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THE PALACE ARRIVAL -
The city river bank
at the Palace quay is depicted at the end of Akhenaten's
reign, a foreign emissary from Mittannia is arriving in
a sea going ship.
He perhaps brings the husband asked
for by Nefertiti for one of her daughter's to prevent
the Dynasty's collapse after the death of Akhenaten.
It
depicts the priest greeting the ship, standing on the
quay, the details of the shrine on the quay side, the
arcaded palace walks and gardens and the river bank
moorings
are taken from a scene in the Tomb of May
(Plate V, Rock Tombs of Amarna V). In the distance are
the pylons of the
Small Temple with the
city houses beyond.
This composite computer and photographic image was
commissioned by Chris Sloan,
Art Director of the
National Geographic the computer Graphics were produced
by Adam Howard of 4Site/Redvision and Michael Mallinson
of Mallinson Architects,
the costumes were designed and
produced by Kate Spence.
The photography was by Rob
Clark of the National Geographic and the shot was
directed by Chris Sloan, at the Castle Studios, Dulwich.
THE VISIT TO THE TEMPLE -
The Columned
Portico in front of the Temple Sanctuary is depicted
during a visit to the Temple by Akhenaten, Nefertiti and
the Queen Mother Tiy taken from a depiction
in the Tomb
of Huya, (Plate IX Rock Tombs of Amarna III). The
offering is in progress on one of the courtyard altars
of blue Lotus flowers by a priest, and musicians are
singing
in front of the reliefs depicting the Royal
Family offering to the Aten, while other offerings of
round bread and flowers are being carried in by
priestesses.
A soldier guards the royal entourage. In
the distance gold leafed gates in a gateway based on
that found in the shrine of the house of Panhesy lead to
the
sanctuary.
The Portico shades a 1-1/2 scale
limestone sculptures of Akhenaten. The design of the
columns were based on fragments found during
excavations.
Kate Spence based the design of the
clothing on her studies of those depicted in the Amarna
tombs and statues of the period, and experiments with
cloth lengths based
on those found in the tomb of Tutankamen.
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Petrie’s reconstruction of a
column featuring pendant ducks,
from the Great Palace
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Petrie’s copy of a the bottom
part of a wall-painting in the
‘Harem Quarter’, placed above a
reconstruction of the painted
dado
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Details of the wall painting in
the ‘Harem Quarter’
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Petrie’s copy of a fragment of
wall-painting showing horses
View
of the garden court showing the location
(restored) of one of the paintings of
the ‘Green Room’
Reconstructed placing of the decorative
scheme of the ‘Green Room’.
The
version of the painting is a recreation
by F. Weatherhead
Watercolour copy of one of the ‘Green
Room’ paintings, by N. de G. Davies
Watercolour copies of paintings around
the garden court, by F. G. Newton
Decoration Tiles
 
Decoration Tiles
 
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Reconstruction of the walls and floors
of the north part of the ‘Harem Quarter’
showing the location of Petrie’s
wall-paintings
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Petrie’s
reconstruction of a column was decorated
with Glass
Remnants of the wall paintings of
Amarna.
The ancient Egyptian capital city
newly–established and built by the
Pharaoh Akhenaten of the late Eighteenth
Dynasty
Remnants of the wall paintings of
Amarna.
The ancient Egyptian capital city
newly–established and built by the
Pharaoh Akhenaten of the late Eighteenth
Dynasty
Remnants of the wall paintings of
Amarna.
The ancient Egyptian capital city
newly–established and built by the
Pharaoh Akhenaten of the late Eighteenth
Dynasty
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Palaces
