Akhenaten Phase 1 (Summary)

Meillä satolla on yksi motto, kun on parhaimillaan kotona, on parhaimillaan elämässä. Siksi meillä vuokravakuus on nolla euroa. Voisitten sen kirjan käyttää siihen mitä oikeasti haluaa, mikä onnen ja ilon tuo. Vokra huolehton koti. Sato, pistefi. Katsotaan, dominekeja. Tässä on yksi mottisikässä, että järjestelmää on yksi mottisikässä. Miten se on yksi mottisikässä, että se on yksi mottisikässä. Tämä on tärkeää, että se on yksi mottisikässä, että se on yksi mottisikässä. Sitten on yksi mottisikässä, että se on yksi mottisikässä. Se on tärkeää, mutta se on yksi mottisikä, mutta se on yksi mottisikä, että se on yksi mottisikässä. Arkanatan on yksi mottisikässä, ja se on yksi 9 erityi, että se on yksi mottisikässä. Se on yksi 6 järjestelmää arkanatan ränä on tämän mottisikässä, mutta se on yksi mottisikässä, että se on yksi mottisikässä. Se on yksi mottisikässä, että se on yksi mottisikässä, että se on yksi mottisikässä, että se on yksi mottisikässä. Pesti outrageous nä вмann Where Saksson - Єkki auton py wereni, - j championship näin arvihaличini, kertoiیں! falar – Harvおin tio Geri Premier Rika Kali Latin sairaan seuraに 1832 edelleen Se 그대로i Suomesta että它的ella Neb Maa 3 Armonhotep III A man who had consolidated Egypt's imperial power and overseen a time of unprecedented royal wealth. Armonhotep III, sometimes called the dazzling artin was an opulent and glamorous ruler. His younger son was something else. Arcanaten was born with the name Armonhotep just like his father. He was not originally destined for the throne. Instead, his elder brother, a man named Tutmose, had become the visible heir to power and had started to participate in their father's regime. Unfortunately, Tutmose had never reached that peak. He died sometime around 1375 BCE, maybe. When that happened, the young boy Armonhotep became the new heir to power. Time passed and the prince grew to be a man. We don't know anything about his childhood or early maturity. Only that eventually he was acknowledged as the future king of Egypt. For 18 years or so, the young Armonhotep watched his father, the dazzling Pharaoh, reached splendid heights of divine authority before finally succumbing to time. The great Armonhotep III grew fat, old and sick, and after 38 years on the throne, he passed into the realm of Osiris and left this world behind. At the age of 18, maybe a bit older, Armonhotep IV ascended to the kingship of upper and lower Egypt. He became the living Horus, the son of Ray, the ruler of Egypt and Nubia, and master of an empire stretching into the near east. Armonhotep inherited vast wealth, immense diplomatic prestige, and a society shaped by millennia to obedience of Pharaoh's commands. He was a fortunate man, and at the start of his reign, he had the very best resources at his disposal. Armonhotep IV began his rule on relatively good terms. His early policies were conventional. He added new monuments to Karnak Temple, small embellishments for the glory of Armon Ray and the king. He also appeared in art as a typical Pharaoh, young, muscular and pious towards the greatest of gods. The only hint that he had any kind of unique vision was his clear emphasis on worshipping Ray Horakti, the sun god who emerges from the horizon at dawn. Armonhotep IV liked the solar deity a lot, and he made that clear in his choice of monuments and artistic representation. At the time, it may simply have been a preference, but in hindsight, it seems like a harbinger of things to come. One of Armonhotep IV's personality quirks, seems to have been a concern with names and what they implied. When the king first came to power, he had to choose the public titles by which he would be known as Pharaoh. Conventionally, rulers of Egypt used these names as an opportunity to identify themselves with the great gods and proclaim something about their personality or agenda. Names like Men Kepare Tutmost III or Neb Mahat Ray, Armonhotep III, gave a sense of the Pharaoh's relationships with different deities. For his throne names, Armonhotep IV chose two phrases. These were Nefa Kepare Rure and Wa N Re, which translate as "beautiful are the appearances of Re" and "Re's one and only". The first part was conventional, connecting the king with the great sun god in an ordinary way, but the second part was different. It presented Pharaoh as a special being, separate from everyone else, the only one whom Re favored. That was distinctive, and it gives us a hint at the king's early mindset. If nothing else, it seems that young Armonhotep IV was quite interested in names and what they said about him or the gods. Not long after he came to power, Armonhotep IV joined with the woman who would become world famous. Queen Nefertiti or Nefertiti, the beautiful one has come, arrived on the scene a couple of years after the king took the throne. Where she came from, we do not know, but she was probably a daughter of some local Egyptian family, maybe one of the high-ranking wealthy clans who gathered around the court. Nefertiti, the new queen of Egypt, would become a central part of the king's regime. She would bear her many daughters and over the course of their time together, she would gain greater and greater prominence, becoming the foremost woman of the land, and a key component of Arcanartan's religious ideals, and how they were expressed, particularly around the royal family. Nefertiti is a key figure, and while she is one of the most famous names in Egyptian history, her political and religious role is something we will explore in great detail. Around the same time that Nefertiti appeared, the young Armonhotep IV began to publicize his love for a particular form of the sun god. If Rey, Lord of Appearances, was a being of many identities, then Armonhotep clearly had a favourite. This was the form Artin, whom the king depicted as a falcon-headed deity, another identity of Rey. This god was officially named Rey Horakti, rejoicing in the horizon in his name of Light, which is in the Artin. This deity was nothing new. The concept of Artin had been around for over a thousand years in Egyptian religion, and Artin as an idea had gained more and more prominence in royal worship over the past few decades. Armonhotep expressed the idea of Artin in slightly more specific terms than his predecessors had done. But essentially, the god was still just another manifestation of Rey, and Rey was capable of appearing in many forms. There was nothing new about Artin itself. So at first, this idea, this introduction, probably wasn't seen as anything particularly out of the ordinary. Perhaps people were curious as to why Pharaoh had such an interest in this particular deity, but overall, it was relatively consistent with what had come before. However, it wasn't long before these conventional ideas began to change. Soon, the king proclaimed to the court that he would serve Artin above all. Other gods, he said, had fallen by the wayside, becoming meaningless. In the King's mind, the light of Artin embodied by the sun which shone in the sky, was to be the focal point of royal attention. Immediately, the new program began. Armonhotep commissioned temples in the city of Thebes, massive shrines and halls dedicated to the Artin. Taking over a whole section of Karnak, Pharaoh ordered the construction of an elaborate series of monuments, beautifully designed and richly decorated. The temples to Artin had names like Gemet par Artin, that which the Artin has found, and they seemed to mark an immense project of solar worship in the southern capital of Egypt. At the same time that he introduced Artin, the Pharaoh began to reveal Vielä on. a new style of art. A mana art, as we call it, was bold and distinctive, something new in the traditional style of Egyptian iconography. Armonhotep and his artists went back to the drawing board on visual representation, introducing a whole new set of proportions and features for depicting the human body. This art manifested in the reliefs of temples and massive statues, which adorned the shrines and showed Armonhotep in his new heavily stylized form. What that style meant and how it shapes our perception of him is described in detail in episode 112. At the same time that he reshaped his own appearance, the king also redesigned the figure of art in itself. Previously, the god had appeared like any Egyptian deity, a human body with an animal head in this case, a falcon, surmounted by a sun disk. Now, the king reduced that symbol to its absolute minimum. In the new style, art 10 now appeared as a solar disk alone. It hovered at the top of artistic scenes and rays of light extended from the bottom of the disk, with hands holding various symbols like life or dominion to the nostrils of the king and queen. This new iconography, the sun disk, was a radical departure from what had come before. And it seems to be a purified form of the essential idea of art in. If the king believed that other gods and their manifestations were no longer relevant, then perhaps it made sense for him to reduce the visual representation down to its absolute essentials. Art in was the sun, the light shining from the sky. It did not need a human body. It was right there, visible to your naked eyes. Metaphors and symbolic representations were no longer necessary. Now, the god was literal, distinctive and purified. So, around the time that he changed his artistic styles, the king also revealed a new vision of art in, one that was distinct from anything seen before. The king's introduction of art in and his promotion of new ideas seems to have occupied his first years in power. Little by little, Armonhotep IV established his public persona and the means by which he fulfilled his duties as Pharaoh. In theory, the king was still the highest priest of the land, a loyal servant of all gods. But, Armonhotep IV clearly had some strange ideas. And the little traces which survive suggest that his view of the gods as a concept left a lot to be desired. If nothing else, the king's focus on one deity above all may have seemed dangerous, neglect of the divine beings who ordered the universe. This trend reached its peak in year five, when the king declared that he would no longer use the name Armonhotep, meaning Armon is satisfied. Instead, he would now be called "Ak in Arten", which meant one who is effective for the Arten. The new name signaled a total devotion to the sun god, a personal focus which connected Pharaoh with Arten and abandoned Armon, his old namesake. Such a decision must have been profoundly disconcerting to some people in thebes. The southern capital was Armon's city, and now the Pharaoh was publicly distancing himself from the great god who made the world as it is. Reginald year five, the name change, was a key moment in Armonhotep/Ak in Arten's reign. Very quickly, events began to accelerate. The Pharaoh became concerned at talk of dissent of "bad things" which people reported to him. We don't know what these things were, but the most likely answer is that powerful individuals, priests or officials were speaking up against the king's policies. Argument, confrontation, Armonhotep hated such things, and he responded by declaring that he would no longer live in the southern city. Instead, the king was moving his palace to a new location, one untouched by any other god. This was the place that we call "Amana". Arcanotten declared his intention to establish a new home in the region now known as "Amana". But he called this place "Arquit Arten", the horizon of Arten, and it would be a royal residence devoted entirely to the sun god. Pharaoh commissioned temples here, along with palaces, and a new royal tomb to be the burial place of the king, the queen, and the daughters which were now filling out the royal family. Moving to Arquit Arten, "Amana" was a big process, and it was almost a year after the initial proclamations that the king finally began to live full-time at the new city. Builders scurried about to erect a massive palace for the government and a lavish home for the king himself. These monuments survive at the site, and archaeologists have been able to determine a lot about how the ancient structures were designed. I covered this in detail in episode 114, where we explored the palaces and residences of the city's central quarter. By the time Arcanotten began to live here, his religious ideas had developed quite significantly from when he first came to power. To begin with, the king had been a conventional Pharaoh. He showed deference to the great gods, and while he had his favourites, he didn't express any particularly radical ideas. Year by year though, he had become more and more extreme, or at least more confident. Slowly, Armonotip/Arcanotten developed a more complete idea of his god and how this being fit into the existing pantheon. At first, Arten was simply another manifestation or appearance of Ray. He looked like Ray, his name invoked Ray, and he seemed to be just one more form of the great son god. Over time, however, Arcanotten would come to view Arten as more and more distinct from the traditional solar deity. Having established Arquette Arten as the god's new home, Pharaoh now began to explore new ways of describing the deity, new ways of celebrating him, and eventually new ways of asserting the god's supremacy over the land and its temples. In the hindsight, we can see the first six years of Arcanotten's reign as a sort of first phase in his philosophical and religious growth. By the time he moved to Amarna, the Pharaoh Arcanotten approximately 24 years old had developed a consistent, fully realized vision of his god. Soon, those ideas were going to expand in radical and dangerous ways. Coming up on the history of Egypt podcast, we will begin exploring phase two of Arcanotten's reign. The king, living full-time at Amarna, will expand his worship of Arten, and we will discuss the great temples which were devoted to the sun god. Arcanotten also raised up his officials, creating a class of devoted servants who built tombs in the hills of Amarna and decorated their graves with scenes of Pharaoh's splendor. One of those tombs also reveals the king's ideas, as Arcanotten composed a poem or him celebrating the glory of Arten. He also developed his religious ideas more fully and explicitly than we've seen thus far. Phase two of Arcanotten's reign will begin in episode 116, but that will have to wait for a little while. I'm going to take a short break from the podcast, a little holiday to refresh the mental batteries, spend some time with my family and catch up on a bit of research. With your patience, I will be back soon, revitalised and ready to give Arcanotten my full creative energy. The podcast will return on October 30th when we will begin the story of Arcanotten's time at Amarna. First up, we will explore the king's grand religious vision. It is time to tackle in detail the ideas and origins of Artenism, sometimes called the world's first monotheistic religion. That will be episode 116, releasing October 30th. Thank you for listening to the history of Egypt podcast. I look forward to seeing you again after my holiday. May Arten shine upon you and your days. I will see you soon. [Music] (upbeat music)