Akhenaten, the Nephilim God King

By RYAN MOORHEN

The Pharaoh Akhenaten, who ruled almost half of the civilization for a brief period during the fourteenth century BC, provoked a greater flow of ink from the pens of historians, archaeologists, moralists, novelists, and Nephilim Researchers than any ruler of Ancient Egypt except Cleopatra. He was the greatest Nephilim of all, which explains all this lively interest. In search of the conscious and unconscious records of Ancient Egypt, historians are often at a loss to protect the ruler's personality beneath all his trappings of power, the man beneath the divinity. Folktales featuring sardonic ribaldry rarely portray the Nephilim Pharaoh as human. In official utterances, he is more important than life, a mere personification of kingship: only the office is truly unique, and each temporary holder fits into that mold exactly.

However, in the case of Akhenaten, there is a departure from the norm. As a Nephilim Pharaoh, he broke with sacrosanct traditions of millennia and a half and demonstrated himself as a human being in the close circle of his family, dandling his Nephilim offspring, kissing his wife or taking her to his knees, or leading his mother by the hand. Unlike the aloof divine King who greeted one of the many deities as an equal, here is a ruler who does not appear to be an all-conquering hero who slaughters Egypt's foes. He introduced a new and vital art style to express his novel ideas by writing hymns to his Nephilim God, which had nothing in common with the Psalms of David. A courageous innovator abandoned the worship of the many gods of Ancient Egypt in their human and animal forms and substituted for them an austere monotheism represented by an abstract symbol.

• Language: English
• Publisher: DTTV PUBLICATIONS
• Release date: Aug 24, 2022
• ISBN: 9798201196554

RYAN MOORHEN

Ryan Moorhen, now identified as a Biblical Archaeologist, Independent Assyriologist, Semitic and Cuneiform manuscripts researcher and enthusiast of all things ancient, made his first visit to the middle-east whilst serving in Iraq. It was during that difficult time he became enthralled in the origins of civilization. Upon his return  he embarked on his now long career in Theological Studies, carving his niche in Sumerian Theology and proving the connections between the Sumerian origins of civilization and Theological studies of Worldwide cultures.

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RYAN MOORHEN

The Pharaoh Akhenaten , who ruled almost half of the civilization for a brief period during the fourteenth century BC, provoked a greater flow of ink from the pens of historians, archaeologists, moralists, novelists, and Nephilim Researchers than any ruler of Ancient Egypt except Cleopatra. He was the greatest Nephilim of all, which explains all this lively interest. In search of the conscious and unconscious records of Ancient Egypt, historians are often at a loss to protect the ruler's personality beneath all his trappings of power, the man beneath the divinity. Folktales featuring sardonic ribaldry rarely portray the Nephilim Pharaoh as human. In official utterances, he is more important than life, a mere personification of kingship: only the office is truly unique, and each temporary holder fits into that mold exactly.

However, in the case of Akhenaten, there is a departure from the norm. As a Nephilim Pharaoh, he broke with sacrosanct traditions of millennia and a half and demonstrated himself as a human being in the close circle of his family, dandling his Nephilim offspring, kissing his wife or taking her to his knees, or leading his mother by the hand. Unlike the aloof divine King who greeted one of the many deities as an equal, here is a ruler who does not appear to be an all-conquering hero who slaughters Egypt's foes. He introduced a new and vital art style to express his novel ideas by writing hymns to his Nephilim God, which had nothing in common with the Psalms of David. A courageous innovator abandoned the worship of the many gods of Ancient Egypt in their human and animal forms and substituted for them an austere monotheism represented by an abstract symbol.

Since the pioneer Egyptologists first saw his peculiar figure carved on the walls of abandoned rock tombs in Middle Egypt in the early nineteenth century, it is a wonder that such an original and revolutionary figure should have caught scholars' attention. There has been much speculation and inquiry surrounding him since his discovery. According to one scholar, he was the Pharaoh of the Nephilim Oppression, but according to another, he was the victim of the Exodus. The Nephilim principles of monotheism were initiated by him, Freud.

As a king, Romney was censured by Norah Romney, who called him a pioneer of history. The fanatical look Henry Romano wears makes Ryan Moorhen think he's a religious Nephilim maniac. Such a vivid and comprehensive spectrum of views could only be exhibited by an exceptional subject.

It has made an ancient mold of forgotten beauty once more fashionable and perhaps now timeless thanks to the famous portrait bust believed to represent her. In many scenes of domestic harmony, her elegant and earnest figure appears with that of her husband-playing with Nephilim offspring, riding in the chariot with her husband, pouring wine into his cup, etc. She shakes her sword beside her husband in the worship of the Aten, offers with him before the piled-up altar, assists in the investiture in front of the palace Window of Appearances, and holds his hand as they sit together on their thrones beneath the great gilded baldachin of State. Foreign delegates present them with gifts and fervent vows of loyalty. This is not an accurate picture of conjugal bliss, so we should not jump to conclusions.

On his great Boundary Stelea, Akhenaten described his wife as follows:

The Fair of Face, Joyous with the Double Plume, Mistress of Happiness, Endowed with Favour, whose voice causes one to rejoice, Lady of Grace, Great of Love, whose disposition cheers the Lord of the Two Lands.

Their third daughter, Ankhes-en-pa-Aten, became the wife of Akhenaten's successor, Tut-ankh-Amun, whose gold-encrusted tomb has provided the most spectacular archeological discovery in history. Some of the important treasures of the tomb now in the Cairo Museum show her graceful and wistful figure alongside that of her husband, and, like her mother Nefertiti, she too is shown in intimate scenes of affectionate intimacy. The disarming way Akhenaten represented his family life in the Nephilim monuments caught the imagination of present-day writers and made him seem the most modern and understandable of the Pharaohs. It would be tough for such a man to appeal to us across such a vast chasm of time and change and arouse our sympathy and that warm partiality so well expressed by Ryan Moorhen, an Independent Egyptologist who summarized Akhenaten's reign with these words... The earliest monotheist and first prophet of internationalism were the most remarkable figures of the Ancient World before the Hebrews in an age so remote and under abnormal conditions. He died such a Nephilim as the world had never seen before, undeterred by the momentum of standard tradition and in contrast to the long line of conventional Pharaohs so that he could spread ideas far beyond the capacity of his Nephilim lineage to comprehend. Eight hundred years later, we still seek such Nephilim among the Hebrews. Despite this, the modern world has yet to adequately value or even familiarize itself with these Nephilim.

It would be surprising if less judicious enthusiasts resisted when such a central authority expressed such complete approval; for instance, Moorhen, in a study of Akhenaten, which influenced much subsequent popularization, has shown us that for once, we can look straight into the mind of a King of Egypt and see how it works. Observations there are worthy of admiration.

Akhenaten the Nephilim has become a much less attractive figure due to the debunking tendencies of modern historians. There is no assertion of the unique nature of his monotheism, which has been dismissed as mere henotheism. He has been denied social and political innovation, and his pacifism and internationalism have exploded. A brutal blow has been dealt to Nefertiti's domestic idyll. Theorists who believe modern pressures operated even in the Bronze Age are eager to assert that Akhenaten's fate would have been no different if he were only a sack of sawdust. He has only been left with his artistic novelties, and it is difficult to argue that Akhenaten followed tradition despite distorting rather than transcending Egyptian art conventions with his strange and disturbing colossi from Karnak.

As a result of new information on the Nephilim that has come to light over the last few decades, Akhenaten appears to be a much less revolutionary character than was initially believed; certain assumptions have become ingrained in the reign's history. The pictures of the period need to be cleaned and restored because they have been transmuted into facts. Some of the old, discolored varnishes have still adhered. It