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Author Topic: AKHENATEN/TUTANKHAMUN  (Read 75969 times)
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« on: April 02, 2007, 06:25:55 pm »

THE DISCOVER OF AKHENATON                                                               continued

A similar fate befell the copies made by the French draughtsman Nestor L'Hote, who had accompanied Champollion on his expedition in 1828 and again, on his own account, ten years later.  His manuscripts and drawings are in the Bibliotheqe Nationale in Paris.  So are those of the Breton archaeologist and artist Prisse
d'Avennes, who went to Egypt to work as an engineer for Mohammed Ali and stayed on to excavate and explore.  He came to Amarna in the early 1840s and copied in the northern tombs there.

The attaction that brought these men and the general tourist to the private tombs at Amarna, in spite of hardships, was the unique nature of the reliefs with which they were decorated.  Unlike those of other tombs in Egypt, they were large, unified compositions, the subject-matter of which was exclusively concerned with the activities of a royal family, consisting of a king and queen and several of their infant daughters.  They were shown not in the formal attitudes of worship repeated so insistently on every temple wall, or as triumphant conquerors smiting the foreign foes, but in intimate and vivid detail as human beings engaged in every day domestic affairs, embracing their children, riding in their chariots to attend worship  in the local shrines, feasting in the privacy of their palaces, or honouring their followers with valuable rewards taken from their treasure chests.  In all these scenes there was an entire absence of that funerary ambiance which tinged the decoration of the painted tombs of Thebes, and even the reliefs in the stone mastabas of the Old Kingdom at Saqqara. 

Indeed, the scenes radiated a vibrancy in the pose of the participants in the drama, with onlookers expressing excitement and even ecstasy in the presence of their rulers, and joy and pride in the awards that were bestowed upon them.  There was also a fervency evident in the sacrifices which the royal pair offered up before a heaped altar under a radiant sun.  Everywhere strings by the expressive fingers of the musicians who were so much in evidence, in the dances of jubilation by onlookers and the waving of palm fronds and olive branches in the hands of those welcoming the subjects whom royalty had honoured
« Last Edit: October 28, 2007, 11:27:22 am by Bianca2001 » Report Spam   Logged

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