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The final scene of "Vollmond" features a grand water fight against a chest-stirring score (the music ranges from Amon Tobin to Tom Waits).
Akhenaton devoted himself to the worship of the Aton, erasing all images of Amon and all writings of his name and sometimes even writings containing the word gods.
Under the sacerdotal state ruled by the priests of Amon at Thebes (c. 1075 c. 950 bce), Amon evolved into a universal god who intervened through oracles in many affairs of state.
Amon, also spelled Amun, Amen, or Ammon, Egyptian deity who was revered as king of the gods.
At Thebes, by the late 11th dynasty (c. 1980 bce), Re was associated with Amon as Amon-Re, who was for more than a millennium the principal god of the pantheon, the "king of the gods," and the patron of kings.
The southern part of Thebes grew up around a beautiful temple dedicated to Amon, king of the gods, his consort Mut, and their son Khons.
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To remove himself from the preeminent cult of Amon-Re at Thebes, Akhenaton built the city Akhetaton (now Tell el-Amarna) as the centre for the Aton's worship.
Incense-bearing trees were imported from the Arabian and Somali coasts into ancient Egypt, where incense was prominent in religious ritual e.g., at the daily liturgy before the cult image of the sun god Amon-Re and in the mortuary rites, when the souls of the dead were thought to ascend to heaven in the flame.
Between these two precincts lay the largest temple complex in Egypt, and one of the largest in the world, the great metropolitan temple of the state god, Amon-Re.
At that date he was already identified with the sun god Re of Heliopolis and, as Amon-Re, was received as a national god.
The Egyptians likely called it Saʾinu and also Per-Amon (House of Amon), whence perhaps the site's modern name, Tell Farama.
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