The Akhenaten Colossi of Karnak

First published in 2010 by

The American University in Cairo Press

113 Sharia Kasr el Aini, Cairo, Egypt

420 Fifth Avenue, New York, NY 10018

www.aucpress.com

Copyright © 2010 Lise Manniche

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

The extracts from The Royal Women of Amarna by Dorothea Arnold, © The Metropolitan Museum of Art, 1996, are reproduced with permission.

The extract from Egyptian Sculpture: Cairo and Luxor, text by Edna R. Russman, photographs by David Finn, © Texas University Press, 1989, is reproduced with permission.

Dar el Kutub No. 14129/09

ISBN 978 977 416 349 4

Dar el Kutub Cataloging-in-Publication Data

Manniche, Lise

The Akhenaten Colossi of Karnak / Lise Manniche.—Cairo: The American University in Cairo Press, 2010

p. cm.

ISBN 978 977 416 349 4

1. Egypt—Antiquities

930.10283

1 2 3 4 5 14 13 12 11 10

Designed by Adam el-Sehemy

Contents

Acknowledgments

Preface

Chapter 1 Discovery

Chapter 2 Catalog

Chapter 3 Interpretation

Chapter 4 Aesthetics

Chapter 5 Pathology

Notes

Bibliography

Karakôl Numbers Concordance

Illustration Credits

Index

Acknowledgments

This book could not have been completed without the invaluable assistance of colleagues and institutions. I am indebted to Dr. Zahi Hawass for supporting me in undertaking the work in Egypt, and to the Supreme Council of Antiquities for granting me permission to carry it out during the spring of 2009. In Cairo, Magdy el-Ghandour expedited the paperwork, and on location in Karnak, Mohammed Assem, General Director of Antiquities at Luxor, Ibrahim Soliman, Director of Archaeology at Karnak, Hamdi Abd el-Gelil, Chief Inspector of Archaeology at Karnak, and Badawy Idris Mohammed, my accompanying inspector, were most helpful. In the Egyptian Museum, Cairo, Mme. Nariman gave me access to the archives and facilitated photography, and Dr. Hanane Gaber helped with specific photographic queries.

During my stay in Cairo I had enjoyable discussions with Cynthia May Sheikholeslami and Nadine Cherpion, who made useful suggestions as to how to cope with a number of administrative issues, advice having also been given in the preparatory stages by Jacobus van Dijk and Geoffrey T. Martin. Dimitri Laboury contributed with inspiring ideas during meetings in Rhodes and Montepulciano in 2008; Arielle Kozloff answered queries about her as-yet-unpublished study of the colossi; Rita Freed assisted with mental notes from her own examination of the colossi in the late 1990s; and Robert Partridge generously allowed me the use of photographs taken in the Cairo Museum at about the same time. Photographs were also kindly supplied by Kim Ryholt and Kurt Hellemose. I am indebted to Nozomu Kawai for providing me with a copy of a rare Japanese exhibition catalog featuring one of the colossi, and to Elin Rand Nielsen for her digital reconstruction of the colossus in the Louvre.

I owe a special debt of gratitude to Christophe Thiers, Director of the Centre Franco-Égyptien d’Étude des Temples de Karnak (CFEETK), for including my project in the scientific program of the Centre from the very beginning, for his warm welcome during my visits to the Centre at Karnak, and for making all the important photographic material in the archives available to me via the Centre National de la Recherche Scientifique (CNRS). While in Luxor I also had the privilege of the company of Edwin Brock, who spent hours taking me around the site of East Karnak, explaining its topography, and, at the end, generously providing me with copies of all the relevant pictures from his recent excavations as well as with a brief report.

Preface

King Akhenaten (r. c. 1353–1335 BC) was no doubt the most controversial ruler Egypt had ever seen. Soon after his death his monuments were taken apart and hidden inside or under subsequent buildings; his statues were overturned, mutilated, and destroyed; and his name was never to be included in the king lists carved in stone or recorded on papyrus during the reigns of his successors. It was only with the decipherment of the hieroglyphs in the 1820s that the name of Akhenaten was spoken once more. By the mid-nineteenth century he had entered Egyptological literature as a fanatic protagonist of monotheism, exclusively worshiping the sun-disk in a world where gods were many and cast in the bodies of men or animals or combinations of both. He was allegedly the author of a hymn that has been acclaimed as a major literary work; he elevated the spoken language of his time to the official written language, and he made himself, his wife Nefertiti, and the sun-disk the center of the universe. Altering both subject matter and style, he set up a new canon of representation that in modern viewers has caused a train of reactions: a stroke of genius or a nightmare?

The art of the Amarna period, as it is known after the king’s new capital near Amarna in Middle Egypt, is the most fascinating of all Egyptian artistic achievements for the very reason that it is different from the rest and was produced during a reign of just seventeen years. This in itself may be of passing interest, and in order to qualify as being great and everlasting it will require a perfect marriage of form and message. Ancient art presents the problem that the proclamation is obscured by incomplete information and hampered by cultural differences, not to mention sympathetic yet inadequate attempts at interpretation, which, when repeated, acquire a truth of their own. Nowhere is this more apparent than when studying the world of Akhenaten and Nefertiti.

It was the discovery in 1925 of the first two colossal statues in the temple of Karnak that accelerated the debate on the king’s physique and his choice of iconography. The king’s strangely feminine body and elongated face were incompatible with any previously held ideas of Egyptian royal sculpture for appearing idealistic, serene, and eternally unchanging. The subsequent discovery in 1930 of a colossus deprived of male sexual characteristics was perplexing, and attempts at explaining these peculiar features have been forthcoming until this moment.

The colossal statues presented here, constituting a well-defined series, are made of sandstone. They were originally about four meters high and set up along the inside south wall and the southern end of the west wall of a large open court that was part of a temple to the Aten east of the enclosure wall of the temple of Karnak. A similar arrangement is known from temples of previous rulers who erected non-supporting ‘Osiris pillars’ of themselves in their temples. Along the remaining walls were colossal statues of other material. Some of them are inscribed with the king’s early name, Amenhotep, and the work must thus have been initiated and carried out before his Year 5, when he became Akhenaten. This is confirmed by information on the building blocks of the monument itself, the talatat, tens of thousands of which have been recovered in the area.

A few of the colossi have been reproduced many times. Others have traveled with exhibitions abroad. Special studies have been carried out on their artistic merit, their purpose, and the pathology of the king who erected them. But a presentation of all the available body parts has not been available before. We can now identify in excess of thirty colossi of the same size and material, found in the same location at East Karnak. Chapter 1 deals with the history of the excavation of the colossi and their relation to the monument of which they formed a part. Chapter 2 is a catalog of the colossi fragments, many of which are illustrated with photographs taken at the time of discovery or while they were in store on the site. Chapter 3 introduces the multiple attempts at an interpretation of the purpose of the colossi, while Chapter 4 is dedicated to the aesthetics of the colossi and their novel appearance. Finally, Chapter 5 reviews the question of the pathology of the king.

This book had as its starting point an ongoing study on sexuality in ancient Egyptian society. In this context the complexity of the case of Akhenaten had to be addressed, and this necessitated an attempt at disentangling not just the mythology of the colossi, but also the fundamental issue of their number. It soon turned into a project in itself.

Chapter 1

Discovery

The first person in modern times to set eyes on the extraordinary sculptures of Akhenaten was Maurice Pillet, French architect and director of works for the Egyptian Antiquities Service at Karnak. On 1 July 1925 he was engaged in rescue work east of the eastern gate of the enclosure wall of the Karnak temple where an existing drain, dug alongside the wall on three sides, was being enlarged to protect the temple from damage caused by rising subsoil water. Pillet did not record the circumstances of his discovery, and his name is connected with it only through brief references by his successor, Henri Chevrier, a year later. Blocking the intended extension of the drainage canal Pillet had found the remains of

Fig. 1.1 East Karnak today with the eastern gate of Karnak and the temple behind.

Fig. 1.2 One of the first two colossi found in the drainage ditch: JE 49529 (A1).

two very large colossi of Akhenaten (A1, D9) (deux statues très importantes d’Akhnaton)¹

It is a curious fact that they were among the best preserved of all the colossi, most of the rest, found in rather more carefully planned excavations, being reduced to body parts. Without further ado the two colossi were dispatched to the Cairo Museum where they were cataloged as Journal d’Entrée 49528 and 49529. In an article written much later, in 1961,² Pillet briefly discusses the appearance of the colossi and previous assessments of their qualities (see Chapter 3), but nothing is mentioned about the discovery of the first two.

Since it has not been possible to identify the majority of the body parts mentioned by Chevrier with specific sculpture and inventory numbers of museums and storerooms, it was considered appropriate to include reference to the numbers applied in our catalog section of body parts (Chapter 2) only where an identification is certain. Chevrier’s vague chronological numbering system from the time of his excavations has also been abandoned, the individual items as discovered being here indicated by an indented line and in bold letters.³

Chevrier was an engineer by profession, and took over from Pillet on 20 March 1926, the main tasks being the massive clearing and restoration work required in the temple of Amun. His specific duties for the remaining months of the season were to continue clearing the Third Pylon and removing the items found in it, and to explore the part of the drain which gave us this summer the two statues of Akhenaten to see if there might be other statues or other fragments, as well as to initiate the rebuilding of the temple of Khonsu, or that of Ramesses III, or the buildings of Hatshepsut near the sanctuary.⁴ On studying earlier photographs of the area showing crumbling pylons and collapsed columns, one realizes why such rescue work outside the temple proper may have been seen as an unwelcome distraction, and why Chevrier’s annual reports in the Annales du Service des Antiquités d’Égypte (ASAE) are reduced to the bare minimum—this in spite of the fact that he recognized the statues as being very large and truly extraordinary.⁵ The area east of the temple was a dump, filled with a layer of 1.5–2m of soil that had been dug from the canal and added to the accumulated residue of millennia when it had been used as a burial ground.⁶

It took the workers a week to reach the level of the statues, the first discoveries consisting of:

fragments of cartouches with remains of blue pigment and parts of hands (fragments de cartouches dont les creux portaient des traces bleues et fragments de mains)⁷

Three days later the lower course of a pillar appeared, set on a layer of chipped sandstone. Chevrier followed the east-west line suggested by the position of the first two colossi and pillar base, clearing the area toward the east wall of the temple as illustrated in his report (fig. 1.3).

What look like footprints in the plan represent a head with a crown and back pillar. According to Donald B. Redford, who was to continue the excavations at a much later date (see pages 14–16), this is an oversimplified plan.⁸ Letters A and B refer to fragments found the following season.⁹ Chevrier soon came across:

nine heads (la première des neuf têtes qui devaient être découvertes pendant la campagne)¹⁰

bringing the total of known colossi to eleven. His figs. nos. 1–4 in the report give a selection of heads and crowns from these first two campaigns: presumably those later to become Cairo TR 29.5.49.1 (B4) and JE 98894 (D8), as well as JE 49528 (D9) and JE 49529 (A1). A numbering system then had to be devised for his report. On his first plan the issue is confused by the fact that he numbered the pillars (interpreting them as bases), not the heads, whereas in his text, the numbers refer to colossi. His numbers 5 and 6 apply to the (pillars pertaining to the) two colossi found by Pillet, but the position of the two in relation to each other is not revealed. By studying Chevrier’s sketch plan it becomes apparent that his nos. 3 and 4 relate to two pillars where two heads described in his text were found together; a third head said to have been found two meters to the west must therefore be the one near his pillar no. 2. Four unspecified heads east of the canal correspond to his pillars nos. 7–10. An intriguing reference concerns:

a statue base with toes (base avec la partie antérieure des pieds—see Chapter 2, L59).¹¹

The statues had been provided with a back pillar carved out of one and the same piece of sandstone (fig. 1.4). Chevrier refers to these back pillars as enormous, and he compares the sculptures with Osiris pillars. It was evident to him that attempts had been made to disengage these back pillars from the colossi in order to use them as building material. The area