Some of the most fascinating sculptures to have survived from ancient Egypt are the colossal statues of Akhenaten, erected at the beginning of his reign in his new temple to the Aten at Karnak. Fragments of more than thirty statues are now known, showing the paradoxical features combining male and female, young and aged, characteristic of representations of this king. Did he look like this in real life? Or was his iconography skilfully devised to mirror his concept of his role in the universe? The author presents the history of the discovery of the statue fragments from 1925 to the present day; the profusion of opinions on the appearance of the king and his alleged medical conditions; and the various suggestions for an interpretation of the perplexing evidence. A complete catalog of all major fragments is included, as well as many pictures not previously published.

Pharaoh Akhenaten remains one of the most fascinating and studied figures of ancient history. Akhenaten and the Origins of Monotheism focuses on Akhenaten's preoccupation with worshipping the sun disc Aten, and the implications of this unique religion in foundationally shaping monotheism.

Pharaoh Akhenaten, who reigned for seventeen years in the fourteenth century B.C.E, is one of the most intriguing rulers of ancient Egypt. His odd appearance and his preoccupation with worshiping the sun disc Aten have stimulated academic discussion and controversy for more than a century. Despite the numerous books and articles about this enigmatic figure, many questions about Akhenaten and the Atenism religion remain unanswered. In Akhenaten and the Origins of Monotheism, James K. Hoffmeier argues that Akhenaten was not, as is often said, a radical advocating a new religion, but rather a primitivist: that is, one who reaches back to a golden age and emulates it. Akhenaten's inspiration was the Old Kingdom (2650-2400 B.C.E.), when the sun-god Re/Atum ruled as the unrivaled head of the Egyptian pantheon. Hoffmeier finds that Akhenaten was a genuine convert to the worship of Aten, the sole creator God, based on the Pharoah's own testimony of a theophany, a divine encounter that launched his monotheistic religious odyssey. The book also explores the Atenist religion's possible relationship to Israel's religion, offering a close comparison of the hymn to the Aten to Psalm 104, which has been identified by scholars as influenced by the Egyptian hymn. Through a careful reading of key texts, artworks, and archaeological studies, Hoffmeier provides compelling new insights into a religion that predated Moses and Hebrew monotheism, the impact of Atenism on Egyptian religion and politics, and the aftermath of Akhenaten's reign.

Richard A. Fazzini has inspired and mentored many scholars of Egyptology through his tireless efforts as curator and then chairman of the Brooklyn Museum's Deptartment of Egyptian, Classical and Ancient Middle Eastern Art (ECAMEA); field archaeologist of the Pricinct of Mut at Karnak; scholar; and teacher, The 35 contributions to this volume in his honor represent the variety of Professor Fazzini's own research interests namely in ancient Egyptian art, religious iconography, and archaeology, particularly of the New Kingdom, Third Intermediate Period, and Late Period. Reflections on Professor Fazzini's scholarship and teaching are accompanied by an extensive bibliography of his works.

Over more than a century and a quarter of excavations the royal and administrative buildings in the city of Amarna have yielded the remains of many hundreds of statues that had been part of Akhenaten's visionary plan. But fragmentation and dispersal have up until now made the results almost invisible. Only a relatively small number of the original statues have been widely known, even to experts. The present publication brings together all these traces of the city's past to reveal the abundance, beauty, variety, and novelty of the statuary and to begin the process of reintegrating it in considerations of the temples and palaces of the city. The work is presented in two parts. The first volume presents extensive observations about the creation of the statuary, comprising chapters dealing with the range of materials and the methods of working them, a detailed explication of the novel creation of composite statuary, and an overview of the workshop buildings that have been identified so far at Amarna. In the second volume, the excavated fragments themselves, most of them previously unpublished, are catalogued in a series of chapters devoted to individual royal buildings. The original statues are envisioned and analysed for their contexts, resulting in new information about these buildings, the intentions and concerns behind them, and the evolution in those intentions.

Throughout her career, Ann Macy Roth has regularly returned to well-known ancient Egyptian material and visual culture and shed new light on it by employing different approaches and methodologies. In this way, her research has led to new interpretations and readings of ancient Egyptian beliefs and practices while illustrating the importance of and need for continual questioning and re-examination within Egyptology. This volume brings together papers from around the world that follow her tradition of rethinking, reassessing, and innovating. It is intended to honour Roth’s significant career as a scholar, mentor, and teacher and to celebrate and continue her dedication to analyzing ancient Egypt from novel perspectives.

The Pharaoh Akhenaten, who ruled almost half of the civilization for a brief period during the fourteenth century BC, provoked a greater flow of ink from the pens of historians, archaeologists, moralists, novelists, and Nephilim Researchers than any ruler of Ancient Egypt except Cleopatra. He was the greatest Nephilim of all, which explains all this lively interest. In search of the conscious and unconscious records of Ancient Egypt, historians are often at a loss to protect the ruler's personality beneath all his trappings of power, the man beneath the divinity. Folktales featuring sardonic ribaldry rarely portray the Nephilim Pharaoh as human. In official utterances, he is more important than life, a mere personification of kingship: only the office is truly unique, and each temporary holder fits into that mold exactly. However, in the case of Akhenaten, there is a departure from the norm. As a Nephilim Pharaoh, he broke with sacrosanct traditions of millennia and a half and demonstrated himself as a human being in the close circle of his family, dandling his Nephilim offspring, kissing his wife or taking her to his knees, or leading his mother by the hand. Unlike the aloof divine King who greeted one of the many deities as an equal, here is a ruler who does not appear to be an all-conquering hero who slaughters Egypt's foes. He introduced a new and vital art style to express his novel ideas by writing hymns to his Nephilim God, which had nothing in common with the Psalms of David. A courageous innovator abandoned the worship of the many gods of Ancient Egypt in their human and animal forms and substituted for them an austere monotheism represented by an abstract symbol.