed, the Amarna features of the king are so compelling as to suggest that this sculpture is the product of the immediate Amarna successor, King Tutankhamun. The fact that the inscription is that of the later King Haremhab is usually explained away as an usurpation, a common royal phenomenon.
_____________________
©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.