Editing Akhenaten (section)

== Artistic depictions ==
{{further|Amarna art}}
[[File:ReliefPortraitOfAkhenaten01.png|thumb|left|Akhenaten in the typical Amarna period style]]
[[File:Colossal Statue of Amenhotep IV from Karnak, 1356-1350 BCE (5).jpg|thumb|left|Statue of Akhenaten in the collection of the [[Egyptian Museum]], [[Cairo]]]]
Styles of art that flourished during the reigns of Akhenaten and his immediate successors, known as [[Amarna art]], are markedly different from the [[art of ancient Egypt|traditional art of ancient Egypt]]. Representations are more [[realism (arts)|realistic]], [[expressionism|expressionistic]], and [[realism (arts)|naturalistic]],{{sfn|Hornung|2001|pp=43–44}}{{sfn|Najovits|2004|p=144}} especially in depictions of animals, plants and people, and convey more action and movement for both non-royal and royal individuals than the traditionally static representations. In traditional art, a pharaoh's divine nature was expressed by repose, even immobility.{{sfn|Baptista|Santamarina|Conant|2017}}{{sfn|Arnold|1996|p=viii}}{{sfn|Hornung|2001|pp=42–47}}

The portrayals of Akhenaten himself greatly differ from the depictions of other pharaohs. Traditionally, the portrayal of pharaohs—and the Egyptian ruling class—was idealized, and they were shown in "stereotypically 'beautiful' fashion" as youthful and athletic.{{sfn|Sooke|2016}} However, Akhenaten's portrayals are unconventional and "unflattering" with a sagging stomach; broad hips; thin legs; thick thighs; large, "almost feminine breasts"; a thin, "exaggeratedly long face"; and thick lips.{{sfn|Takács|Cline|2015|pp=5–6}}

Based on Akhenaten's and his family's unusual artistic representations, including potential depictions of [[gynecomastia]] and [[androgyny]], some have argued that the pharaoh and his family have either had [[aromatase excess syndrome]] and [[craniosynostosis|sagittal craniosynostosis syndrome]], or [[Antley–Bixler syndrome]].{{sfn|Braverman|Redford|Mackowiak|2009}} In 2010, results published from genetic studies on Akhenaten's purported mummy did not find signs of gynecomastia or Antley-Bixler syndrome,{{sfn|Hawass|Gad|Somaia|Khairat|2010}} although these results have since been questioned.{{sfn|Braverman|Mackowiak|2010}}

Arguing instead for a symbolic interpretation, [[Dominic Montserrat]] in ''Akhenaten: History, Fantasy and Ancient Egypt'' states that "there is now a broad consensus among Egyptologists that the exaggerated forms of Akhenaten's physical portrayal... are not to be read literally".{{sfn|Reeves|2019|pp=154–155}}{{sfn|Montserrat|2003}} Because the god Aten was referred to as "the mother and father of all humankind", Montserrat and others suggest that Akhenaten was made to look [[androgynous]] in artwork as a symbol of the androgyny of the Aten.{{sfn|Najovits|2004|p=145}} This required "a symbolic gathering of all the attributes of the creator god into the physical body of the king himself", which will "display on earth the Aten's multiple life-giving functions".{{sfn|Montserrat|2003}} Akhenaten claimed the title "The Unique One of Re", and he may have directed his artists to contrast him with the common people through a radical departure from the idealized traditional pharaoh image.{{sfn|Montserrat|2003}}

Depictions of other members of the court, especially members of the royal family, are also exaggerated, stylized, and overall different from traditional art.{{sfn|Baptista|Santamarina|Conant|2017}} Significantly, and for the only time in the history of Egyptian royal art, the pharaoh's family life is depicted: the royal family is shown mid-action in relaxed, casual, and intimate situations, taking part in decidedly naturalistic activities, showing affection for each other, such as holding hands and kissing.{{sfn|Aldred|1985|p=174}}{{sfn|Arnold|1996|p=114}}{{sfn|Hornung|2001|p=44}}{{sfn|Najovits|2004|pp=146–147}}

[[File:Akhenaten with blue crown.jpg|thumb|left|upright|Small statue of Akhenaten wearing the [[Khepresh|Blue Crown]]]]

Nefertiti also appears, both beside the king and alone, or with her daughters, in actions usually reserved for a pharaoh, such as "smiting the enemy", a traditional depiction of male pharaohs.{{sfn|Arnold|1996|p=85}} This suggests that she enjoyed unusual status for a queen. Early artistic representations of her tend to be indistinguishable from her husband's except by her regalia, but soon after the move to the new capital, Nefertiti begins to be depicted with features specific to her. Questions remain whether the beauty of Nefertiti is portraiture or idealism.{{sfn|Arnold|1996|pp=85–86}}