The Golden Mask of King Tut The Code. Jesús Ariel Aguirre

along with other mummies, such as the younger brother of the Pharaoh as well as Princess Tiye, the possible mother of Akhenaten, these remains were found in the tomb KV35 in a place called the Valley of the Kings. And although there were disputes about the veracity of the find, the very Director of the Higher Council of Antiquities of Egypt, affirmed that the existing tests are inefficient to determine that this is the mummy of Queen Nefertiti. Leaving the results of the investigation invalid.

      Of all the stages of Egyptian history, none seems to be as captivating and full of mysteries as the so-called Amarna Schism. One of the great questions is, precisely, the existence of one of the characters with the name of Neferneferuaton (exquisite is the beauty of Aton).

      The first time this name appears is in the fourth year of the reign of Amenhotep IV, when his name is definitively changed to Ajenaton. At the same time, the Great Royal Wife Nefertiti acquires the aforementioned name, and has since become known as Neferneferuaton Nefertiti.

      In the 14th year of Akhenaten’s reign, Nefertiti disappears from the annals and the figure of the great royal wife is replaced by her eldest daughter, Meritaton. At the same time, a correjente of Ajenaton appears whose name is Anjet-Jeperu-Ra Merit-Ua-RaNefer-Neferu-Aton (or Anjetjeperura Neferneferuaton, Ajenaton’s beloved). This indicates that the co-regent was a woman, and since Meritaton already the great royal wife, suspicions fall on Nefertiti, who would not have died, but changed her name.

      This Anjetjeperura disappears again shortly afterwards and is replaced by another name, which is identical to the previous one, but in masculine: Anj-Jeperu-Ra Mery-Ua-En-Ra Nefer-Nefer-Aton (or Anjjeperura Meryuaenra, the beloved of Ajenaton). Which indicates this, or that Ajenaton had a homosexual relationship with this substitute for Nefertiti or that this co-regent was nothing more than Nefertiti herself who, like Queen Hatshepsut, would have “changed” her sex, in order to be able to act as pharaoh. Yes, for some she became the successor queen-pharaoh by renaming herself Smenkhkare. If true Nefertiti occupies a position similar to those of Hatshepsut, who ruled Egypt in the manner of a king, even wearing the false ceremonial beard.

      Shortly after, until Ajenaton’s death and shortly after, the name Neferneferuaton ended up disappearing and it was replaced by that of Semenehkara (or Amjjeperura Semenehkare). The ideas expressed above suggest that there was a last name change, either of Nefertiti or of that male lover of the king.

      As you can see, the figure of Nefertiti is very elusive, and so many changes of name only mislead the experts. Thus, opinions are divided between those who say that Nefertiti died (or fell into disgrace, or returned with King Tut Ankh mon from Amarna to Thebes) in the year 14 or, on the contrary, was promoted to the rank of male co-regent and just to succeed her husband on the throne. (I prefer to believe that, comment Thomas Dee) The question is to determine if Semenhkare was a man or a woman and, until it is known with certainty whose body of the famous Tomb 55 is, nothing can be assured.

      If Semenhkare was a woman it was undoubtedly Nefertiti, as data in favor of this theory is that Semenhkare inherited each and every one of the titles of the great royal wife, that there is no record of a royal prince with this name or grave or that Nefertiti does not It was the woman who fell from grace but it was Kiya (the second wife of Ajenaton, possible mother of Tut Ankh Amon).

      If Semenhkare was a male, he would be a close relative of Ajenaton (perhaps a son or brother). The data in favor of this theory are: he was married to the great royal wife Meritaton, the leather of Tomb 55 (related to Tutankhamun, according to studies) may be his, and that there is nothing to show for sure that Nefertiti was hiding under that name.

      To conclude Neferneferuaton was a name used by a great royal wife and later a co-regent (if they were not the same person) of Ajenaton, therefore it should be included in the royal lists with all the honors and rights.

      In the family facet where she is portrayed, it was in relation to art, since her children were portrayed in sculptural works in different facets of her life, in addition, the moments when she was with the intimate couple, they were also part of great artistic works, in addition to other special moments.

      In the reliefs they were portrayed attending religious ceremonies, as well as holding hands and in the company of their six daughters. The artists portrayed them showing affection, crying at the bedside of their dead daughter Meketaton, with the other girls on their lap. Nefertiti appeared as a loving mother. A divine and jubilant family.¿Expression of closeness and affection?

      ¿From a new value system?¿Or perhaps they intended to convey the image of the monarch as the supreme god of life in all its facets?

      Egyptian art, for millennia hieratic and monumental, gave way to emotion. It is said that the pharaoh himself instructed the royal sculptors to create a new, freer style. Overnight the iconographic repertoire changed. And in the center of this iconography, the figure of Nefertiti began to shine with its own light, represented as a paradigm of elegance, beauty and eroticism.

      Any claims about this queen are purely speculative, which has not prevented the perfection, timelessness and attractiveness suggested by the famous painted bust of Nefertiti from gaining legendary status and forming the ruling canon of beauty in the industrialized West. But if the self-propaganda plan suggested by many Egyptologists was being put into practice in the Akhtaton of more than a thousand years ago, was the public image of Nefertiti, which appeared in reliefs, stelae and altars, in figurines and statues, a bullring? of media manipulation? Did the court sculptors have the mission of chiselling a perfect face to promote a renewing image of royalty and the new solar theology?

      The researchers identify two periods well marked stylistically speaking of this period, the grotesque with androgynous figures with widened hips at the beginning and the second that of the iconic beauty of Nefertiti, a new style of public exteriorization of the new political system product of a new ideological motivation.

      A few years ago Dietrich Wildung, then director of the Egyptian Museum in Berlin, conducted a study of the queen’s bust at the La Charite university hospital in the German capital. The piece was subjected to a computerized axial tomography (CT), an imaging technique with a scanner that, millimeters by millimeters, revealed a finding that left the researchers speechless: inside the famous bust there was a sculpture, the sculpted face limestone of an elderly woman, drooping shoulders, skinny neck, and deep wrinkles around her mouth. The artist from the workshop of the master sculptor Tutmosis had applied one layer of plaster on it after another until he modeled the perfect face that we know today, relying on a precise system of squares that ensured the exact repetition of the ideal shape at any scale.

      “There is no doubt,” says Laboury. Nefertiti’s face is the volumetric projection of the grid”. In reality, there is no person with such absolute symmetry of the two facial hemispheres. After analyzing all the measurements and the CT data, the Egyptologist concludes: “It is simply too perfect. It is impossible for someone to have each of the two eyes located at the exact same distance from the tip of the nose”.

      This suggests, first of all, that the Nefertiti of the statues and busts was the result of a popular ionization that was carried out using chain-made pieces, cult objects mass-produced for the temples of Egypt. And secondly, that the queen’s beauty, whatever she might actually look like, was intended to be a display of political power.

      There are very few experts in the Amarna period capable of making a clear portrait of Nefertiti based on archaeological evidence and knowledge of the sources. One of them Friederike Seyfried, director since 2009 of the Egyptian Museum, and the Papyrus Collection of the Berlin State Museums. She is one of those who view every new speculation about the role of the queen with great reservations.

      As the royal couple had no male children, Tutankhamun was Akhenaten’s son with another inferior consort.

      Now it’s time to talk about the child king, King Tut who married his sister on the father’s side, the third daughter of Nefertiti and Akhenaten: Anjesenpaaton. Other historians believe that the queen separated from Akhenaten in 1368 BC, and moved with her son-in-law and daughter to Thebes, achieving a reprieve for her heresy.

      The new royal couple must be relatively young. Some theories maintain