Akhenaten Influence

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During Egypt's Amarna Period (c. 1353–c. 1336 BC), the iconography of the Royal Family significantly differed from that of their predecessors, but the desire to be perceived as godlike to reinstate power remained. Some historians suggest that this controversial overhaul of Egyptian conventions was ‘early artistic realism’ as artwork depicts its subjects with peculiar bodily features, with an unprecedented focus on royal women, children, and familial affection. Yet contemporary evidence suggests Akhenaten's fervent iconoclasm and motivation to diminish the Amun priesthood’s growing influence were presumably the instigators.

While the representations of Akhenaten were contrastive to traditional Egyptian art, the desire of the pharaoh to be perceived as godlike or divinely connected to a deity was reiterated by the majority of New Kingdom
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In surviving Egyptian artworks, royal women traditionally held a subsidiary role in art, appearing distinctly smaller than their husbands, if they were to appear at all. Conversely, Akhenaten’s art was often an homage to Nefertiti, evident in the inscriptions of the Queen on Akhenaten’s sarcophagus. Moreover, it was generally difficult to differentiate between the two, as Nefertiti appeared to be the same size. These bold alterations were presumably provoked by Atenist fervour. Akhenaten and Nefertiti connected themselves with the twin deities Shu and Tefnut by aligning as nearly identical figures. Furthermore, Nefertiti was almost always depicted with a flat-top blue crown, the same that the goddess Tefnut adorned. In addition to the Aten, Shu and Tefnut are emblematic of renewal and life. Seemingly, Akhenaten was attempting to unite himself, Nefertiti, and the Aten—the "Father and Mother" of the earth and heavens—into a divine