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separation into ‘nomes’ (districts) with the symbolic power of most dynasties,
imbalanced irrigation system, droughts, hunger, social unrest and, finally, the
conquest of Egypt by the foreigners – all this modified the traditional outlook of
the Egyptians. The art and literature of the Middle Kingdom reflected a new

attitude full of doubts and pessimism.
The most powerful leader of the dynasty of this period was Amenemhat III.
Under his reign the capital was moved to the Fayum oasis and a grand building

with a thousand of rooms, galleries and corridors entitled ‘Labyrinth’ was erected.
Sculpture achieved a remarkable success during this period. Rejecting the
canonical formality, it represented Pharaohs not as deities but as governors who are

worried about the destiny. Their look was often directed not to the sky, but to the
members of the Supreme State Council and radiated a sad smile. The same feeling
was expressed on the portraits of dignitaries and lower administrators following a

new tradition of the ‘artistic realism’. The era of the New Kingdom, which lasted
from 1570 to 1070 BC was special for the pharaohs of the 18th dynasty. It was the
apex of the political and military power of ancient Egypt. At the same time the
power of the priesthood was strengthened, especially the priests of the great temple

of the chief god Amun in the city of Luxor were strong.
The ‘Ancient Egyptian Reformation’ was connected with the name of

pharaoh Amenhotep IV. Striving to bring the polytheistic pantheon to the cult of a
single deity of the ruling dynasty – the god of the sun disc Aten – Amenhotep IV
began to fight against the priests. He took a new official name of Akhenaten
(‘preferred by Aten’), introduced a secular system, moved the capital from the

Thebes to his city of Akhetaten where the entire administration bodies were based.
Thanks to the reforms of Akhenaten that waivered the religious traditions, the
nature of art changed fundamentally. According to the new artistic canon the

images became more alive, dynamic. They lost the majesty of the former periods
(characteristic for the kingship of Amenhotep III including the colossal statues and
two famous 'Colossi of Memnon' reaching 24 meters in height). Sculptural portraits

of Queen Nefertiti, Akhenaten and their families were wonderful examples of a
new vision of a human nature. Besides the golden mask of the successor of
Akhenaten – Pharaoh Tutankhamun – remains impeccable in the aesthetic terms.

During the reign of the successor of Akhenaten the status of priests and
former religious system were restored, the Thebes became the capital, and new
Pharaoh Tutankhaten took the name ‘Tutankhamun’. The city of Akhetaten fully
declined as well as innovative trends in culture. After the reign of the pharaohs of

the 20th dynasty around 1070 BC Egyptian culture lost its dynamics. Egypt was
conquerred by the Kushites, Libyan and Assyrian invadors. Then it was twice
incorporated into the Persian Empire. It was not until 332 BC Egypt was

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