Tutankhamun and the Age of Theft: The Loss of the Last Sun King's Skull —— Part II

If the relevant authorities only allow more careful inspection of the key cultural relics in Tutankhamun's tomb, then the "Amana era is shrouded in mystery" that people often say may become a thing of the past.

The reuse and usurpation of politeness and cleverly disguised inscriptions can produce rich information about the political and religious turmoil of that period and enable us to gain accurate insight through the fog of time. This is one of the most puzzling times in Egypt.

Among the numerous KV62 mysteries, a modern form exists in Tutankhamun's missing skull hat, and the magnificent Talata Street reveals the brilliance of Armana's art. 。

As a high priest, Okhennathan offered food and worshipped Okhennathan.

In the next scene, Pharaoh was intoxicated by the sun, and he worshipped the sun disc.

Luxor Museum.

(Photo: Petra Lesser), [Read the first part of this article], Dr. Nicholas Reeves suggested that as one of the regents, Nefertiti adopted the name of a king: ankhcheperure neferneferruten.

When Okhennathan died in 17, she became an independent Pharaoh, and her name is now changed to Ankhepeure Neferneferuten Smenkhkare Djeser Kheperu.

The close-up of limestone relief shows the extraordinary performance of Queen Nefertiti in beating a female prisoner on the royal barge.

This portrait is reserved only for male pharaohs.

Boston museum of art.

(Captmondo/CC BY-SA 3。

0), Dr. Aidan dodson revealed the details of his research, and he wrote, "In 1998, the French Egyptian archaeologist Mark Gabbard pointed out that many of Naifurong's cartoon paintings were interpreted as using the nickname of" Happy Okhennatan ",which actually bears the nickname of" Okhennatan "and is" effective for her husband ".

There is no doubt that the correctness of Gabolde's interpretation lies in repeating (or changing) the inscription in Kanopek's coffin, which was finally used in Tutankhamun. Tutankhamun knew it was stolen from Neferneferuaten: as long as he could find a nickname, it was "akhet en hi es".

This scene is extremely rare in Egyptian art.

In fact, this is the only example of a king and queen sharing intimate moments.

However, when Okhennathan ascended the throne, he dictated the artistic process, and the results were shocking because they were impressive.

But why would a new ruler like Tutankhamun use his predecessor's grave? Reeves believes that Ankheperune Niferoten's funerary objects may be abandoned, "either because these objects were replaced by the funeral equipment carved for her when Ni Ferrotti finally became Ankheperune Simonheka, or because Ni Ferrotti, for whatever reason, added:" Several objects in the mausoleum were obviously used by the early kings.

Although the original ownership of these stolen items is not always determined, many of them are obviously designed for Okhennatan or his successor "Mysterious Smonha", which is the front and rear view of one of the four carefully decorated Carnopik coffins, which preserve Tutankhamun's royal entrails.

The palindromes in these items show the name, neferneferruten.

Egyptian Museum in Cairo.

For Egyptian archaeologists, the process of use and reuse is not completely unfamiliar: in fact, three centuries later, the Valley of the Kings itself was demolished, the royal mummy was stored, and the contents of its tomb were selected as the funeral of the 2 1 dynasty king in tanis, which is bound to repeat itself.

"Although it seems a rather strange concept to demolish ancestral graves and reuse second-hand funeral equipment, it is obviously common in ancient Egypt.

In the third intermediate period, there was a huge hiding, and the motivation was different.

Obviously, Egyptians believe that some funeral equipment is magical and can be transferred to "new owners", Reeves explained. "Read more ... this free preview is a huge advantage. You can find the premium of ancient origin, join us (convenient and instant access) and get rewards: no more advertisements, no pop-ups, free e-books, online seminars, exploration, winning gifts and so on. Anand balaji is an independent researcher, playwright, ancient guest writer and writer. He wrote The Sand of Amana: The End of Okhennathan, above: Egyptian art collection designed by Anand balaji.

Paro, Stefano Merry, jean pierre Dalera and Richard Dick Celix). Derivation. Authors: Annan de ballas Ji, Annan de ballas Ji is an independent researcher, who has studied all aspects of ancient Egypt, especially interested in the Amana era.