Stele of Sculptor Bek with his wife Taheret
This stele of the sculptor Bek with his wife Taheret is a significant artefact from the Amarna Period, dating approximately to 1353-1336 B.C.
It features Bek, whose name translates to “Servant” in Egyptian, and who was the first chief royal sculptor under Akhenaten. His father, Men, held the same prestigious position under Akhenaten’s father, Amenhotep III, and his mother, Roi, came from Heliopolis, a major cult centre for the sun god Ra.
The stele depicts Bek and his wife Taheret within a naos (a shrine-like structure), carved almost three-dimensionally, which is a distinctive feature of this artwork. If Bek himself created this stele, it could be considered one of the earliest known self-portraits.
The depiction of Bek and Taheret provides insight into the personal and professional life of artisans during this period. The stele also reflects the broader religious and artistic transformations under Akhenaten, where traditional forms were altered to emphasize the worship of Aten, the sun disk, as well as more personal touches to depictions of people, both royalty and non royalty alike.
Bek and Taharet are both depicted in figure hugging linen gowns, with Taharet’s dress being ankle length, and Bek’s pleated upon the kilt (shendyt) and sleeves. It appears he has a second kilt underneath. They both wear large wigs, an indicator of status and wealth. Bek’s belly pushes through the fabric of his attire, and his chest is full.
Noticeable is Bek’s weight, especially his protruding stomach; a sign of a man well-fed, or perhaps even a beer belly. Depictions of stomach rolls, neck rolls, and even gynaecomastia have been depicted in Egyptian art as early as the Old Kingdom. As with standards today, weight and appearance went through different trends, but to be depicted slightly overweight or well-nourished, was not an insult, but quite the opposite. Usually, for a nobleman or woman to be depicted softer and even slightly chubby was a sign of wealth and status. It showcased somebody who didn’t have to be outside partaking in manual labour, who was able to be well nourished and even then some.
In the Amarna age, even the king himself seemed to favour being depicted with a rounded stomach and softer touch than the broad shouldered, muscular depictions of kings both before and after him. It is believed Akhenaten’s father, Amenhotep III was a stout man, especially in his later years and that has been depicted in numerous art pieces depicting the king, and mostly dating from his son’s reign.
Alas, that is not to say that Egyptians favoured a plump depiction. In most statues and reliefs, Egyptians would be depicted at a healthy weight, in shape and usually slender, even if the truth was otherwise…especially for royalty and elites. Those who would be depicted softer were usually musicians and scribes or artisans like Bek. As mentioned in the previous paragraph, kings would usually stick to the canon of the masculine, broad, warrior and god-like figure we often see set in stone. Akhenaten’s artistic expression was indeed an outlier, and he stands out for his unusualness amidst the other artwork throughout the Ancient Egyptian age.
It is actually thought that Bek was a leading figure in the development of the Amarna art, with its unique artistic expression characterized by an unusual combination of naturalistic and mannered elements. However, Bek’s stele writes that Akhenaten was personally involved with Bek’s work, with a declaration that the king had instructed him. This suggests to us that Akhenaten was indeed the hand directing his artisans to reflect his radical changes.
The stele not only represents Bek’s status and skill but also serves as a testament to the cultural and religious innovations of the Amarna Period. It’s an invaluable piece for understanding ancient Egyptian art, religion, and daily life during a pivotal time in Egypt’s history. And is now housed in the Neues Museum in Berlin, where it continues to be studied for its artistic quality and historical context.
