Tomb of Kha-em-hat of the Eighteenth Dynasty in Western Thebes (TT 57) 1789697018, 9781789697018, 9781789697025

Table of contents :
Cover
Title Page
Copyright Page
Contents Page
Acknowledgements
List of Abbreviations
Introduction
Discovery
Geographical position (see figures 1-3)
Features and the plan of the tomb (see figure 4)
Art characteristics
A. Titles
Division of the titles in the tomb
Facade
Outer court
Main entrance
Outer court
Outer court
Hall
Hall - east wall - south side - sub scene
Hall - south wall
Hall - south wall
Hall - south wall - statues in a niche
Hall - east wall
Hall - north wall
Hall - south wall- statues in a niche
Hall - west wall
Hall - Ceiling
Hall - ceiling
Hall - west wall - door entrance
Hall - west wall - door entrance
To the passage - door thickness
Passage - east wall
Passage - south wall
Passage - north wall (see figure 45)
Passage - south wall
Passage - west wall
Passage - west wall
Inner room
Passage - ceiling
Passage - ceiling
Passage - ceiling
B. Facade: Court
II. Outer court - front door (see figure 5, 5A, 6)
IIa. Facade - north wall (left-hand side - main entrance – see figure 7,7A)
III. Facade - stela of purification (see figure 8, 8A)
IV. Facade - opening of the mouth stela (right-hand side – see figure 9, 9A)
Dimensions׃ The remaining scene is about 1.5m in height and 1m in width.
V. Facade - north wall (right-hand side - main entrance – see figure 10, 10.A)
VI. Entrance - door frame (see figure 11, 11A)
VI.A Left jamb (see figure 11B)
VI.B. Right jamb (see figure 11C)
VI. C. South door thickness (left-hand side – see figure 12,12A)
Transverse Hall
Transverse Hall
VII. East Wall (see figure 13,13A)
VII. East wall - south side (figure 13,13A)
VII.A Kha-em-hat is giving offerings (sunken relief – see figure 13, 13A)
Similar scenes found in other tombs (Deceased preform rituals)
Conclusion
VII.B East wall - south side - lower register (sub-scene)
VIII. Remains of storehouse scene (see figure 13,13A)
VIII.A Kha-em-hat offerings to goddess Renenut, mistress of harvesting (see figure 15,15A)
IX.Unloading freight ships scene (lower register right-side wall – see figure 16,16A)
X. South wall (see figures 18-23)
X.A South wall - east side next to statues (see figure 19,19A)
X.B South wall - west side - next to southern statues (see figure.20, 20A)
X.C Statues (see figure 18)
X.D Seated woman between the legs of the statues (see figure 21,21A)
Inscriptions on the statues
X.E Inscription on the west side statue belongs to Im-hotep (see figure 18, 22)
X.F Inscriptions of the east side statue belong to Kha-em-hat (see figure 22)
X.G South wall - east jamb (left-hand side – see figure 23)
X.H South wall - west jamb (right-hand side – see figure 23)
XI. West wall (see figures 24,24A)
XI.A. West wall - south side (see figure 24,24A)
XII. East wall - north side (see figure 25-25C)
XII.A Kha-em-hat is giving offering (see figure 25B)
XIII. Kha-em-hat inspecting the surveying of the fields (see figure 25C)
XIV. Hall - north wall (see figure 26, 26A)
XV.Hall - west wall - north side (see figure 27, 27A)
XV.A Ceiling of the transverse hall- north side (see figures 28 -30A)
XV.B Hall - west wall - door entrance - see figures 31-31A)
XV.C. Hall - west wall - door entrance - north door thickness (see figure 32)
XV.D Hall - west wall - door entrance - south door thickness (see figure 33)
Passage
East Wall (see figures 35, 35A - 36)
XVII. East wall - south side (see figure 36)
Passage
Passage - south wall (see figure 38 - 40A)
XVIII-XIX. Funeral procession and ceremonies (see figure 40,40A)
XVIII. Funeral procession (see figure 40,40A)
XIX. Osiris with western goddess (see figure 38)
XIX.A Mourners (see figure 40, 40A)
XIX.B Cryptography (no longer exists- see figure 39)
XIX.C. Equivelant Text
Passage - east wall - north side
XX. Deceased purified and acclaimed by priests (see figure 41)
XXI-XXII Passage - north wall (see figure 42, 42A)
XXI. Kha-em-hat on the mountain (see figure 44)
XXII. Kha-em-hat in a worshipping attitude (see figure 45, 45A)
Lower register
XXII.A Abydos Pilgrimage (see figure 42,42A)
XXIII. Passage - west wall
XXIII.A Passage - Ceiling: (see figure 47,47A)
Inner Room
Inner Room
Door way
Inner Room
XXIV. South niche statues (Kha-em-hat and his Mother – see figure 48, 48A)
XXIV.A East wall next to the southern statues (see figure 49 – 49C)
Squeezes
XXIV.B West wall next to the southern statues (see figure 50, 51)
XXV. Inner room - east wall (see figure 52-54)
XXV.A East wall next to the northern statues (see figure 52 - 54)
XXVI. North niche statues (Kha-em-hat as Maḥu with his wife Ty- see figure 55, 55A)
XXVI.A Inner room - west wall (next to southern statues - figure 56, 56A)
XXVI.B West wall (next to northern statues – see figure 57, 57A)
XXVII. West niche statues (see figure 58, 58.A)
XXVII.A Ritual of offering list
XXVII.B The Finds
XXVII.C Statue of Kha-em-hat in Brooklyn Museum 37.48E. (U.S.A.)
Bibliography
Back cover

Citation preview

Archaeopress Egyptology 35

Tomb of Kha-em-hat of the Eighteenth Dynasty in Western Thebes (TT 57)

Amani Hussein Ali Attia

Tomb of Kha-em-hat of the Eighteenth Dynasty in Western Thebes (TT 57) Amani Hussein Ali Attia

Archaeopress Egyptology 35

Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com

ISBN 978-1-78969-701-8 ISBN 978-1-78969-702-5 (e-Pdf)

© Amani Hussein Ali Attia and Archaeopress 2022

All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. This book is available direct from Archaeopress or from our website www.archaeopress.com

Contents Acknowledgements������������������������������������������������������������������������������������������������������������������������������������ vii List of Abbreviations ��������������������������������������������������������������������������������������������������������������������������������viii Introduction�������������������������������������������������������������������������������������������������������������������������������������������������� x Discovery ����������������������������������������������������������������������������������������������������������������������������������������������� xi Geographical position (see figures 1-3)�������������������������������������������������������������������������������������������� xii Features and the plan of the tomb (see figure 4) �������������������������������������������������������������������������xvii Art characteristics������������������������������������������������������������������������������������������������������������������������������ xxi A. Titles�����������������������������������������������������������������������������������������������������������������������������������������������������������1 Division of the titles in the tomb ��������������������������������������������������������������������������������������������������������3 Facade�������������������������������������������������������������������������������������������������������������������������������������������������3 Outer court����������������������������������������������������������������������������������������������������������������������������������������3 Outer court����������������������������������������������������������������������������������������������������������������������������������������4 Outer court ���������������������������������������������������������������������������������������������������������������������������������������4 Main entrance�����������������������������������������������������������������������������������������������������������������������������������4 Hall������������������������������������������������������������������������������������������������������������������������������������������������������5 Hall - east wall - south side - sub scene�����������������������������������������������������������������������������������������5 Hall - south wall �������������������������������������������������������������������������������������������������������������������������������6 Hall - south wall��������������������������������������������������������������������������������������������������������������������������������6 Hall - south wall - statues in a niche����������������������������������������������������������������������������������������������6 Hall - south wall- statues in a niche�����������������������������������������������������������������������������������������������7 Hall - east wall�����������������������������������������������������������������������������������������������������������������������������������7 Hall - north wall �������������������������������������������������������������������������������������������������������������������������������7 Hall - west wall����������������������������������������������������������������������������������������������������������������������������������7 Hall - Ceiling �������������������������������������������������������������������������������������������������������������������������������������8 Hall - ceiling��������������������������������������������������������������������������������������������������������������������������������������8 Hall - west wall - door entrance�����������������������������������������������������������������������������������������������������9 Hall - west wall - door entrance�����������������������������������������������������������������������������������������������������9 To the passage - door thickness���������������������������������������������������������������������������������������������������10 Passage - east wall��������������������������������������������������������������������������������������������������������������������������12 Passage - south wall�����������������������������������������������������������������������������������������������������������������������12 Passage - south wall�����������������������������������������������������������������������������������������������������������������������13 Passage - north wall (see figure 45)���������������������������������������������������������������������������������������������13 Passage - west wall�������������������������������������������������������������������������������������������������������������������������13 Passage - west wall�������������������������������������������������������������������������������������������������������������������������13 Passage - ceiling������������������������������������������������������������������������������������������������������������������������������14 Passage - ceiling������������������������������������������������������������������������������������������������������������������������������14 Passage - ceiling������������������������������������������������������������������������������������������������������������������������������14 Inner room���������������������������������������������������������������������������������������������������������������������������������������14 B. Facade: Court�������������������������������������������������������������������������������������������������������������������������������������������15 II. Outer court - front door (see figure 5, 5A, 6)����������������������������������������������������������������������������15 IIA. Facade - north wall (left-hand side - main entrance – see figure 7,7A)��������������������������������18 III. Facade - stela of purification (see figure 8, 8A)��������������������������������������������������������������������������21 i

IV. Facade - opening of the mouth stela (right-hand side – see figure 9, 9A)����������������������� 26 V. Facade - north wall (right-hand side - main entrance – see figure 10, 10.A)������������������� 34 Dimensions‫ ׃‬The remaining scene is about 1.5m in height and 1m in width.��������������������� 34 VI. Entrance - door frame (see figure 11, 11A)�������������������������������������������������������������������������� 36 VI.A Left jamb (see figure 11B) ��������������������������������������������������������������������������������������������������� 39 VI.B. Right jamb (see figure 11C)������������������������������������������������������������������������������������������������� 40 VI. C. South door thickness (left-hand side – see figure 12,12A)�������������������������������������������� 42 Transverse Hall������������������������������������������������������������������������������������������������������������������������������������� 49 Transverse Hall������������������������������������������������������������������������������������������������������������������������������ 49 VII. East Wall (see figure 13,13A)������������������������������������������������������������������������������������������� 49 VII. East wall - south side (figure 13,13A)���������������������������������������������������������������������������� 49 VII.A Kha-em-hat is giving offerings (sunken relief – see figure 13, 13A)���������������������� 49 Similar scenes found in other tombs (Deceased preform rituals) ���������������������������������� 55 Conclusion��������������������������������������������������������������������������������������������������������������������������������������� 57 VII.B East wall - south side - lower register (sub-scene)��������������������������������������������������� 58 VIII. Remains of storehouse scene (see figure 13,13A)������������������������������������������������������ 62 VIII.A Kha-em-hat offerings to goddess Renenut, mistress of harvesting (see figure 15,15A)��������������������������������������������������������������������������������������������������������������������������������������� 63 IX.Unloading freight ships scene (lower register right-side wall – see figure 16,16A) 68 X. South wall (see figures 18-23)������������������������������������������������������������������������������������������� 74 X.A South wall - east side next to statues (see figure 19,19A)������������������������������������������ 77 X.B South wall - west side - next to southern statues (see figure.20, 20A)��������������������� 80 X.C Statues (see figure 18)������������������������������������������������������������������������������������������������������ 85 X.D Seated woman between the legs of the statues (see figure 21,21A)������������������������� 85 Inscriptions on the statues����������������������������������������������������������������������������������������������������������� 88 X.E Inscription on the west side statue belongs to Im-hotep (see figure 18, 22) ��������� 88 X.F Inscriptions of the east side statue belong to Kha-em-hat (see figure 22)�������������� 88 X.G South wall - east jamb (left-hand side – see figure 23)����������������������������������������������� 90 X.H South wall - west jamb (right-hand side – see figure 23) ������������������������������������������ 90 XI. West wall (see figures 24,24A)������������������������������������������������������������������������������������������ 94 XI.A. West wall - south side (see figure 24,24A)������������������������������������������������������������������ 94 XII. East wall - north side (see figure 25-25C)������������������������������������������������������������������� 105 XII.A Kha-em-hat is giving offering (see figure 25B)������������������������������������������������������� 108 XIII. Kha-em-hat inspecting the surveying of the fields (see figure 25C)�������������������� 112 XIV. Hall - north wall (see figure 26, 26A)�������������������������������������������������������������������������� 129 XV.Hall - west wall - north side (see figure 27, 27A) ������������������������������������������������������� 136 XV.A Ceiling of the transverse hall- north side (see figures 28 -30A)��������������������������� 146 XV.B Hall - west wall - door entrance - see figures 31-31A) ������������������������������������������� 152 XV.C. Hall - west wall - door entrance - north door thickness (see figure 32) ������������ 159 XV.D Hall - west wall - door entrance - south door thickness (see figure 33)�������������� 165 Passage������������������������������������������������������������������������������������������������������������������������������������������������� 169 Passage������������������������������������������������������������������������������������������������������������������������������������������ 169 East Wall (see figures 35, 35A - 36)�������������������������������������������������������������������������������������������� 169 XVII. East wall - south side (see figure 36)������������������������������������������������������������������������� 169 Passage - south wall (see figure 38 - 40A)�������������������������������������������������������������������������������� 175 XVIII-XIX. Funeral procession and ceremonies (see figure 40,40A)������������������������������ 175 ii

XVIII. Funeral procession (see figure 40,40A)������������������������������������������������������������������� 175 XIX. Osiris with western goddess (see figure 38)�������������������������������������������������������������� 176 XIX.A Mourners (see figure 40, 40A)���������������������������������������������������������������������������������� 179 XIX.B Cryptography (no longer exists- see figure 39)���������������������������������������������������� 185 XIX.C. Equivelant Text���������������������������������������������������������������������������������������������������������� 187 Passage - east wall - north side�������������������������������������������������������������������������������������������������� 202 XX. Deceased purified and acclaimed by priests (see figure 41)������������������������������������ 202 XXI-XXII Passage - north wall (see figure 42, 42A) ��������������������������������������������������������� 205 XXI. Kha-em-hat on the mountain (see figure 44) ���������������������������������������������������������� 209 XXII. Kha-em-hat in a worshipping attitude (see figure 45, 45A)���������������������������������� 236 Lower register������������������������������������������������������������������������������������������������������������������������������ 241 XXII.A Abydos Pilgrimage (see figure 42,42A)������������������������������������������������������������������ 241 XXIII. Passage - west wall ���������������������������������������������������������������������������������������������������� 248 XXIII.A Passage - Ceiling: (see figure 47,47A)�������������������������������������������������������������������� 259 Inner Room����������������������������������������������������������������������������������������������������������������������������������������� 268 Inner Room����������������������������������������������������������������������������������������������������������������������������������� 268 Door way��������������������������������������������������������������������������������������������������������������������������������� 268 Inner Room����������������������������������������������������������������������������������������������������������������������������� 268 XXIV. South niche statues (Kha-em-hat and his Mother – see figure 48, 48A)������������ 269 XXIV.A East wall next to the southern statues (see figure 49 – 49C) ���������������������������� 269 XXIV.B West wall next to the southern statues (see figure 50, 51) ������������������������������� 276 Squeezes���������������������������������������������������������������������������������������������������������������������������������� 276 XXV. Inner room - east wall (see figure 52-54)����������������������������������������������������������������� 279 XXV.A East wall next to the northern statues (see figure 52 - 54) �������������������������������� 279 XXVI. North niche statues (Kha-em-hat as Maḥu with his wife Ty- see figure 55, 55A) �������������������������������������������������������������������������������������������������������������������������������������������������� 282 XXVI.A Inner room - west wall (next to southern statues - figure 56, 56A)����������������� 285 XXVI.B West wall (next to northern statues – see figure 57, 57A) �������������������������������� 289 XXVII. West niche statues (see figure 58, 58.A) ��������������������������������������������������������������� 291 XXVII.A Ritual of offering list ��������������������������������������������������������������������������������������������� 296 XXVII.B The Finds ����������������������������������������������������������������������������������������������������������������� 307 XXVII.C Statue of Kha-em-hat in Brooklyn Museum 37.48E. (U.S.A.) �������������������������� 308 Bibliography��������������������������������������������������������������������������������������������������������������������������������������� 323

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List of Figures Figure 1. Figure 2. Figure 3. Figure 4. Figure 5. Figure 5a. Figure 6. Figure 7. Figure 7A. Figure 8. Figure 8A. Figure 9. Figure 9A. Figure 10.

General plan of Sheikh Abdel Qurna.����������������������������������������������������������������������� xiv Location of TT 57 to TT 102 and TT 126.������������������������������������������������������������������� xv Location of TT 57 to TT 56 and TT 102�������������������������������������������������������������������� xvi Plan of the tomb with dimensions ���������������������������������������������������������������������������� xx Court sign.�����������������������������������������������������������������������������������������������������������������������16 Facade – Sunken court��������������������������������������������������������������������������������������������������17 Facade - Full view�����������������������������������������������������������������������������������������������������������17 Facade - north wall - left side.��������������������������������������������������������������������������������������20 Facade - north wall - left side. Kha-em-hat censes and libates with hymns.�������20 Facade - stela of purification - right-hand side.��������������������������������������������������������24 Facade - stela of purification - right-hand side.��������������������������������������������������������25 Facade - open of the mouth stela - right-hand side.������������������������������������������������32 Facade - open of the mouth stela - right-hand side.������������������������������������������������33 Facade - north wall - right-hand side.Kha-em-hat censes and libates with hymn.����������������������������������������������������������������������������������������������������������������������35 Figure 10A. Facade - north wall - right-hand side.������������������������������������������������������������������������36 Figure 11. Facade – main entrance - door frame - both jambs. ������������������������������������������������37 Figure11A. Facade – main entrance - door frame - both jambs.������������������������������������������������38 Figure 11B. Facade - entrance - main door. Left jamb������������������������������������������������������������������39 Figure 11C. Facade - entrance - main door. Right jamb.���������������������������������������������������������������41 Figure 12. Main entrance - south door thickness Kha-em-hat is worshipping the sun��������47 Figure 12A. Main entrance - south door thickness with squeeze Kha-em-hat is worshipping the sun.����������������������������������������������������������������������������������������������������������������������������48 Figure 13. Hall - east wall - south side. Kha-em-hat is giving offerings - Grain storehouse Renenut harvest goddess - butchers scene -freight ships.�������������������������������������50 Figure 13A. Hall - east wall - south side. full view with squeeze. Kha-em-hat is giving offerings - Grain storehouse - Renenut harvest goddess - butchers scene -freight ships.��������������������������������������������������������������������������������������������������������������������������������51 Figure 14. Hall - east wall - south side - sub scene- butchers.���������������������������������������������������61 Figure 14A. Hall - east wall - south side - sub scene- butchers����������������������������������������������������62 Figure 15. Hall - east wall - south side - sub-scene - Renenut goddess of harvest�����������������67 Figure 15A. Hall - east wall - south sideSub-scene - Renenut goddess of harvest.�������������������68 Figure 16A. Hall - east wall - south side - lower register - freight ships.�����������������������������������70 Figure 16. Hall - east wall - south side - lower register - freight ships������������������������������������70 Figure 17. Hall - east wall - south side - market scene.��������������������������������������������������������������73 Figure 17A. Hall - east wall - south side - market scene..�������������������������������������������������������������74 Figure 18. Hall - south wall - life-size statues in a niche Kha-em-hat and his father ImHotep ������������������������������������������������������������������������������������������������������������������������������76 Figure 19. Hall - south wall - east side of the statues Kha-em-hat in his priestly garment, giving offerings��������������������������������������������������������������������������������������������������������������78 Figure 19A. Hall - south wall - east side of the statues Kha-em-hat in his priestly garment, giving offerings��������������������������������������������������������������������������������������������������������������79 Figure 20. Hall - south wall - west side - next to southern statues. Kha-em-hat is giving offerings��������������������������������������������������������������������������������������������������������������������������83 iv

Figure 20A. Hall - south wall - west side - next to the southern statues with squeeze Kha-emhat is giving offerings��������������������������������������������������������������������������������������������������� 84 Figure 21. Hall - south wall Seated female figure between the two statues of Kha-em-hat and his father Im-hotep.����������������������������������������������������������������������������������������������� 86 Figure 21A. Hall - south wall.Seated female figure between the two statues of Kha-em-hat and his father Im-hotep.����������������������������������������������������������������������������������������������� 87 Figure 22. Hall - south wall - life-size statues in a niche. Kha-em-hat and his father Imhotep - inscriptions of the statues������������������������������������������������������������������������������ 89 Figure 23. Hall - south wall - left - right jamb.����������������������������������������������������������������������������� 91 Figure 24. Hall - west wall - south side. Kha-em-hat presenting harvest records to king Amenophis III.�������������������������������������������������������������������������������������������������������������� 100 Figure 24A. Hall - west wall - south side with squeeze. Kha-em-hat presenting harvest records to king Amenophis III����������������������������������������������������������������������������������� 101 Figure 25. Hall - east wall - north side. Kha-em-hat is giving offerings and surveying the fields������������������������������������������������������������������������������������������������������������������������������� 106 Figure 25A. Hall - east wall - north side. Kha-em-hat is giving offerings and surveying the fields ������������������������������������������������������������������������������������������������������������������������������ 107 Figure 25B. Hall – east wall – north side. Kha-em-hat is giving offerings.with squeeze ������ 111 Figure 25C. Hall - east wall -north side. Kha-em-hat surveying the fields����������������������������� 128 Figure 26. Hall - north wall. Giving offerings ��������������������������������������������������������������������������� 134 Figure 26A. Hall - north wall. Giving offerings���������������������������������������������������������������������������� 135 Figure 27. Hall - west wall - north side. Kha-em-hat being rewarded by King Amenophis III.����������������������������������������������������������������������������������������������������� 144 Figure 27A. Hall - west wall - north side with squeeze Kha-em-hat being rewarded by King Amenophis III������������������������������������������������������������������������������������������������������ 145 Figure 28. Hall –Ceiling –north side- Middle line inscriptions���������������������������������������������� 147 Figure 29. Hall – text of the north side ceiling – parallel to the west wall���������������������������� 149 Figure 30. Hall - ceiling - north side. ������������������������������������������������������������������������������������������ 150 Figure 30A. Hall - ceiling – full view ��������������������������������������������������������������������������������������������� 151 Figure 31A. Hall - west wall - door entrance with squeeze. Htp-dj-nsw - formula - Osiris with Isis and Nephthy ��������������������������������������������������������������������������������������������������������� 158 Figure 32. Hall - west wall - door entrance - north door thickness.�������������������������������������� 164 Figure 33. Hall - west wall - door entrance - south door thickness ��������������������������������������� 166 Figure 34. Hall - west wall - door entrance - south door thickness ��������������������������������������� 167 Figure 35. Passage - east wall. Kha-em-hat is standing on horizon sign ����������������������������� 172 Figure 35A. Passage - east wall with squeeze. Kha-em-hat standing on horizon sign (righthand side). %Ax ritual (left-hand side). ������������������������������������������������������������������� 173 Figure 36. Passage - east wall - south side. Kha-em-hat is standing on horizon sign.�������� 174 Figure 37. Horizontal line beneath the ceiling. Vertical line behind the shrine of Osiris�� 182 Figure 38. Passage - south wall. Osiris with Western goddesses��������������������������������������������� 184 Figure 39. Passage - south wall - Cryptography (no longer exists). T.Deveria, L’ècriture secrete, Tome V, Paris 1897, Plate I��������������������������������������������������������������������������� 189 Figure 40. Passage - south wall. Funeral processions and ceremonies.��������������������������������� 200 Figure 40A. Passage - south wall – full view. Funeral processions and ceremonies.�������������� 201 Figure 41. Passage - east wall - north side.Kha-em-hat standing on horizon sign.������������� 204 Figure 42. Passage - north wall ��������������������������������������������������������������������������������������������������� 206 Figure 42A. Passage - north wall with squeeze..�������������������������������������������������������������������������� 207 v

Figure 43. Horizontal line beneath the ceiling. ������������������������������������������������������������������������ 209 Figure 44. Khaemhat standing on a mountain- chapter 110 BD with Vignette������������������� 234 Figure 44A. Khaemhat standing on a mountain- chapter 110 BD with Vignette.������������������ 235 Figure 45. Passage - north wall. Purification of Kha-em-hat. Kha-em-hat in a worshipping attitude�������������������������������������������������������������������������������������������������� 237 Figure 45A. Passage - north wall. Purification of Kha-em-hat. Kha-em-hat in a worshipping attitude�������������������������������������������������������������������������������������������������������������������������� 238 Figure 46. Passage - west wall. Upper register - chapter 112 BD. Lower register left – chapter 117 BD. Upper register right – chapter 113 BD.��������������������������������������� 257 Figure 46A. Passage - west wall. Upper register - chapter 112 BD. Second register left – chapter 117 BD. Upper register right – chapter 113 BD.��������������������������������������� 258 Figure 47. Passage – ceiling.��������������������������������������������������������������������������������������������������������� 266 Figure 47A. Passage – ceiling.��������������������������������������������������������������������������������������������������������� 267 Figure 48. Inner room - south wall. South niche statues - Kha-em-hat and his mother���� 270 Figure 48A. Inner room - south wall. South niche statues - Kha-em-hat and his mother���� 271 Figure 49. Inner room- east wall next to southern statues. Offering list.����������������������������� 272 Figure 49A. Inner room- east wall next to southern statues. slaughtered gazelles.�������������� 273 Figure 49B. I nner room- east wall next to southern statues - lower register ..........................274 Figure 50. Inner room – west wall.Offering presentation list next to southern niche statues ���������������������������������������������������������������������������������������������� 277 Figure 51. Inner room - west wall. Offerings and Oryx next to southern stautes- lower register.�������������������������������������������������������������������������������������������������������������������������� 278 Figure 52. Inner room – east wall – next to northern statues. Kha-em-hat is holding a stick���������������������������������������������������������������������������������������������������������� 279 Figure 53. Inner room – east wall – next to northern statues. Kha-em-hat’s feet.�������������� 280 Figure 54. Inner room – east wall – next to northern statues.. Kha-em-hat is holding a stick - full view���������������������������������������������������������������������������������������������������������������������� 281 Figure 55. Inner room - north niche statues. Kha-em-hat with his wife Ty.������������������������ 283 Figure 55A. Inner room - north niche statues Kha-em-hat with his wife Ty..������������������������ 284 Figure 56. Inner room- west wall next to southern statues. Kha-em-hat adoring.������������� 287 Figure 56A. Inner room - west wall next to southern statues with squeeze. Kha-em-hat adoring�������������������������������������������������������������������������������������������������������������������������� 288 Figure 57. Inner room- west wall next to northern statues. Offering list.���������������������������� 290 Figure 57A. Inner room- west wall next to northern statues. Broken wall with remains of text. ���������������������������������������������������������������������������� 291 Figure 58. Inner room - west niche statues. Statues of Kha-em-hat and his father Im-Hotep. ��������������������������������������������������������������������������������������������������������� 294 Figure 58A. Inner room - west niche statues. Statues of Kha-em-hat and his father Im-Hotep. ��������������������������������������������������������������������������������������������������� 295 Figure 59. Statue of Kha-em-hat in Brooklyn Museum 37.48E.U.S.A. C. Lalouette, Fideles du soleil, Plate I.����������������������������������������������������������������������������������������������������������������� 312

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Acknowledgements Firstly, I would like to express my sincere gratitude to both my advisors Prof. Dr Hosam Refai and Prof. Dr Christian Leitz for the continuous support of my PhD study and related research, for their patience, motivation, and immense knowledge. Their guidance helped me throughout the time of research and writing of the dissertation. In addition to my supervisor, I would like to thank the rest of the dissertation committee: Prof. Dr Rasha Metawi, Prof. Dr Omaima El Shal, for their insightful comments and encouragement. My sincere thanks go to His Excellency Dr Khaled El Anany for his continuous help and support. Special thanks go to my colleague Dr Saeed Abdel Hafiz for all his help and encouragement. Without their precious support it would not be possible to conduct this research. I would also like to thank my working team, who made their best to help me achieve this work, they are as follows: 1. Ayman Damarany (Photographer) 2. Abdel Baset (Survey) 3. Ahmed Abdel Halim (Facsimile drawings) 4. Alaa Bashandy (Editor) Special thanks to the employees of the Supreme Council of Antiquities in Cairo and Luxor for their support and co-operation.

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List of Abbreviations Arch. Ver. Archäologische Veröffentlichungen (AV) des DAI, Abteilung Kairo. ASAE Annales du Service des Antiquités de l’Égypte (SAE) (Cairo). ASE Archaeological Survey of Egypt (London) ÄZ Ägyptische Zeitschrift (Leipzig). BACE Bulletin of the Australian Centre for Egyptology (North Ryde). BE Bibliothèque égyptologique (Paris/Cairo). BIFAO Bulletin de l’Institut Français d’Archéologie Orientale (IFAO - Cairo). BMMA Bulletin of the Metropolitan Museum of Art (MMA) (New York). CNIANES Carsten Niebuhr Institute of Ancient Near Eastern Studies (Copenhagen). JARCE Journal of the American Research Center in Egypt (Boston/Princeton/New York/Cairo) JAOS Journal of the American Oriental Society (Baltimore/Boston/New Haven). JEA Journal of Egyptian Archaeology (EES, London). JENS Journal of Near Eastern Studies. JEOL Jaarbericht van het Vooraziatisch-egyptisch Genootschap Ex Oriente Lux (Leiden). JSSEA Journal of the Society of the Study of Egyptian Antiquities (SSEA) (Toronto). GM Göttinger Miszellen (Germany). KRI K.A. Kitchen, Ramesside Inscriptions, Historical and Biographical. I - VII’ (Oxford, 1969-1990). LGG Lexikon der Ägyptischen Götter und Götterbezeichnungen MÄS München Ägyptologische Studien (Mainz). MDAIK Mitteilungen des Deutschen Archäologischen Instituts, Abteilung Kairo (DAIK) (Mainz/Cairo/Berlin/Wiesbaden). MDOG Mitteilungen der Deutschen Orient-Gesellschaft (DOG) (Berlin/Leipzig). MIFAO Mémoires publiés par les membres de l’Institut Français d’Archéologie Orientale (IFAO) du Caire (Berlin/Cairo). MIO Mitteilungen des Instituts für Orientforschung (Berlin). MMAF Mémoires publiés par les membres de la mission archéologique. MMAJ Metropolitan Museum Journal. MonAeg Monumenta Aegyptiaca (Brussels). OIC Oriental Institute Communications (Chicago). OLA Orientalia Lovaniensia Analecta (Louvain). PM B. Porter and R. Moss, ‘Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings’, 7 vols, 1927-1951. RdE Revue d’Égyptologie (Paris). REA Revue de l’Égypte Ancienne (Paris). Rec. de Trav Recueil de Traveaux Relatifs à la Philologie et à L’archéologie Égyptiennes et Assyriennes (Paris) SAGA Studien zur Archäologie und Geschichte Altägyptens (Heidelberg). TTS Theban Tombs Series (London) URK Urkunden des ägyptischen Altertums / begr. von Georg Steindorff. URK Urkunden der 18. Dynastie / bearb. und übers. von Kurt Sethe (Berlin) viii

Wres. Atlas. Wreszinski, Walter, Atlas zur altägyptischen Kulturgeschichte. I (Leipzig). WB Wörterbuch der ägyptische Sprache, 7 vols., A.Erman and W. Grapow, 1926- 1931. ZÄS Zeitschrift für ägyptische Sprache und Altertumskunde (Berlin/Leipzig).

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Introduction The tomb of Kha-em-hat TT 57 is well known, featuring unique scenes and an exclusive art style – the vivid colours on the walls, in particular, give the tomb its importance. Open to visitors, it has survived in very good condition, but to date it has only been published once, in 2017, in a book about the site produced by the council of Antiquities in Cairo. This latter publication contained old photographs of the tomb and scene descriptions, but did not include an academic analysis or interpretations of the texts on the walls. When looking for a new challenge for a PhD topic, I was lucky enough to meet Dr Khaled El Anany at Cairo’s National Museum of Egyptian Civilisation and he suggested that I should apply for a concession to work on this tomb. The idea of tackling an unpublished tomb was a daunting task but one I was eager to attempt; accordingly I accepted on 16 March 2015 and was soon flying to Luxor to start my working plan. There I was introduced to the Basetts – Damarany the photographer, and Abdel the surveyor – and we soon set to work. Later I was to meet Ahmed Abdel Halim, who undertook the facsimile work of TT 57. My initial plan was to prepare the facsimile myself and I started working on the drawings on my tablet, but being already fully involved in the academic study I did not continue with them. The project required several phases: I began by photographing the tomb and then did the survey, following this I relocated to Germany and the Ianes Institute at Tübingen. Having collected the wall texts and translated them, I began the scene descriptions and analysis. The work was not easy and I faced several problems dealing with the tomb, primarily financing, which I was obliged to undertake myself and was obliged to stop at certain points from the lack of funds. The other problems were minor in comparison and were overcome. As the tomb had been exposed to fire, and consequently many scenes damaged, I was unable to read some of the hieroglyphic signs clearly and had to revisit them several times; the final visit being to compare the texts with what was there on the walls, using a magnifier to help with the signs that were unclear. The tomb (TT 57, PM I.2, 113-19) was already accessible in the second quarter of the 19th century, and some of its decoration had been copied by Nestor l’Hote (1828–1841), Lepsius (1843–1845), as well as by Wilkinson and Prisse d’Avennes. Victor Loret wrote about the tomb in 1889 (Mem. Miss., I, 113–132), and a full recording was undertaken by Abdel-Aziz F. Sadek on behalf of CEDAE in 1967. x

Introduction Mohammed Abdel Latif el Tanbouli described all the scenes in 1968–1969, and his work was reviewed by Charles Kuentz. This manuscript is in three notebooks kept in the CEDAE archives. Several books mentioned TT 57, but none as detailed as this present study. Loret describes the tomb in general, recording some of the wall texts, but not all. It seems that the tomb was covered in sand by his time and he did not record the lower columns; moreover some signs were incorrectly noted by him and he wrote no translation or transliteration of any of the texts. Mond records cleaning the tomb and describes some of his finds during excavations at Abdel Qurnah. URK IV also contains the hieroglyphic text of the tomb and a translation, but only parts of the texts not all of it. Two articles were published about this tomb: one is on the ‘stela of purification’ by Abdel Aziz Sadek, and the other by Christina Pino on the ‘market scene’ in the hall of the tomb. Bohleke refers to the titles of Kha-em-hat in his dissertation on the ‘overseer of granaries’ in general during the 18th Dynasty. The PM also mentions TT 57, providing a simple plan and references to the tomb. Apart from these sources, various aspects of TT 57 also appear in other articles, e.g. appreciating the art style, or comparing it to other tombs from the same period. Thus TT 57 might be referred to, but no complete data has appeared to date. The present research, therefore, is an attempt at gathering all the information found at the site itself, and as much as possible of the accessible references. It deals with the translation, a transliteration of all the texts currently existing in the tomb, descriptions of the scenes, analyses of the religious rituals depicted, and comparisons with similar scenes found in other tombs. Last but not least there is a new, detailed survey with the dimensions of the tomb. The plan was made in 2015, once the concession to publish TT 57 had been granted. The future research direction is to compare the scenes in TT 57 with similar ones found in other tombs; lists of these have already been compiled for this present study in tables after every scene, but the scenes still need to be studied in detail. A further task is to clean the tomb shaft. This present study includes photographs of the shaft in its current state, showing the fire damage that needs to be cleaned and the extent of the restoration required. It seems that there are inscriptions on the walls of the burial chamber. Discovery The tomb of Kha-em-hat was discovered in 1842 by George Lloyd, an amateur archeologist. We lack detailed information on the circumstances, only that Lloyd was sadly killed shortly after the discovery by the accidental discharge of his gun.1 The tomb type corresponds entirely to the normal forms of Theban tombs of the mid 18th Dynasty. As mentioned, the tomb has suffered damage, including being exposed to fire, although nothing is known about the circumstances of this fire. Most scholars commenting on this tomb have admired the tomb’s bas relief and the high-quality preferences of its owner. Unfortunately, since the middle of the last century, the tomb has been plundered by robbers, who also removed wall fragments which are now to be found in different museums around the world.2 1 2

A. Varille, Lʾappel aux visiteurs du tombeau de Kha-em-hêt, ASAE 40, 1940, p. 601. M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, p. 40.

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tomb of kha-em-hat Ever since its discovery, the tomb has been especially regarded for the exquisite style of its reliefs. Soon copies of these decorations were being made by means of a method made popular in the 19th century – pressing wetted sheets of soft paper onto the reliefs. Alas, this repeated activity has removed nearly all the colour from reliefs, the pigment particles easily adhering to wet paper. Indeed, Kha-em-het became so popular that numerous collections of squeezes were prepared and then sold to tourists, many surviving in various museums and institutions around the world. Of the original fragments, eight are in the Ägyptisches Museum in Berlin, and three in the Musée Royale du Cinquantenaire in Brussels.3 Concerning the Berlin pieces specifically, Lepsius saved one (Inv. No. 2063), while the remaining pieces reached the city’s Museum much later: six were bought in 1899 via the Egyptian antiquities’ market, and a further one made its way there in 1925. Of the squeezes, Devéria also made a set in the tomb in March 1862, although the largest collection (143 sheets) is in the Griffith Institute, Oxford: it is also the best illustrated. Seven well-described sheets are in in Boston. Another series was held in the storeroom of the Department of Ancient Art in the National Museum in Warsaw; these were bought by Michał Tyszkiewicz on his visit to Egypt in 1861–1862, and their importance lies in how much they show us has now been lost from the tomb. Name origin The extensive cemetery lies on the west bank of the Nile, c. 5 km away, where all the noble tombs have been found. The location was not a random one. Here the high mountains resemble a stepped pyramid, making it the ideal setting for a necropolis. The hills are of coarse limestone, resting on a thick bed of solidified green clay so friable that it can be crumbled with your fingers. Underneath are beds of fine limestone of a close grain, but these could only be used for low-lying tombs, i.e. those of Kha-em-hat, Ra-mose, Puy-em-re, and others, as well as for the tombs of the kings.4 The tomb walls were covered with a coating of mud or lime plaster to prepare it for decoration. Locals believed that there was a lion roaming the peak of the mountain that would attack all who sin against it. This high peak was called ‘The Horn’ (‘Kurn’) and the village below derives its name from it. In the centre of the complex is the location of the tombs of the 18th Dynasty tombs. The Sheikh of Abdel Qurna was a revered local saint whose shrine was built on top of the mountain, perhaps replacing Meretseger or other popular Egyptian divinity. Geographical position (see figures 1-3) Kha-em-hat TT 57 is located in the Sheikh Abdel Qurna necropolis, on the west bank of the Nile in Luxor. It dates from the reign of Amenophis III, more precisely in the thirtieth year of his reign.5 It is considered one of only four private tombs from the time of Amenophis III to Pieces in Berlin Museum are: nos. 2063, 14442, 14503–4, 14635–7, 22439, Gypsum casts of the first four of them were sent to Egypt in 1913 and set into the walls of the tomb, in Brussels: E.2484, E.2164, cf. M. Dolinska, Khaemhat’s bad luck; http://etudesettravaux.iksiopan.pl/images/etudtrav/EtudTrav_otwarte/EtudTrav_21/04_MONIKA_ DOLI%C5%83SKA.pdf, pp29f (viewed 7 July 2019). 4 N. Davies, The Tomb of Nakht at Thebes, New York 1917, pp. 3–6. 5 See Hall – west wall, south side, pp. 107–111. 3

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Introduction have been decorated with reliefs.6 It lies on the right-hand side of the sunken courtyard of tomb TT 102 and TT 126; they share the same court. The area was already utilized in the time of Tuthmosis IV and Amenophis III. Among the high officials of this time, the Vizier Ramose TT 55 and the chieftain Kha-em-hat TT 57 had laid out their graves very close to TT 56. The latter, connected to the slightly older tomb 102 by a common courtyard, lies to the south of TT 56. The forecourts of TT 56, TT 57 and TT 102 are separated by a rocky walkway, c. 6 m wide; the north arm of TT 57’s transept ends just beyond the statuary of the Userhat tomb.7 To lift the door frame somewhat from the facade area, and fashion the stela to the right of the rock, the right facade area, already used for an earlier grave, was increased a little further, i.e. vertically and moved somewhat lower. The right side of the facade is larger than the one to the left, as the court was already part of a former tomb and there was therefore insufficient space to build the usual symmetrical facade. What remained was a kind of projection, or narrow mastaba, along the right facade of TT 57. The left facade was not subjected to the same treatment and remained in its original form.8

M. El Tanbouli, Kha-em-hat, Center of Documentation and Studies on Ancient Egypt, Cairo 2017, p. 1. Seeber and Abdel Ghaffar, Das Grab des Userhat TT 56, AV 50, 1987, p. 10. 8 F. Kampp, Die Thebanische Nekropole, zum wadel des Grabgedankens von der XVIII. bis zur XX Dynastie, 2, Mainz 1996, pp. 267–269. 6 7

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Figure 1. General plan of Sheikh Abdel Qurna. F.Kampp, Die thebanische Nekropole zum wandel des Grabegedankens von der XVIII bis zur XX, Teil II, Mayence 1996.

tomb of kha-em-hat

xiv

Introduction

Figure 2. Location of TT 57 to TT 102 and TT 126. F.Kampp, thebanische Nekropole, Teil 2, fig. 156.

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tomb of kha-em-hat

Figure 3. Location of TT 57 to TT 56 and TT 102. BeinlichSeeber, Christine; Šadīd, Das Grab des Userhat, pl. 33.

xvi

Introduction Features and the plan of the tomb9 (see figure 4) Thebes is considered the most important cemetery of the New Kingdom; it has a large number of tombs scattered over different sites. The prominent officials of the 18th Dynasty cut their tombs into the higher slopes while the lower ones were left for the less important. By the reign of Amenophis III the higher level of Sheikh Abdel Qurna was full of tombs, so the more senior officials had to either locate their tombs in the lower level or to move to a new site, i.e. Khôkha and El Asâsif, characterised by a better quality of stone.10 The arrangement of Theban tombs at the beginning of the 18th Dynasty varied in appearance11 and was restricted to two types: the open vestibule and the closed vestibule tomb. The latter is the more frequent, at least in the tombs known to date, and includes all the tombs into which one enters through a single door, most often facing the rising sun; this door was closed in the past and preceded by a court, where the various funeral ceremonies were held. The family of the dead came to place their offerings here on certain days and periodically renew the funeral banquet, the representation of which is common in all the tombs. The threshold opens into a large vestibule, supported by several columns or pillars, however these pillars are absent in the tombs of Rakh-mi-re and Kha-em-hat. This part of the tomb is decorated with paintings that usually represent the deceased in the performance of the functions he undertook during his lifetime.12 In all, despite the general characteristics that the tombs shared in common, the details varied. The tombs had been extended since the time of Amenophis III. Typically, the forecourt developed as a kind of cult stage for the ‘opening of the mouth’ and the cult of the dead, and, together with the now obligatory facade steles, is closely related to the sun cult. Above the tomb is built a grave pyramid, in the middle of which lies another cult room. The pyramid will also be included in the course of the sun, its apex shining from sun rise to sun set.13 The architectural plan of TT 57 was designed roughly T-shaped,14 preceded by a public court shared by several other tombs.15 This feature seems to have begun from the beginning of the reign of Amenophis III until the end of the 18th Dynasty,16 and is found at TT 55, TT 57, and TT 192 in Qurna. As the tomb consisted of several chambers, transverse hall, passage, inner room and a burial chamber, each chamber was dedicated to a different purpose, e.g. the burial chamber was reserved specifically for the deceased, while certain places in the tomb were accessible for visitors to read the spells inscribed on the walls for the benefit of the deceased, as the scenes represented on the tomb walls were usually accompanied by texts inscribed in various places in the tomb, i.e. facade, doorposts, architraves, stelae, and false doors.17 The dimensions of the scenes were copied from El Tanbouli; cf. the original plan, figure I C with the current dimensions, this plan was made in 2015 during my work in the tomb. 10 A. Kanawti, The Tomb and Byond, Warminster 2001, p. 66. 11 See plan I. 12 U. Bouriant, Tombeau de Harmhabi, MMAF 5, 1889, p. 413. 13 P. Barthelmess, Der Übergang ins Jenseits in den thebanischen Beamtengräbern der Ramessidenzeit, Heidelberger Orientverlag, 1992, p. 3. 14 See pl. I for the plan of the tomb with dimensions. 15 See pl. I.A. 16 It was also found in TT 47, 48, 181, 188, 192, and 49 at Khôkha; cf. M. Wegner, Stilentwickelung der Thebanischen Beamtengräber, MDAIK 4, 1933, p. 40. 17 P. Rourke, An Ancient Egyptian Book of the Dead, Brooklyn Museum 2016, pp. 40–41. 9

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tomb of kha-em-hat It is noticeable also that almost every text inscribed ended with the name and titles of the deceased, to emphasis his possession of the tomb. The tomb of Kha-em-hat consisted of a transverse hall parallel to the facade and a perpendicular corridor penetrating westwards into the bedrock of the hill, and forming the stem of the T shape of the tomb plan. The transverse hall contained a niche. Then followed an inner room leading to a shaft where the burial chamber is. Peculiarities of this tomb include the rise of the vaulted ceiling in the long corridor and the statue niche above at the back wall. Several graves of the same period have a transverse chamber next to the corridor as a third room, i.e. TT 87, 127, 79, 77, and, of course, TT 57.18 The T-shaped tombs in general contained a full repertoire of wall decoration with differing scenes, starting from the ‘Litany of Ra’ represented on both sides of the door leading to the long, transverse hall. The scenes in the transverse hall in TT 57 mainly represent the deceased’s lifetime activities, e.g. his profession as an overseer of granaries, including harvesting and grain tallying responsibilities, and scenes featuring cattle and the market. Most of the decoration themes of New Kingdom tombs are originally copied from everyday scenes relating to the Old and Middle kingdoms.19 In particular three categories of tomb scenes can be distinguished – illustrations of everyday activities (farming, boating, hunting, etc.), depictions of actual incidents in the life and death of the tomb owner (being rewarded or promoted by the king, escorting or introducing embassies into the royal presence, funeral rites and ceremonies for the deceased, etc.), and finally scenes of incidents that would occur on the way to, and in, the afterworld (the judgment of the dead, the deceased plowing in the Fields of Iaru, the deceased sitting by the Ished Tree, etc.).20 Thus the hall scenes were mainly dedicated to representations of the activities of the owner of the tomb: the west wall featured scenes of the deceased’s professional career and his relationship with the king he served under his reign; the east wall depicted his private life and social activities, e.g. as field inspector. The scene of the ruling king represented on his throne in a kiosk became a prominent feature in New Kingdom private tombs.21 The deceased enjoyed a high position in the administration approximately around year thirty of the reign of Amenophis III,22 as clearly represented in his tomb. The ceiling of the hall is flat and decorated with geometrical patterns with three lines of inscriptions, one in the middle and two on each side.23 The hall leads to a tall, narrow passage adorned with more funerary themes, such as Abydos pilgrimage, west goddess, and funeral procession. The ceiling of passage is vaulted, plain except for three lines of inscriptions similar to the hall. The rock cut life-size statues of the deceased with a family member or more started from the reign of Amenophis II to be one of the popular characteristics of the tombs, either in one room or more, it was continued to be used till the end of the 19th Dynasty.24 The inner room has three chapels; each contains two life-size statues and an opening leads to the shaft. The tomb is Wegner, Stilentwickelung der Thebanischen Beamtengräber, MDAIK 4, 1933, p. 44. D. Vischak, Common Ground between Pyramid texts, JARCE 40, 2003. 20 A. Schulman, The Iconographic Theme: Opening of the mouth on stelae, JARCE 21, 1984, p. 170. 21 A. Shaheen, Historical Significance of Selected Scenes, PhD. 1988, UMI 1991, p. 321. 22 J. Capart, Thèbes, Bruxelles 1925, p. 248. 23 See figure XV, B–C. 24 A. Kanawti, The Tomb And Beyond, Warminster, 2001, p. 67. 18 19

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Introduction one of the examples with precise dates inscribed in the texts – they appear twice, first the reference to year thirty of the reign of Amenophis III, and the second being the date of the harvest festival. It was Mond who cleaned out the tomb, cleared its courtyard and repaired the walls.25 Four mummy pits were found in connection with this tomb after Mond’s work, and to date, following the new plan made in 2015 by the present author, these four pits still exist: one lies outside in the northern corner of the courtyard (now covered with cement), two are in the exit from the transverse hall, and the fourth is in the burial shaft (plan I). Whether both shafts in the transverse hall originate from the time of Kha-em-hat cannot be determined. In addition there are two small chambers cut into the rock; in one, as mentioned by Mond, there are four recesses in the wall, covered with sandstone slabs, rather like Roman Catacombs, and also small wooden and mud-painted Shabtis. In actual fact these features are more like ledges than recesses, and not very prominent as the chamber is in very bad condition and the walls are covered with soot, except for the broken ones. Two of these four ‘recesses’ can be made out although the details are not very clear due to the general darkness and soot covering, but it seems that there are inscriptions underneath (see Burial Chamber figures). There might be more to reveal in this room in the future after it has been cleaned, as it contains a good deal of mixed remains, i.e. linen, pottery, fragments from the original walls, and bones (see Burial Chamber figures). Some new images were taken during the work of the present author in the tomb in 2015.

25

L. Collins, The Private Tombs of Thebes, JEA 62, 1976, p. 39.

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tomb of kha-em-hat

Figure 4. Plan of the tomb with dimensions (By Abdel-Baset).

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Introduction Art characteristics Art in Ancient Egypt passed through different phases, which is clearly reflected in the themes depicted on tomb walls found through the centuries. Old Kingdom art was connected to funerary ceremonies, while in the Middle Kingdom we find scenes of sports, agriculture, crafts, etc. In the New Kingdom the focus was once more heavily focused on representations of funerary rites, now to facilitate the passing of the deceased from the earthly realm to the landscapes of eternity.26 More scenes were introduced in the New Kingdom period, especially during the 18th Dynasty, when the scenes took on an official character and recorded the relationship between the deceased and the king, and also emphasised the tomb owner’s profession. The artists of the 18th Dynasty can be said to have achieved near perfection in their work, and the bas-relief in Kha-em-hat’s tomb is a wonderful example of this. The heads are beautifully drawn and full of expression – indeed nearly all bas-reliefs of this period are notable for their astonishing attention to profile.27 The relief treatment is characterised by beauty of line, clarity of contour, and delicacy of modelling.28 Care of form is an essential stylistic feature of tomb art, dated particularly to the time of Amenophis III. The figures in the tomb are distinguished by their harmonious proportions, moderated postures, balanced body shapes, and facial contours. The faces are executed by means of a continuous curved line – from the slightly curved nose with softly modelled nostrils, to the outlined mouth, with a pointed angle from which a slight recess starts at the chin; an oblique eye materialises, spanned by an arched brow and shaped by precisely represented eyelids. The reliefs have in common an extreme over-refinement, embodied through stylization of the natural form, a way of visualisation based on the principles of a distinct Theban tradition, and manifesting in the highly developed relief art found in the tombs dating from the time of Amenophis III29 (see figures 24–27)..

N. Davies, Egyptian Tomb Paintings, London 1958, pp. 2–3. S. Ikram, Egyptian Art, Kӧln 2014, p. 255, pl. 5. 28 M. Wegner, Stilentwickelung der Thebanischen Beamtengräber, MDAIK 4, 1933, p. 132. 29 J. Assmann, Das Grab des Amenemope (TT 41), Mainz 1991, p. 198. 26 27

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Chapter I

A. Titles The role of the administration in Ancient Egypt was of a great importance; the king would be always surrounded by his high officials, responsible for specific duties and central to the way the royal court operated. It was possible for a high court official to have more than one title simultaneously; these were given by the king and usually preceded the name of the high official. The title of ‘Granary Overseer’ as a functionary title is mainly encountered in the Late Middle Kingdom.1 Nobles of the 18th Dynasty held several titles and these were recorded in their tombs. Titles generally were of administrative and religious significance, and in our case we therefore have confirmation of an administrative position as royal scribe and overseer of the double granaries of the King of Upper and Lower Egypt. The religious element is the title strongly associated with the cult of Anubis and Osiris. Kha-em-hat might well have inherited his titles from his father, i.e. overseer and royal scribe, and a title relating to Anubis is found inscribed on the statues of Imhotep in the transverse hall and the inner room in TT 57. Kha-em-hat had also held several titles associated with Anubis.2

W. Gajetzki, Court Officials of the Egyptian Middle Kingdom, London 2009, p. 105. Ten titles of Kha-em-hat were associated with Anubis on different walls in the tomb, see Chapter I – façade: north wall, left-hand side, pp. 17, 37–38; outer court: door jamb, right-hand side, pp. 18, 51–52; Chapter II – Hall: east wall, north side, pp. 21, 123–124; hall: west wall, door entrance, right-hand side, pp. 24, 173–175; hall: ceiling, central line, pp. 22–23, 168–169; hall: west wall, door entrance, right and left jambs, pp. 24–25, 173–175; door thickness leads to the passage, north side, pp. 25–26, 176–182; Chapter III, passage: south wall, cryptography, pp. 29, 204–206; Chapter III, passage: south wall, line beneath ceiling, pp. 28, 225–226; see all titles, pp. 17–31. 1 2

1

tomb of kha-em-hat Records of the titles of Kha-em-hat in TT57

Transliteration

1. Royal scribe

sS-nsw

2. Overseer of granaries3

jmj-r pr n Snwty

3. Overseer of the double granaries of the king of Upper and Lower Egypt 4. Prophet of Anubis

jmj-r-Snwty n nb -tAwy m ^ma-MHw jnk Hm-nTr Inpw

5. Master of the secrets in Per-Nefer

Hry-sStA n pr-nfr4

6. Overseer of granaries of the lord of the two lands

jmj – r Snwty nb-tAwy Xrp js.t sHy nTr Inpw pr-nfr

8. Overseer of granaries of Upper and Lower Egypt

jmj - r Snwty ^ma-MHw

7. Director of the office of sHy-nTr of Anubis and the embalming chapel 9. Servant of the overseer of granaries

jn sDm aS n jmj-r Snwty

10. Scribe and account of granary of the lord of the two lands of Upper and Lower Egypt 11. Scribe of the two granaries of the pharaoh

sS Hsb jt n nb-tAwy m ^ma-MHw sS n Snwty - pr-aA

12. Overseer of the administration of the administrative districts of the pharaoh 13. By the effecient confidence of the lord of the two lands, overseer of granaries of Upper and Lower Egypt

14. Scribe and counter of the grain of Upper and Lower Egypt PA-wAH, scribe and counter of grain 15. Chief of chapel of Anubis

Njsw gs pr nA n prwy.t aA mH-jb mnx n nb-tAwy jmj-r Snwty nw ^maMHw sS[Hsb jt nb-tAwy] m ^ma-MHw pA wAH sS Hsb jt n Snwty Hr-tp n krs Inpw

16. Royal scribe, overseer of granaries of the two houses 17. Hereditary noble, the mayor the trusted by his majesty 18. Great seers of the chest of Anubis

sS-nsw jmj-r Snwty prwy rpa.t HAtj-a mH-jb n nswt Wr mA.w n hnj-Inpw

19. The companion of the shrouds of Anubis

jmj-wt

20. Mysterious…. in the funerary hall

sStA m pr-nfr

21. The sem priest

sm-n-at

22. Great observer of noble office

Wrw-mAw n ay.t Spsi

23. Chief of the funerary house

Hr-tp m pr-nfr

24. Bearer of secrets in the place of the funerary house

Hry-sStA m pr-nfr

25. Heir, local prince, great in office in the royal house

rpa.t HAtj-a wr m jAt.f m nsw

28. The friend of the good god, royal scribe, head chief of the funerary house

Dr ntt r jmj-jb n nfr jmj-jb n nfr sS-nsw Hr tp m pr-nfr

Hr tp sStA Snwt mH-jb n Hr m MAat Jnpw n 26. Overseer of documents of the land and granaries, Tsw.t.f raj p Tnw.t sS-nsw Hs nb.f truly trustful by the king , privy its tax on the day of reckoning of counts royal scribe whom his master praises mH-jb n nTr 27. The trust of the gods

3 4

W. Ward, Index of Egyptian Administrative and Religious Titles of the Middle Kingdom, Beirut 1982, p. 27, title 180. W.Ward, Index of Egyptian Administrative and Religious Titles of the Middle Kingdom, Beirut 1982, p. 120, title 1015.

2

A. Titles Records of the titles of Kha-em-hat in TT57

Transliteration

29. Honored royal scribe

saH n sS

30. Knowledgeable like Ra and Anubis in the funerary workshop

sjA Ra-Inpw m pr-nfr

31. Seizer of sacred seals, who is upon the secrets

xtm Hr sStA

32. Chief of the box of Anubis , superior of the secret room 33. Royal scribe greatest seers of the august overseer of the two granaries 34. Scribe of maces

Hrj-sStA.w m hn Inpw Hrj-tp ma.t Sps.t sS-nsw wr mAA n at Sps st jmj-r Snwty 5 sS mnw6

Division of the titles in the tomb Facade North wall (court) - left hand side - Administrative - Religious title (see figure 7-7A.) 1.

sS-njswt jmj-r-Snwty n nb-tAwy m ^ma-MHw7.

2.

jnk Hm-nTr Inpw8.

Royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt.

I am the prophet of Anubis.

Outer court Stela of purification (see figure 8-8A) 1.

Hry-sStA m pr-nfr9.

2.

sS -nsw jmj-r Snwty nw ^ma-MHw

Masters of the secrets in funerary house.

Royal scribe and overseer of granaries of Upper and Lower Egypt.

URK IV, 1848:13, this title is inscribed in the text on the door thickness of the hall leading to the passage which is called the appeal to the visitors. 6 See pages 297-307. 7 See chapter I, p.18. 8 See chapter I, p.18. 9 See chapter I, p.23. 5

3

tomb of kha-em-hat Outer court Door jamb - entrance - left hand side (see figure 11-11A-B) jmj-r-Snwty nb-tAwy sS- nsw10. 1. Overseer of granaries of the lord of the two lands, the royal scribe. jmj-r Snwty nb-tAwy11sS-nsw 2. Overseer of granaries of the lord of the two lands, the royal scribe.

Outer court Door jamb - entrance - right hand-side (see figure 11C) Tj pr kA.t pw wt.y Inpw xrp js.t sHy nTr Inpw pr nfr Ss-nsw.

1.

The embalmer of Anubis, director of the office of sHy- nTr of Anubis and the embalming chapel, the royal scribe. nb jmj-r Snwty n nb tAwy sS nsw

2.

Overseer of granaries of the lord of the two lands, the royal scribe. imy-r Snwty ^maw mhw sS nsw.

3.

Overseer of granaries of Upper and Lower Egypt, the royal scribe. n nb-tAwy m ^ma-MHw

4.

of the lord of the two lands of Upper and Lower Egypt.

Main entrance South door thickness (see figure 12-12A) Snwty nw ^ma-MHw

1. Granaries of Upper and Lower Egypt.

sS-nsw12.

2. Royal scribe.

See chapter I, p.39. See chapter I, p.39. 12 See chapter I, p.44-47. 10 11

4

A. Titles Hall East wall - south side - deceased offering braziers to Amon-Re-Harakhti (see figure13-13A) 1.

sS-nsw13.

Royal scribe. Butchers scene (see figure 14) 2.

jn sDm aS n jmj-r Snwty.

The servant of the overseer of granaries.

3.

n jmj-r Snwty.

Overseer of granaries14.

Hall - east wall - south side - sub scene Inscriptions of the three officials who came up with gifts (right-hand side, see figure 14) Ss Hsb jt n nb tAwy m ^ma-MHw15. 1. The scribe and account of granary of the lord of the two lands of Upper and Lower Egypt. jmj-r Snwty. 2. Overseer of granaries. sS n Snwty pr-aA16.

3. The royal scribe and overseer of the pharaoh.

imyw r m prwy n pr nA n prwytaA17.

4.

Overseer of the administration of the administrative districts of the pharaoh mH jb mnx n nb tAwj jmj-r Snwty nw ^ma-MHw sS-nsw .

5. By the efficient confidant of the Lord of the two lands, the overseer of granaries of Upper and Lower Egypt and the royal scribe (Renenut scene). jmj-r Snwty18.

6. Overseer of granaries.

See chapter II, p.54. See chapter II, p.59. 15 See chapter II, p.59. 16 See chapter II, p.59 for all the first three titles. 17 See chapter II, p.63. 18 See chapter II, p.66. 13 14

5

tomb of kha-em-hat Inscriptions of the three officials who came up with gifts (right-hand side, see figure 14) sS (Hsb jt nb-tAwy) m ^ma-MHw 19 PA wAH sS Hsb jt n Snwty pr -aA

The scribe and the counter of the grain [of the lord of the two lands] of Upper and Lower Egypt PA wAH, the scribe and counter of grain of the Pharaoh.

Hall - south wall East side - next to the statues (see figure 19- 19A) sS- nsw jmj-r Snwty n nb-tAwy20. 1. The royal scribe, the overseer of granaries of the lord of the two lands.

Hall - south wall West side - next to the statues (see figure 20- 20A) sS-nsw jmj-r Snwty21. The royal scribe, overseer of granaries.

Hall - south wall - statues in a niche West side - statue of Imhotep (Kha-em-hat’s father) on his statue (see figure 18,22) Hsy… Nbw(22)….. nbw Inpw hn njpw sS nsw(23) …..Htp nTr-aA24.

1.

The praised one …gold… gold chest of Anubis for this royal scribe … hotep the great god. Wsjr sS-nsw Ji-m-Htp

2. Osiris, the royal scribe Im-hotep.

See chapter II, p.66. See chapter II, p.77. 21 See chapter II, p.80. 22 W. Ward, Index of Egyptian Administrative and Religious Titles of the Middle Kingdom, Beirut 1982, The golden one, title p. 201. 23 W. Ward, Index of Egyptian Administrative and Religious Titles of the Middle Kingdom, Beirut 1982, Royal scribe, title no. 1392, p. 161. 24 See chapter II, p.88. 19 20

6

A. Titles Hall - south wall- statues in a niche East side statue (Kha-em-hat – see figure 18,22) sS -nsw25. The royal scribe.

Hall - east wall North side (see figure 25-25A,B ) Hr tp n krs Inpw sS-nsw jmj-r Snwty nw ^maMHw26.

1. The chief of chapel of Anubis, masters of the secrets of the chest of Anubis, the royal scribe and the royal overseer of granaries of Upper and Lower Egypt.

Hall - north wall (see figure 26-26A) 1. The royal scribe, overseer of granaries of the two houses.

jn sS-nsw jmj-r Snwty prwy.

sS-nsw jmj-r Snwty prwy27. 2. By the royal scribe, overseer of granaries of the two houses.

Hall - west wall North side - rewards (see figure 27-27A) jmyw-r pr n nA n pry.t aA-prwy28.

1.

To the house overseerof the house of the pharaoh. jmj-r Snwty29.

2. Overseer of granaries.

See chapter II, p.88. See chapter II, p.110. 27 See chapter II, p.131-133. 28 See chapter II, p.141. 29 See chapter II, p.141. 25 26

7

tomb of kha-em-hat rpa.t HAtj- a mH - jb n nswt m tA r Dr.f jjr nsw m nwty ^maw-anxwy.f m spat.w tA30

3.

Hereditary noble, the mayor the trusted by his majesty, throughout the entire country, appointed by the king in the cities of Upper Egypt, and his ears in the districts of …

Hall - Ceiling Middle line (see figure 28, 30, 30A) Wsjr wr-mA.w n hnj- Inpw sS-nsw imy-r Snwty31. 1. Osiris (the blessed), greater of seers, to the chest of Anubis, the royal scribe, overseer of granaries. Wsjr sS-nsw32

2. Osiris, the royal scribe.

Wsjr sS-nsw jmj-r Snwty33.

3. The royal scribe, overseer of granaries

sS-nsw.

4. Royal scribe

Wsjr sS-nsw #a-m-HAt m mAa xrw jrj.k snn .w n jmj-wt dwA.t n nTr.jj.t Wsjr sS-nsw

5. 34

Osiris, royal scribe Kha-em-hat, you make the companions of the shrouds (of Anubis jmj-wt) located in the morning of the nTr.jj festival Osiris, royal scribe.

Hall - ceiling North side - parallel line to west wall (see figure 29)

sm-n-at Sps mAa-xrw sS-nsw35. 1. The sem priest of the great or noble chamber, the justified, royal scribe. Wsjr StA m pr-nfr36.

2. Osiris, mysterious ….in the funerary hall. See chapter II, p.142. See chapter II, p.146. 32 See chapter II, p.146. 33 See chapter II, p.146. 34 The title of royal scribe (was mentioned here three times). 35 See chapter II, p.148. 36 See chapter II, p.148. 30 31

8

A. Titles Wsjr sm-n-at Sps 37.

3. Osiris, the sem priest of the great chamber.

Hall - west wall - door entrance Door jamb - right hand side (figure 31-31A) iry n kA .n wrw-mAw n at Spsj jmj-r Snwtj sS-nsw38.

1.

Keeper of the ka of the great observer of noble office 39 the overseer of granaries, the royal scribe. n kA n Hr-tp m pr-nfr(40) jmj- r Snwtj n nb tAwy sS- nsw41.

2. To the ka of the chief of the funerary house, the overseer of granaries of the lord of the two lands, the royal scribe. n kA n Hry-sStA m pr-nfr sS- nsw42.

3.

The ka [bearer] of secrets of Anubis in the place of the funerary house, the royal scribe. jmj-r Snwtj n nb tAwy m ^ma-MHw sS-nsw.

4.

The overseer of granaries of the lord of the two lands of Upper and Lower Egypt, the royal scribe.

Hall - west wall - door entrance Left-hand side - door jamb (see figure 31-31A) sS-nsw43.

1. The royal scribe

mAA n hn Inpw sS-nsw

2. see… the box of Anubis… royal scribe.

…. nb -tAwy m ^ma-MHw sS-nsw44. 3. The lord of the two lands of Upper and Lower Egypt, the royal scribe. See chapter II, p.148. See chapter II, p.153. 39 Military title since Old Kingdom, WB I, p. 236, 12. 37 38 40

pr - nfr funerary workshop, cf. Stele des Abkau (Louvre C 15) (line [x+9], Papyrus Boulaq 3 (Theben West), Balsamierungsritual (line x+2,18), Illahun, p Berlin 10038 A, Brief eines Vorgesetzten (line [VS;11]); Wb 1, 517.11. 41 See chapter II, p.153. 42 See chapter II, p.153. 43 See chapter II, p.156. 44 See chapter II, p.156.

9

tomb of kha-em-hat To the passage - door thickness North side (see figure. 32.) 1. rpa.t HAtj - a wr m jAt.f m pr-nsw anx-wDjA-snb Hr tp sStA Snwt mH jb n 1r m MAat Jnpw n Tsw.t .f ra jp Tnw.t sS- nsw Hs nb .f jmj-r Snwty n nb-tAwj

Heir, local prince, great in his office in the royal house,the overseer of the documents of the land and granaries, truly trustful the king (fill the heart of the king in truth) privy its tax on the day of reckoning of counts royal scribe whom his master praises, overseer of granaries of the lord of two lands. mH jb n nTr - nfr sS- nsw jmj-r Snwty n nb-tAwj m ^ma-MHw.

2.

The trust of the good gods, royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt. Dr ntt r jmj jb n nfr jmj jb n nfr sS nsw Hr tp m pr nfr jmj-r Snwty.

3.

The friend of the good god, the royal scribe, head chief of the royal palace (house of beauty) (pr-nfr), overseer of granaries. jkr nb qd.s spw n wn mAa HD raHr pXr jb jr Axt

4.

Excellent of character, the lord of wisdom, who has a true, showing friendly face and an open heart doer good/useful. sS nsw jmj-r Snwty.

5. The royal scribe, overseer of granaries.

sS nsw jmj-r Snwty n nb tAwy m ^mAaw-MHw.

6. The royal scribe, overseer of granaries of the lord of the two lands of Upper and Lower Egypt. 7. The royal scribe, overseer of granaries of the lord of the two lands.

10

sS- nsw jmj-r Snwty n nb tAwy.

A. Titles North side (see figure. 32.) sS-nsw jmj-r Snwty.

8. The royal scribe, overseer of granaries.

saH n sS -nsw jmj-r Snwty sS -nsw jmj-r Snwty.

9. Honored royal scribe, overseer of granaries. 10.

sS-nsw Hr tp m pr-nfr jmj-r Snwty #a-m-HAt pn nbw nst rwD sS-nsw Inpw n hn Inpw jmj-r n nb tAwy.

The royal scribe, the chief of the funerary house, overseer of granaries of the lord of the two lands Kha-em-hat, the golden one, when the royal scribe, administer of boxes of Anubis, overseer of granaries of the lord of the two lands. sS-nsw jmj-r Snwty prwy n nb-tAwy m ^maw-MHw.

11.

The royal scribe, overseer of granaries of the two palaces of the lord of the two lands of Upper and Lower Egypt. sS-nsw (wr) mAAw n at Sps st jmj-r Snwty ¢a-m-H3t mAa-xrw

12.

The royal scribe, the great observer /watcher of the great chamber .., overseer of granaries Khaemhat the justified. 13. The royal scribe, overseer of granaries of the lord of the two lands.

sS-nsw jmj-r n nb tAwy.

sS-nsw Hri tp m pr nfr jmj-r Snwty n nb tAwy m ^mAa-MHw.

14. The royal scribe, overseer of the funerary house, overseer of granaries of the lord of the two lands in Upper and Lower Egypt. sS-nsw jmj-r Snwty.

15. The royal scribe, overseer of granaries.

sS-nsw jmj-r Snwty n nb tAwy. 16. The royal scribe, overseer of granaries of the lord of the two lands.

11

tomb of kha-em-hat North side (see figure. 32.) sS-nsw45.

17.

The royal scribe.

Passage - east wall South side (see figure 35-35A-36) pr-nfr sS-nsw.

1. The funerary workshop, the royal scribe.46

Passage - south wall Horizontal line beneath the ceiling (see figure 37). sS-nsw jmj-r-Snwtj nw ^ma-MHw 1. The royal scribe, the overseer of granaries of Upper and Lower Egypt. sjA ra-Hry sStA m pr-nfr. 2. Knowledgeable like Re bearer of secrets in the funerary workshop. wr-mA.w n hn Inpw.

3.

The great seer of the box of Anubis. MHw

4. Lower Egypt (broken).

sS-nsw47.

5. The royal scribe. Passage - south wall (see figure 38,40,40A)

jmj-r -Snwtj n nb-tAwj. 1. Overseer of granaries of the lord of the two lands Kha-em-hat. 2. Seizer of sacred seals, who is upon the secrets, the royal scribe.

xtm Hr sStA sS-nsw.

For all the titles inscribed on the north jamb of the door way, see chapter II, p. 160-161. See chapter III, p. 171. 47 See chapter III, p. 181-183. 45 46

12

A. Titles sS nsw.

3. The royal scribe.

Wsjr jmj-r-Snwty48.

4. Osiris, overseer of granaries.

Passage - south wall Cryptography - (no longer exists- see figure 39) sS-nswt jmj-r-Snwtj. 1. The royal scribe, overseer of granaries (administrative title). Hrj -SstA.w m hn Inpw Hrj- tp m a.t Sps.t49.

2.

Chief of secrets the box of Anubis, the superior of the secret room, great /noble chamber (religious title).

Passage - north wall (see figure 45) sS nsw jmj-r Snwty nw ^ma-MHw. 1. The royal scribe, overseer of granaries of Upper and Lower Egypt. 2. The royal scribe, overseer of granaries.

sS nsw jmj-r Snwty50.

Passage - west wall Chapter 112 BD (see figure 46,46A) 1.

sS-nsw jmj-r Snwty51

The royal scribe, overseer of granaries.

Passage - west wall Chapter 113 BD - right-hand side (see figure 46.46A) sS-nsw jmj-r Snwty n nb-tAwy52. 1. The royal scribe, overseer of granaries of the lord of the two lands. See chapter III, p. 183, for all titles in the passage-south wall. See chapter III, p. 188. 50 See chapter III, p. 225-226. 51 See chapter III, p. 250. 52 See chapter III, p. 254. 48 49

13

tomb of kha-em-hat Passage - ceiling Left line (see figure 47,47.A)

sS-nsw jmj-r Snwty n nb-tAwy m ^ma-MHw53.

1. The royal scribe, the overseer of granaries of the lord of the two lands of Upper and Lower Egypt.

Passage - ceiling Middle line sS-nsw jmj-r Snwtj. 1. The royal scribe, the overseer of granaries. 2. The royal scribe.

Ss-nsw.

sS-nsw jmj-r Snwtj n nb-tAwj54.

3. The royal scribe the overseer of granaries of the lord of the two lands.

Passage - ceiling Right line [sS-nsw jmj-r Snwtj n nb-tAwy] m ^maMHw. 1. The overseer of granaries of the lord of the two lands of Upper and Lower Egypt. sS-nsw jmj-r Snwty n nb-tAwy55. 2. The royal scribe overseer of granaries of the lord of the two lands.

Inner room

Offering list 1.

sS mnw

Scribe of maces. West niche Statues (see figure 58,58A) Hry-StA m pr-nfr sS-nsw jmj-r Snwty nw ^ma-MHw.

1. Master of secrets in the funerary workshop,56 the royal scribe, overseer of granaries of Upper and Lower Egypt.

This title was inscribed two times, see chapter III, p.259. See chapter III, p.261. 55 See chapter III, p.262, the titel was repeated twice. 56 W. Ward, Index of Egyptian Administrative and Religious Titles of the Middle Kingdom, Beirut 1982, title 1015, p. 120, see chapter IV p.292. 53 54

14

B. Facade: Court

57

II. Outer court - front door 58 (see figure 5, 5A, 6) The tomb has a sunken courtyard, reached through a staircase from the left-hand side, the sunken court connecting three tombs together. The tomb lies directly next to TT 102 and TT 126. Tomb TT 102 belongs to the royal scribe Imhotep,59 who also dates to the reign of Amenophis III. Imhotep appears also in tomb TT 57 and he might be Kha-em-hat’s father. TT 102 was perhaps built at the same time as TT 57. Tomb TT 126 is much later and might date to the Saite period. All three tombs share a courtyard as entrance area. The outer facade of the tomb features the main door; the upper walls on both sides are poorly preserved, however traces of some reliefs and texts are still visible on the lower walls. The decoration covers the façade, except for c. 1 m at the bottom which was left undecorated. The remains of colour show that the whole façade was coated with brown paint.60 The door is surrounded by a panel, decorated with relief but much damaged except for the lower part which shows some hieroglyphic inscriptions in vertical lines; the right-hand side of the door is in better condition than the left, which is destroyed. The texts on both sides represents a group of Solar Hymns that private individuals from the New Kingdom continued to use in their tombs – with some developments, but with the same objective as during the Old Kingdom, i.e. that the deceased wished to see the rising sun every day and to accompany the sun god Re on his night journey. The entrance of the tomb was oriented to face the rising sun.61 A double life-size symmetrical scene for the owner of the tomb, right and left of the main entrance, is visible. The left-hand side is almost intact, having been restored by the Berlin Museum team; the right-hand side, however, is entirely destroyed.

Numbers of the scene are the same as PM in the entire tomb. Number 1 stands for the court not similar to PM as number 1 in the book stands for a stela in the court dates back to the XIX Dynasty which is not included in my work. 59 The plan of Imhotep’s tomb (TT 102) is very close to that of Kha-em-hat, but in a different order; according to the architectural plan the passage comes first, then the transverse hall, and at the end the inner room (PM, p. 208). 60 M. El Tanbouli, Tomb of Khâ-em-hat [TT 57], Cairo 2017, p. 15. 61 H.M. Stewart, Some Pre-Amaranah Sun Hymns, JEA 46, 1960, pp. 86–88, fig. 2. 57 58

15

tomb of kha-em-hat

Figure 5. Court sign (by A. Damarany).

16

B. Facade: Court

Figure 5A. Facade – Sunken court (by A. Damarany).

Figure 6. Facade - Full view (by A. Halim).

17

tomb of kha-em-hat IIA. Facade - north wall (left-hand side - main entrance – see figure 7,7A) Deceased censes and libates with hymn: What remains of the scene is about 1m in height, 1.5m in width.62 The left and right scenes are symmetrical, with eleven vertical lines of inscriptions placed before the deceased and ending c. 10 cm above the bottom line of the scene. The left-hand side is better preserved than the right, but the life- size scene of the deceased is severely damaged except for part of the apron, which seems to be short and tight, topped with a long, transparent one. Only the legs and feet can be seen, i.e. the top edge of the scene is completely lost. The deceased is represented stepping forward towards the left with his right foot, his back to the entrance of the tomb. The profile of his feet shows them both from their inner side.63, 64 (64)

H.M. Stewart, Some Pre-Amaranah Sun Hymns, JEA 46, 1960, p.15. H.M. Stewart, Some Pre-Amaranah Sun Hymns, JEA 46, 1960, p. 16. 64 Helck, Urkunden Der 18. Dynastie, Heft 21, Berlin 1958, 1850–1851. 62 63

18

B. Facade: Court 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

[…………..] xpr sp tpj pAwt -pt nt &A - tnn sxpr -rmTw NTrw jnD -Hr .k jj [.n.j xr.k ] [.tj m - Htp] w.s Hr-sHm pHtj - Dw - od +Hwtj - pw @w %jA jb.sn. ……..dj.k - TAw n -ntjw -m - Stjjt dj .k sts…… s Aw. …… .k MAat mart-spw m sxr-xfti ……. mnx. [jst - Ra] jb .sn-nDmw mA. Sn-Ra m-Haa [wt]….. W. [trj] .sn Hm .k ra- nb Hknw . sn-n.k Dwj .sn-n.k. swAS.j-Hm.k r-trwj di . k-prj.j ao. j. ……… [sn] s .j m -m-mAatjw m-pr n-irj. m mAat aAt jnk -jrjw - Hm m-dpt-nTr m DAj .s r-RA - Por jnk-sSm- HAb n. [Wsjr] [s] mAa.n aAbt m -AbDw Hr-rn- wr n-nTr-nfr njswt -bjt (Nb-mAat-Ra) mtrw m-Dd mn. sS - njswt jmj -r -Snwtj n -nb -tAwj m ^ma-MHw ¢a- m- Hat mAa Xrw jnk Hm -nTr Inpw Hrw @b-sdw m tp.n Hm.f nb tAwy ‘Nb-MAat- Ra ’.

1.

Which originated from the beginning of “Ta- Tenen”, the first creation of men and gods, they greet you when you come. 2. ……… in peace, their, inhibit the power of evil, Thot, Hu and Sia, their hearts are happy. 3. …..., you give them air in the underworld, you judge on, their heart is far. 4. Your Maat blessed you to be victorious on your enemy…….splendid. 5. The followers of Re, their hearts are in joy when they see Re in heaven. 6. Adore your Majesty day after day, they praise you and they call you. 7. I praise your Majesty all the time, may you allow me to go in and out. 8. That I may praise among the blessed ones in the house of the one. 9. who carry out justice, great, and I am the coxswain in the god’s boat, and it is crossing to ‘RA - Por’, I am the head of Osiris. 10. I have feast offerings in Abydos to the great names of the good gods and king of Upper and Lower Egypt, the justified which remains… 11. Royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt “Kha-em-hat”the justified. I am the prophet of Anubis on day time of rituals, on the first jubilee festival of his majesty, the lord of the two lands ‘Neb-Maat- Re’.

19

tomb of kha-em-hat

Figure 7. Facade - north wall - left side (by A. Damarany).

Figure 7A. Facade - north wall - left side. Kha-em-hat censes and libates with hymns.

20

B. Facade: Court III. Facade - stela of purification (see figure 8, 8A) The stela, 1.20 m high, 1.04 m, deep, 0.92 m wide, is in the facade of the west wall of the court of TT 57, at the extreme right of the tomb, cut out of white limestone with a rounded top. It faces east and was discovered by Mond in 1903–1904; a locked wooden box was built around to protect it from theft. The right-hand side of the facade where the stela lies is larger than the left – the right facade already existed for an earlier grave, so the wall was worked out a little further.65 In 1969 the Centre of Documentations and Studies on Ancient Egypt studied the stela for publication. It has 23 columns of hieroglyphs of different length – 21 on top, and two in front of Kha-em-hat himself. The hieroglyphic columns on top are somewhat damaged, but in general the stela is very well preserved. Mond’s photographs show the soot clearly visible on the stela. It is possible that Mond cleaned it himself, recording that it required water, soap, and a fair bit elbow grease! In any event, once cleaned, the details of the purification scene of Kha-em-hat are now apparent, including what appears to be deliberated disfiguration to Kha-em-hat’s face. Some act of revenge perhaps? According to Abdel Sadek’s description, this stela is unique for the 18th Dynasty – a similar example, dating back to the Ramesside period, belongs to Paser (TT 106 in Qurna).66 Scene description: The scene describes a purification ritual carried out by Kha-em-hat67 for his father, the royal scribe Imhotep, playing a priestly role as a Sem-priest.68 The title of his father Imhotep is mentioned in the text four times. He is lifting both hands above the level of his head, carrying four jars of water, which he pours over a shrine; four streams of water are seen coming out of the jars. He is wearing a wig and apron. A long, transparent robe with short sleeves covers his body, tied at the waist with a belt. Over his shoulders is a pleated apron tied from behind. He is barefooted, the right foot ahead of the left. In front of him there is a canopic shrine, divided into two registers: the upper register shows the four protectress goddesses, two on each side; standing between them the four sons of Horus are represented in their mummy forms, each with his name inscribed next to him. Mesty and Hapi are to the right, facing one another, and Duamutef and Kebehsnuef to the left, also facing one another. Isis and Nepthys stand on the right, closer to Kha-em-hat, while Selket and Neith are on the other (left) side.

See introduction, p. 6. A. Sadek, A Stela of Purification from the Tomb of Kha‘emhat at Thebes, MDAIK 29, 1973, pp. 63–69; cf. G.B. Davies, Ramesside Inscriptions, 3, Oxford 2013, p. 4; Schott Photos 9102. 67 Relating to the body proportions of Kha-em-hat in TT 57, the top of the knee is at 6.25, the thigh/buttock junction at 9.8, the belt at 12, and the shoulder at 16, cf. B.M. Bryan, Private relief Sculpture, Cleveland 1990, p. 67. 68 B.M. Bryan, Private relief Sculpture, Cleveland 1990, p. 68. 65 66

21

tomb of kha-em-hat The figures are standing in rows following the Egyptian art canons as usual. They are both wearing tight-fitting dresses, and their hands are straight down next to their sides. Their names are inscribed on top of their heads. The second register is lower than the first; it represents the four canopic jars with human heads, and the whole shrine stands on a sled. Traces of reddish-brown are still visible, indicating that the stela was coloured.

22

B. Facade: Court Text (1) wab tn Axw (2) Ssp fdw ipw (3) prrw m Wsjr (4) wnn iiw anxw (5) r nHH ir Inpw st sn (6) wab n +Hwty Ds .f m mw (7) [Inpw ][@wt wabt ]wpt n PtH (8) [r tn mDAt.f ] twi nt (9) [biA wpt ] n.f r n nTrw (10) [im.s ] iry. tn wabw n (11) [nTrw ] fdw ipw nw Wsjr sS nsw (12) [Ii m] Htp mAa-xrw mm .tn (13) [wpt .tn ]r n nTrw n (14) [Wsjr] sS nsw Jj-m-Htp (15) [mi ] wpt n PtH r tn (16) [Wn ] tn DfD (17) [nTrw ] Inpw n Wsjr (18) [sS nsw ] Ii-m-Htp mAa xrw mi wn (19) [Inpw ] mAA tn m xt (20) prrt tn m wabt (21) dj tn wn nTrw (22) Inpw sS nsw Ii-m-Htp mAa-xrw m sA.f mi wn .tn m sA Wsjr Hrw nb (23) in sA.f sanx rn.f Hry – sStA pr-nfr sS nsw jmj-r Snwty nw ^ma-MHw [¢a-m-HAt].69 (1) You are pure,(2) these four spirits,(3) who come out of Osiris, (4) who are living (5) to eternity, whose seat Anubis has made, (6) which is purified by Thoth himself with these waters of (7) [@wt Wabt] Ptah has opened [your mouth with his chisel] (8) this one of [meteoric iron] with [which](9) he opens the mouth of the gods (10) You shall make purifications for (11) [these four deities] of the Osiris, the royal scribe (12) Im-hotep, true of voice, who is among you (13) You shall open the mouth of these four deities of the (14) [Osiris], the royal scribe Im-hotep (15) as Ptah has opened your mouth (16) You shall open the eyes of these [four deities] of the Osiris (17) [the royal scribe] Im-hotep, true of voice, like (18) Anubis has opened your eyes after you have (19) come out of the WAabt (place of embalmment) (20) You shall cause these (21) four deities of the Osiris of the (22) royal scribe Im-hotep, true of voice,to be his protection, even like you are the protection of Osiris everyday (23) by his son, reviving his name, masters of the secrets in ‘Pr-Nfr’, the royal scribe, and overseer of granaries of Upper and Lower Egypt, Khaem-hat.70

A. Sadek, A. Sadek, A Stela of Purification from the Tomb of Kha‘emhat at Thebes, MDAIK 29, 1973, p. 63-70; Schott Photos 8888-90. 70 For further information about the comparison between this stela and the one of Paser (TT 106), cf. KRI 3, Oxford 1980, p. 2-3. 69

23

tomb of kha-em-hat

Figure 8. Facade - stela of purification - right-hand side (by A.Damarany).

24

B. Facade: Court

Figure 8A. Facade - stela of purification - right-hand side (By A.Halim).

25

tomb of kha-em-hat IV. Facade - opening of the mouth stela (right-hand side – see figure 9, 9A) This stela, c. 90 cm high and 60 cm wide, type developed from the false door in Old Kingdom tombs. It went through different phases, and had different themes, but all were linked to funerary purposes. The ceremony aimed to restore the deceased’s principal organs, especially the eyes and the mouth. The opening of the mouth was one of the essential funerary rituals, known from many representations and texts in different tombs, and dating almost back to the New Kingdom,71 however, as a ritual, it was practised by the first Memphite kings. In the New Kingdom, the representations of the tools appeared on stelae and tomb walls. By the end of the 18th Dynasty, a tradition appeared whereby a stela was placed in the outer court, this becoming a rule during the 19th Dynasty.72 Such stelae have found in tombs 4, 9, 23, 37, 41, 51, 106, 117, 193, 263, 290, and 360. One of these stela themes is the ritual known as the opening of the mouth.73 The rite was performed at the entrance of the tomb just before siting the coffin in its final resting place, as indicated by the scenes on the stelae.74 According to Schulman, in the New Kingdom this ceremony was always shown performed over the mummy and never over a statue.75 Manniche, however, is of the opposite opinion, i.e. that the rite is performed on a statue of the deceased and not over the mummy itself. Helck also mentions that the ritual was made on a statue in TT 107, as it was inscribed in the text on the wall of the tomb.76 The main concern here is, if the ritual was performed on a statue that takes place in the workshop where it had been fashioned, or if the ritual was performed on the mummy itself then it takes place in the court of the tomb, so in our case the ritual was performed on the mummy as the stela lies in the outer court of the tomb.77 The various episodes of the rites of the opening of the mouth are represented in 34 T-shaped tombs and in eight of different plan; the representations are omitted in TT 57, 63, 66, 81, 85, 147, 172, 253, and 318. The scene is most frequently represented on the right wall of the passage,78 although not exclusively. It is represented on both the right and left wall in TT 53, and three times on the left wall alone in TT 84, 224, and 42. It was moved to the inner room twice in TT 99 and 96. In some tombs the scene is found in the transverse hall, and sometimes on one or both sides of a stela.79 The stelae of the opening of the mouth appear frequently on the right wall of the burial chamber, or the north wall of the court of the tomb, as represented in tombs 72, 82, 78, 92, 100, 127, 200, and 343,80 but the scenes of the opening of the mouth ritual itself was represented in many tombs in different places. A complete version is found in the tomb of the vizier RakhmyRa, and some clear versions were found in other tombs, i.e. TT 23, 183, and 264. G. Jéquier, Les frises d’objets sarcophages du moyen empire, MIFAO 47, 1921, pp. 323–325, fig. 836. A. Hermann, Die Stelen der Thebanische Felsgräber der 18. Dynastie, New York 1940, p. 25. 73 The full rituals are in the Rakh-mi-re tomb in Thebes, consisting of 75 episodes, each carried out by a priest; cf. E. Otto, Das Ägyptische Mundӧffnungrituals, Ägyptische Abhandlungen 3, Wiesbaden 1960. 74 The scene is found on a stela in the outer court of tombs 4, 9, 23, 37, 41, 51, 106, 117, 193, 263, 290, and 360. 75 A. Schulman, The Iconographic Theme: Opening of the mouth on stelae, JARCE 21, 1984, p. 171. 76 W. Helck, Inhaber und Bauleiter des Thebanischen Grabs 107, MIO 4 1956, p. 16. 77 A. Schulman, The Iconographic Theme: Opening of the mouth on stelae, JARCE 21, 1984, p. 172. 78 TT 11, 21, 62, 82, 83, 125, 127, 130, 343. 79 Cf. L. Manniche, Lost Tombs, London 1988, p. 42. 80 A. Hermann, Die Stelen der Thebanische Felsgräber der 18. Dynastie, New York 1940, p. 98. 71

72

26

B. Facade: Court According to Assmann, the ritual of the opening of the mouth was practised in the open air, most probably explaining why it was represented on a stela in the open court. However it was performed in a short form and focused on three key elements: consecration of the mummy with incense and water; sacrifice of foreleg and heart;81 and preparation of the mummy before Ra. It concluded with the litany of Ra, to be seen in the doorway of the entrance to the tomb.82 Some scenes could be associated with the cult of the dead, such as the recitation of a reliquary of the dead, and relating to the context of the mouth-opening ritual. This took place from the time of Amenophis III, and is represented in the court of TT 57, 107, and elsewhere, and in certain aspects was clearly connected with the burial. On the other hand, scenes of the cult of the dead only appear as sub-scenes on the stelae, which in their main scenes represent the tomb owner in worship of the gods.83 The stela is divided into five registers, combining illustration and text. The upper half of the stela is entirely broken and only the lower part is seen, as it is in good condition. The first register represents the mummy standing upright on the left-hand side of the stela. The mummy rests on a pedestal and a stream of water flows behind it.84 The rite requires a Sem priest to pour water on the mummy and a lector priest reciting hymns from a papyrus; usually the priest would be accompanied by mourners (wSbt jw), but in our case there are none. In TT 100 (Rekh-me-re) and TT 17 (Neb-amun),85 in front of the mummy two men (Xrj-Hbt, jmj-xnt) stand facing each other, wearing long, transparent aprons; the figures are wearing short aprons with a strap across the chest. On the stela found in TT 193 (19th Dynasty), the priests performing the opening of the mouth rite are wearing the same long aprons as in TT 57.86 One of these men appears on a tall, rectangular pedestal together with the mummy, standing on an additional small, square pedestal; the mummy is facing the man’s back. The scene here is unique, and nothing parallel in other tombs dating back to the New Kingdom has been found, only a development in TT 359, a note that was found in the tomb on a stela in Copenhagen from the Ramesside period, representing a rite of the opening of the mouth whereby the eyes are represented not on the mummy or a statue but on the deceased in the dress of a living person.87 Similarly in TT 56, the opening of the mouth ritual is performed by a person not wearing a panther skin, just a regular short apron with a strap across the torso; here the deceased is represented sitting on a chair, in front of him an offering table, and this is also further proof that the ritual was not only performed on the mummy or a statue, but also on the deceased himself in his living form.88 According to Hartwig, this scene is usually attached to the ceremony as a part of the ritual, but she ventures no opinion on the living image of the deceased.89 However she does believe that The ox’s heart in a vessel and the xpS foreleg are components of the opening of the mouth ceremony; cf. M. Hartwig, The Tomb Chapel of Menna TT 69, p. 84. 82 J. Assmann, The Ramesside Tomb of Nebsemenu (TT 183) and the ritual of opening the mouth, Heidelberg 2016, p. 60. 83 J. Assmann, Das Grab des Amenemope TT 41, Mainz 1991, p. 189. 84 The libation vase is called Hs. 85 S. Sӧerbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, figure XXVI. 86 Cf. J. Janssen, Die Grabstele des Ptahemheb (Theben Nr. 193), Ägyptologische Studien, Berlin 1955, pp. 143, 144, Abb. 3; J. Vandier, Le tombe de Nefer-Abou, MIFAO 69, 1935, p. 48, figure XXV. 87 N. Cherpion and J.P. Corteggiani, La tombe d’Inherkhâouy (TT 359) à Deir El Medina, MIFAO 128, 2010, p. 141. 88 Ch. Beinlich-Seeber, und Abdel Ghaffar Shedid, Das Grab des Userhat (TT 56), AV 50, 1987, figure 8. 89 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo 2013, p. 62. 81

27

tomb of kha-em-hat the ritual was performed on the mummy of the deceased in its coffin, which is obvious in the majority of burials in the Theban necropolis; the ritual takes place in front of the tomb and is performed on the statue of the deceased too. The opening of the mouth ceremony developed into a ritual performed on many sacred objects so as to consecrate them as receptacles for a divine or ancestral spirit.90 The opening of the mouth ceremony was performed by the eldest son and heir, to reanimate his father’s body, as well as by some officiants who followed the appropriate formulas and gestures. The Sem and lector priests normally played the leading roles, the Sem priest wearing a panther skin and the lector priest a white apron and a diagonal shoulder strap; one or more assistants would be on hand, also dressed in white aprons.91 In TT 57, the opening of the mouth stela in the courtyard is unique among Theban tombs dating to the New Kingdom. No similarities have been found apart from within TT 100.92 In his article in JARCE 2, Schulman93 reviewed all the stelae available and recorded no parallel. Regarding TT 57, based on the lack of space, Schulman combines the first four scenes of the opening of the mouth ceremony in this way: The lector is invited to see the statue; The statue is placed on a mound of sand, outside the house of gold; Purification four times from a nmst jar; Purification four times from a dSrt jar.94 Thus we have an abbreviated form of the ritual and the instruments. Beneath the figures, there are four registers containing opening of the mouth instruments, vases, and the names of some offerings resemble the offering presentation inside the tomb. The second register aligned the following objects connected with the ceremony: 1. 2. 3. 4.

The lector is invited to see the statue. The statue mounted on a hillock of sand, outside the house of gold. Purification four times from a nmst jar. Purification four times from a dSrt jar.95

Therefore, we have an abbreviated form of the ritual and the instruments. Beneath the figures, there are four registers containing opening of the mouth instruments, vases and names of some offerings resemble the offering presentation inside the tomb. – The second register aligned the following objects connected with the ceremony: – Four dSrt vases

, text above : ‘

’.

M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo 2013, p. 85. 91 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo 2013, p. 72. 92 N. Davies, The Tomb of Rekhmi-Re at Thebes, 1, New York 1973, figure CVII, cf. Virey, Ph., Le tombeau de Rekhmara, MMAF 5, 1889, p. 132. 93 A. Schulman, The Iconographic Theme: Opening of the Mouth on stelae, JARCE 21, 1984, pp. 169–196. 90

94

95

A. Schulman, The Iconographic Theme: Opening of the Mouth on stelae, JARCE 21, 1984, p. 76. A. Schulman, The Iconographic Theme: Opening of the Mouth on stelae, JARCE 21, 1984, p. 76.

28

B. Facade: Court – Three bd vases (Natron salt) –

, text above: , so he wants Natron salt from the North and from the south.

– one vase of snTr

, text above:

.

– Five adzes (nTr.tj) nw sign, one wr-HkAw instrument

,96 and one more adze sign.

Third register,there are two parallel line but mostly broken, below there is a fore-leg of an ox( skin ( (

), a chisel ( mDdf.t),98 a finger from gold (

), psS-kf amulet ( ), (

), arf (

),97panther

),99 four rectangular shapes on top of each other

),100 feather ( ), mnxt sign (

), mDt oil(

), (

),(

),( ), Hs ( ).

The fourth register consists of a small offering presentation, almost identical to the ones inside the tomb and it is as follows:

In TT 90, Nebamun, this instrument appeared in the opening of the mouth ritual on a stela on the North wall of the Hall performed by a priest, cf. N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London 1923, figure XXXV; cf. E. Otto, Das Ägyptische Mundӧffnunggsritual, Wiesbaden 1960, Teil II, p. 80-84. 97 N. Davies, The Tomb of Rekhmi-Re at Thebes, 1, New York 1973, p. 26. 98 The priest who uses this tool represents the son of the deceased; cf. Jequier, Mâzedfet, BIFAO 19, 1922, p. 253. 99 For more details about the ritual cf. H. Guksch, Das Grab des Benja, gen Paheqmen, Theben Nr. 343, AV 7, 1978, p. 32, pl. 22-23. 100 It is a kind of knife made of a flake of flint that was believed to be used to cut the umbilical cord of new born baby, it was used in the opening of the mouth ritual to allow the mummy to receive offerings and was mentioned in the Pyramid texts; cf. A.M. Roth, The PsS-Kf and the Opening of the mouth Ceremony, JEA 78, 1992, p. 113-147. 96

29

tomb of kha-em-hat

HTA

Type of bread.

Irp mHwj

Type of wine

Dpty

Type of bread(101)

Irp jmtj

Type of wine

jSr.t

Roast joint.

Jrp snw

Type of wine

jwr

Beans.

Irp abS

Type of wine

xnf.w

Type of bread.

Hnqt ds

Beer in ds jar

t-rtH

Type of bread.

dSrt

Water in dSrt jar

nHr.t

Type of bread.

bd

Natron

Sns

Type of bread.

pAt

Cake

t-jmj-tA

Type of bread.

mw mnsA

Water in mnsA vessel

Jrp

Wine.

The fifth register contains the rest of the offering list as follows:

Barta wrote it is a type of bread but the new translation of R. David, in the ritual of Abydos, wrote it is meat offerings. 101

30

B. Facade: Court

jArrt

Grapes

Snft

Type of bread

nbs

Fruit

ASrt

Roast meat

t-nbs

Type of bread

Wr n jwf

Meat

Sawt

Type of bread

Hwn

Meat

waH

Fruit

xpS

Foreleg

(swt)

Meat

jwf n HAt

Breast flesh

sXt- wADt

Fruit

jwf n pHwy

Rump flesh

tA-HD

Type of bread

mjst

Liver

bjt

Honey

nnSm

Spleen

HDw 20

Twenty bundles of onions

sHn

kidney fat

jrtt

Milk

spHt nt spr

Rips of meat

Sawt

Baker’s ware

Swt

Meat

bnr

Dates

pdsw n jwf

Rump flesh

bAbAt

Fruit

rA

Goose

Hbnnwt

Type of bread

31

tomb of kha-em-hat

Figure 9. Facade - open of the mouth stela - right-hand side (by A.Damarany).

32

B. Facade: Court

Figure 9A. Facade - open of the mouth stela - right-hand side (by A.Halim).

33

tomb of kha-em-hat V. Facade - north wall (right-hand side main entrance – see figure 10, 10.A) Dimensions‫ ׃‬The remaining scene is about 1.5m in height and 1m in width. The remaining scene is c. 1.5 m high and 1 m wide. The upper part of the wall is damaged, but the bottom line is almost intact, as in the previous scene (2A). It seems that the deceased is lifting both hands in a gesture of worship. The upper part of the body is destroyed above the waistline. The figure wears a short apron over which is a long, transparent garment tied at the waist; his left foot is stepping forward.102 In front of him are eight vertical columns inscribed with texts as follows: (1) [Tp dwA] jjt Htpw m - Xnw.s r - nw.f (2) nTrw DAj.k-ptj.k m - mAa xrw jmjw wjA (.k m-Haawt) (3) jAxw.f DAj.k-bjA jb.k Awj.w jst k m j (4) am. n.f jwt.k nfr m-Haawt Am.n -Axt [k Dwod][….] (5) jmntt……..mAA-[stwt.k] sxm.j m-rdwy .j ra-nb prj.j m -bA-anxjj kA - mAA .j-sxr-xfti.k (6) [nb.j m-Xrt-hrww] j jr.k Ra [tpj].j -TAw Am.j - mHjjt sAx.j m-m-Axw wn.j m Smsw.k n-ra- nb (7) [……………rx.kwj] anx.k -jm.s nDm -jb .k Xr.s jj-Ra nHm.k -wj xwj.k - wj m -nw-n-jrjw-stAw Jmnhjj [w spdw-Dbaw mrw] (8) Hsw jmjw-Xt-Wsjr Hr -ntt -jnk ddw- Htpw- nTr n nTrw awt-a n -Njswtbit prt-xrw n Axw m Xrt- hrww nt -ra-nb. (1)The one who comes out of the womb of his mother in the early morning, `he who has satisfaction inside him (2)….. that crosses the sky, creator of the gods, you crossed your two heavens in truimph, who accompanies you in your boat are in happiness (3) his rays, when you cross the sky, your heart expands and your team shouts. (4) You come happily in excitement, your eye rays burns the evil ones. (5) Western, when your rays shines, 102

Schott Photos 1965.

34

B. Facade: Court

Figure 10. Facade - north wall - right-hand side. Kha-em-hat censes and libates with hymns (by A. Damarany).

35

tomb of kha-em-hat

Figure 10A. Facade - north wall - right-hand side. Kha-em-hat censes and libates with hymns.

both my legs function day after day, that I go out as a living ba to see how your enemy look like. (6) O my Lord, daily, to you Re, I breath the air and I swallow the north wind. I should be glorified among the justified spirits (deceased) and I shall follow your steps day after day. (7) Because I know that you lived through her and you are glad with it, O Re, may you rescue me, may you protect me from these murderers, butchers with sharp knives and painful fingers. (8) Who follows Osiris, for it is me who give daily offerings to the gods, to the kings and to the dead, day after day. VI. Entrance - door frame (see figure 11, 11A) The lintel is destroyed; the outer layer that bore the inscriptions was stripped off and the coarse layer underneath appeared, showing the poor quality of the stone; the jambs are partly preserved and consolidated with plaster. The scene is less well preserved than the one on the right.

36

Figure 11. Facade – main entrance - door frame - both jambs (by A. Damarany).

B. Facade: Court

37

tomb of kha-em-hat

Figure11A. Facade – main entrance - door frame - both jambs (by A. Halim).

38

B. Facade: Court VI.A Left jamb (see figure 11B) The scene is c. 50 cm high, but only 20 cm of its width is still visible.103 Underneath the text the deceased is represented sitting on a high-backed chair; he is facing right, wearing a wig, a beard, a flat wide collar around his neck, and a short apron with a wide belt around his waist. He is holding a scepter (sxm) in his right hand while the left hand is extended forward, but the rest is missing. The chair ended with lion paws and was placed on a pedestal, the deceased had his feet on a footrest. The scene is partially destroyed; the wall bears traces of colour, indicating that it once had a brown coating.

Horizontal line underneath: (1) Nfr prt m bA (2) TAw nDm mHyt pr jmj- r Snwty nb-tAwy sS-nsw #a-m-HAt mAa-xrw (3) (n) sk XA.t n Dt sn n djdj pr-xrw Aw.w Ax.w jmj-r Snwty nb-tAwy #a-m-HAt mAa- xrw. (1)……………The good spirit go out, ………(2) the pleasant wind, the north wind comes out………. overseer of granaries of the lord of the two lands, the royal scribe, Kha-em-hat, the justified. (3) My corpse shall not perish forever to the ka (??) of the one who gives offerings so that the glorified spirits (Ax.w) might be pleased, the overseer of granaries of the lord of the two lands Kha-em-hat, the justified.

Figure 11B. Facade - entrance main door. Left jamb (by A. Halim).

103

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 19.

39

tomb of kha-em-hat VI.B. Right jamb (see figure 11C) Dimensions: The scene is about 50cm in height, 30cm in width still visible.104 A counterpart scene to that one on the left but the deceased is facing the opposite side. (1) ……Xnt … Hwt……..wn XA.t mn tj pr kA.t pw wt.y -Inpw xrp js.t sHy nTr Inpw pr nfr Ss - nsw ¢a-m-HAt mAa-xrw (2) …….. nD Hr.t .f dj.f …… snTr jrp jrtt rnpj js.wt nb.t nfr n kA.n mH jb n sw tn m stnbt jmj-r Snwty n nb tAwy sS- nsw ¢a-m-HAt mAa- xrw (3)…… n st -nbt- Hwt dj.sn aAwy sn m sA hA .j xwj n tw.j stp .sn Axw sn Hr jmj-r Snwty ^ma- MHw ¢a-m-HAt mAa-xrw. (1) …..who is in front of …….. funerary chapel to see the corpse dwelling, the embalmer of Anubis, director of the office of sHynTr of Anubis and the embalming chapel, the royal scribe Khaem-hat the justified. (2) ….. may he be given protection…………, incense, wine and milk from ancient times, the good lord, may his soul and heart filled ……..the seat of the lord of the two lands, the overseer of granaries of the lord of the two lands, the royal scribe Kha-em-hat, the justified. (3) Isis and Nyphthes, they put their hands as protection around me, I was protected, they choose their glorification upon the overseer of granaries of Upper and Lower Egypt the royal scribe Kha-em-hat, the justified. Horizontal line under the columns:

(4) n nb tAwy m ^ma-MHw ¢a-m-HAt mAa-xrw. (4) of the lord of the two lands, Upper and Lower Egypt, Khaem-hat, the justified.

M.

El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 19.

40

B. Facade: Court

Figure 11C. Facade - entrance - main door. Right jamb (by A. Halim).

41

tomb of kha-em-hat VI. C. South door thickness (left-hand side – see figure 12,12A) The scene is c. 2 m high and 1 m wide.105 During the New Kingdom, private individuals continued to develop some ideas of a hereafter in the bark of Re, the deceased even claims identification with the sun god; more rational and relative with Osirian beliefs, was the desire and aim to go forth from the Netherworld each morning to see the sun, with the composition of the idea of Re’s night journey through the Netherworld, hoping to continue to follow him.106 Clearly this aim influenced structural changes within Theban tombs during the 18th Dynasty: the number of chambers found being arranged on an axis, oriented east–west; the entrance facing the rising sun; the outer parts of the chapel.107 The geographical situation of the tombs links them to a remarkable universal system, guaranteeing the deceased participation in cosmic life, distinguished by the rising and setting of the sun.108 Hymns to the gods in private funerary inscriptions began during the Middle Kingdom, with a group of morning hymns to Amen-Re recited in the mortuary service of the king (who will be granted eternal life, like Re). The aim was to please the god so that he might grant specific funerary desires. In the reign of Tuthmosis III this ritual had passed into the private funerary cult, where it was associated with the ceremony of the opening of the mouth.109 These hymns also appeared in The Book of the Dead at the beginning of the recitations for going forth by day, of praise and glorification, which are to be recited on the day of burial.110 For the Theban private tombs that contained hymns to Amun-Re, these hymns were usually inscribed on the outer parts or on the door widths, which were most logically placed along the axis and in line with the entrance. These hymns were also occasionally to be found on stelae in the façade.111 During this period Amun-Re became a powerful and principal god, a creator and protector not only of Egyptians but of all races – this is apparent in the text that reads: ‘the divine falcon who begot the Nine bows’. The thick areas of the outer doorways during the early half of the 18th Dynasty often represented the owner on both sides, facing outwards and facing the sun god, addressing a hymn to the sun. The growing popularity of sun hymns throughout the 18th Dynasty is evident in both the increasing extent of solar hymns in the tombs and their greater length. The need to accommodate a longer text developed to a representation of a funerary statuette, usually kneeling in a gesture of worship (a find of a kneeling statue associated with Khaem-hat will be mentioned later; figure 29). Since the beginning of the 18th Dynasty, the sun hymns were inscribed in the space between the forearms, and partly on the body.

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 19. H.M. Stewart, Some Pre-Amarnah Sun Hymns, JEA 46, 1960, p. 83. 107 H.M. Stewart, Some Pre-Amarnah Sun Hymns, JEA 46, 1960, p. 84. 108 J. Zandee, Prayers to the Sun-god from Theban Tombs, JEOL 16, 1967, p. 48. 109 H.M. Stewart, Traditional Egyptian Sun Hymns of the New Kingdom, London 1966, p. 31. 110 H.M. Stewart, Traditional Egyptian Sun Hymns of the New Kingdom, London 1966, p. 30. 111 H.M. Stewart, Traditional Egyptian Sun Hymns of the New Kingdom, London 1966, p. 33. 105 106

42

B. Facade: Court The sun hymns, all presenting Re as the universal creator, were divided into three main categories according to whether they are addressed to sunrise, sunset, or to the sun’s daily journey. This latter category perhaps has a funerary purpose.112 The scene covers the left reveal of the doorway, leaving c. 10 cm undecorated below. It has a border at the top – a coloured band, with traces of red and blue. The right border is a vertical coloured band in incised relief, whereas the left one is a plain painted band. The upper part of the scene is damaged, together with some of the text; most probably they used the ‘xkr’ sign to decorate the outer frame of the scene. The deceased is represented life-size on both sides of the door thickness, facing outwards, worshipping the sun god.113 Differentiating between the two sides became essential, showing on the left the deceased looking outwards, his face turned to the outside and addressing a hymn to the rising sun, inscribed in vertical columns around his head and between the forearms and body; on the right the deceased is turned inwards, adoring the setting sun, his face towards the tomb’s northern interior, with a text confirming that the deceased is worshipping the sun at its setting in the west. He welcomes the morning sun when it rises. The tombs had been adjusted so that the owner of the tomb has turned himself to the east. In this tomb, the right-hand side of the door thickness is damaged. In some tombs, on the right door width, prayers to the gods of the Netherworld are to be found, with Osiris reproduced in relief – here the tomb’s owner would face west.114 In TT 57 the deceased is facing outwards, raising his hands in adoration, he is wearing a short wig, a straight beard, a necklace and wide collar around his neck, transparent garment with short sleeves, and an apron knotted around his waist with a belt; he is barefoot, his right foot is ahead of his left. His body is painted with red ochre. Sunrise and sunset are the ideal times for sun worship, representing the transition from death to life; the tomb was considered as a temple, an image of cosmic reality.115 The accompanying text is in thirteen vertical columns, partly in good condition, except for line thirteen, which is damaged. The relief work belongs to the time when the art of the 18th Dynasty was at its peak, the details distinguished with accuracy using soft lines; it is in the en creux style, characterised by this delicate handling and typified by the fine detailing in the head and wig.116 The head and the shoulders of the deceased have been replaced by a cast sent by the Berlin Museum from the original cast (inv. no. 14504), made to fit in place and tinted to resemble the surrounding stone.117 (Squeeze no. 86.213A in the museum of Fine Art Boston.118) The vertical H.M. Stewart, Some Pre-’Amārnah Sun-Hymns, JEA 46, 1960, pp. 86–88, fig. 2. The figures of a man or a woman standing during the 18th Dynasty would be almost 19 units high, and 15 when represented seated on a chair, the top of the head is always three units above the level of the shoulders, cf. E. Mackay, Proportion Squares on Tomb walls, JEA 4, 1917, pp. 76–85. 114 J. Zandee, Prayers to Sun God from Thebans Tombs, JEOL 16, 1967, p. 53. 115 J. Zandee, Prayers to Sun God from Thebans Tombs, JEOL 16, 1967, pp. 51–52. 116 J. Baikie, Egyptian Antiquities in the Nile Valley, London 1932, p. 610. 117 E. Mackay, Report of the Excavations and Other Work, ASAE 14, 1914, p. 89, figure I. 118 http://www.griffith.ox.ac.uk/gri/4khaem.html, viewed 12 August 2019. 112 113

43

tomb of kha-em-hat lines which divide the text into columns are all painted in blue; the incised hieroglyphs, coloured in red and blue, show interior details in raised relief.119 The text here starts with the deceased’s title followed by his name, overseer of granaries, Khaem-hat, the justified. The text refers to the rising sun; several words were inscribed describing the shining sun, very common in Egyptian texts. Words stressing the strength and power of the god are also mentioned (bA, sxm, wAS, spd.). The importance of Amun as the former god of all gods is also stressed in the text (looking down upon them, having appeared within their sight, the left and right eye of god of heaven are the sun and the moon, identified as two feathers on the crown of Amun).120 Squeezes Door leading into the entrance room, outer jambs, text with Kha-em-hat seated at bottom. Left thickness, Kha-em-hat (upper part now in Berlin, Ägyptisches Museum, replaced by a cast) adoring, with hymn to the sun, Griffith Institute squeezes 1.1a, 1.1b, 4.1, 4.1a, 4.1b, 4.1c and 4.2, Head of Kha-em-hat, from left thickness.

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 20. Davies commented on the inscriptions, describing the signs as very attractive, meritorious, and with an incipient deterioration in style; cf. N. Davies, The Tomb of The Vizier Ramose, London 1941, p. 35. 119 120

44

B. Facade: Court

45

tomb of kha-em-hat (1)…… Snwty nw ^mA-MHw ¢a-m-HAt mAa xrw dwA .f Ra …ja - Hr .k Ra [bA] jAbtj [@r] jAbtj [Imn-Ra nb -nst] tAwj xntj - jpt - swt mAA.k Hr-tp.k (2) [sxm.k] m [nTrw] nbw wbn.k m Axt [dwAt] xaj.tj nfr . tj HD . tj sSp . tj HA.tj bAo.tj aA.tj bAw.tj bA.tj twt -kA . tj m Swtj .k wrt- HkAw (3) [ rx ] jjt Swtj .kj r -pt mAA n.k -Hrt -jm .sn mAA.k Hr- tp pDwt - iw -iAbtt .k r - jAbtt .k jw jmntt .k r - jmntt .k jrtj .k-Hm – jptnj nt - Dt .k m snj (4) Hm mn .tj m -tp .k m - Swtj n - Sw . n - Hr . k - jm . snj n - twt -js [Jmn] wTsw . sn rs .k m -Htp rs - jrt - @rw (5) nb [Axt ] m - Htp prj . k m -Axt . k twt .tj [Imn - Ra] sxm - xnt .sn nfr .ti nfr tj [Imn Ra ] sA - wr smsw n -pt tA (6) Xpr [Ds] .f xaj m Hbbt jtj .n .k r-Aw m -Sfjjt . k xaj .k m njswt xaj .k m -[bjti] (7) Ssp .n.k - 3wt -jb m Xnw (8) kAr.kb njk - pf - sjpw n -sdt (9) [jw .n .j] n xr .k Imn sA (10)...pn n.... ntj-wj-xr. [f] (11) …. rdwj.n.k xnt -igrt (12) …….. sS-nsw (1)…… granaries of Upper and Lower Egypt ‘Kha- em-hat’ the justified121 adores Re, …… satisfy thy heart, O Re, eastern [soul] eastern [Horus] [Amun, Lord of the thrones of ] the two lands, pre- eminent in Karnak thou lookest upon. (2) [The Nine Bows] thou risest on the horizon [early], shining, beautiful, white, light, beaming, bright, great, exalted, a spirit, complete, high with thy two plumes, great of magic. (3) thy two plumes reach to the sky . thou seest heaven by means of them, and thou lookest upon the Nine bows. The east is at thy left eye, and thy west is at thy right eye, these thy two eyes indeed belonging to thy body together with them. (4) Thy indeed being set in thy head like the two plumes, thy face being not void of them, for thou art [the god ] who dost lift them up, awake in peace, awake, O Horus. (5) times of ….. in peace. Thou goest forth from the horizon, thou being complete, Amen-Re, the mighty one at their head, twice beautiful, great eldest son of heaven and earth. (6) Who came into existence [by himself], appearing from the abyss, thou hast seized all through the fear of thee. Thou appearest as king (when) thou appearest in. (7) [the horizon] thou receivest joy within. (8) Thy shrine, that serpent Nik, having been consigned to the flame. (9) [I have] come to you, Amun, this son of yours. (10) in which I find myself (11) and you have placed on the realm of the dead.122 (12) …….royal scribe.

121 122

J. Asmann, Sonnen Hymenen in Thebanischen Gräbern, Mainz 1983, p.110. J. Assmann, Sonnen Hymenen in Thebanischen Gräbern, Mainz 1983, p.110.

46

B. Facade: Court

Figure 12. Main entrance - south door thickness Kha-em-hat is worshipping the sun (By A. Damarany).

47

tomb of kha-em-hat

Figure 12. A Main entrance - south door thickness with squeeze Kha-em-hat is worshipping the sun.

48

Chapter II

Transverse Hall Transverse Hall Four steps lead down to the first transverse hall, a rectangular form, c. 3 m high, 7 m long, and 2 m wide. There is a rectangular opening in the ceiling which communicates with the bottom of the hill above. Two life-size statues in a niche are to be found in the south wall; two blocked pits are in the floor at each end of the hall. The walls were almost covered with coloured reliefs. VII. East Wall (see figure 13,13A) The entrance penetrates the wall and divide it into unequal parts; at the top there is the traditional decoration of most of the tombs, the xkr frieze that decorates the top of the wall, while the bottom was decorated with a dado, that once appeared yellow and once red; c. 40 cm under the dado is left undecorated. VII. East wall - south side (figure 13,13A) The wall is divided into two registers; each register contains a sub-vertical register, on the left-hand side from the entrance the wall contains seven scenes. A large part of this wall is badly damaged, especially the upper register, which was restored by covering it with a layer of plaster; no traces of colour were observed. The xkr frieze decorating the width of the upper wall was damaged, with only a section 20 cm high and 1 cm wide still in place; a small fragment c. 10 cm high and 30 cm wide can be seen on the left.1 VII.A Kha-em-hat is giving offerings (sunken relief – see figure 13, 13A) Deceased offers on braziers to ‘Amen Ra Ḥarakhti’ This scene, c. 1.80 cm high and 1 m wide, is symmetrical. It has a counterpart on the east wall – northside, the scene here is in sunken relief, while the other is in bas-relief. The reason for 1

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 21.

49

tomb of kha-em-hat

Figure 13. Hall - east wall - south side. Kha-em-hat is giving offerings - Grain storehouse - Renenut harvest goddess - butchers scene -freight ships (by A. Damarany).

50

Figure 13A. Hall - east wall - south side. full view with squeeze. Kha-em-hat is giving offerings - Grain storehouse - Renenut harvest goddess - butchers scene -freight ships.

Transverse Hall

51

tomb of kha-em-hat this lies in the lighting conditions; early in the morning the light illuminates both images, on the north and south entrance walls, close to the entrance, but later on the lighting of the bas-relief becomes stronger and more direct, while the sunken relief becomes more and more responsive to the dull reflected light of the walls, the shadows emerging particularly expressive and picturesque. These give the image its firm outlines and powerful modelling, for example where the delicate line of the right thigh and knee would appear from the deep edges of the upper garment, the artist omits most of the details, such as the garment folds. 2 The scene is well preserved and is almost intact. It represents the deceased life-size, in profile, but with full shoulders, facing outwards; he wears a wig with rounded strands, an innovation of the time of Amenophis III,3 a double-row necklace, an ornamented collar, an apron with a round cut and a long, wide shirt over it. The belt is plain, with tassels made of soft fabric knotted around his waist; he has bracelets on the upper arm and around his wrists. The wide shirt occurred from the time of Tuthmosis III and Amenophis II, but was soon replaced by the tight form. The long skirts, whose basic shape presumably consisted of a cloth wrapped around the waist, ended in front in two intersected corners, which Egyptian artists usually drew as a lace. This representation is found from the Middle Kingdom to the Ramesside period, and also dominates in the 18th Dynasty. Of course the long skirt, flanked by the tibia, is one of the particular forms that appears only during the 18th Dynasty. The double drawn skirt appeared in the time of Tuthmosis III to Amenophis III, showing either a double wrap of the long skirt or two overlapping skirts. Its occurrence is documented only in the period of Tuthmosis IV and Amenophis III, and, moreover, is only observed on standing figures, but it had disappeared by the end of the 18th Dynasty.4 As for the eyes, in the early years of Tuthmosis these were large and torn looking, the curved lines running horizontally and the top line projected higher. By the time of Amenophis II these were replaced with a narrowing eye shape.5 Concomitantly, the shape of the noses also changes: a sharp line was typically used for the nose from the early years of Tuthmosis’ reign, while later a more delicate form occurs and becomes common. Curved and sharp noses were noticeable, later the bridge of the nose is straightened again, and, depending on the strength of the nose, either ‘pug’ nostrils or indistinct forms were used.6 Starting from the reign of Amenophis II, the rough mouth, predominantly marked by a sharp line, is the norm, after which it is replaced by a heart-shaped outline of the mouth, delimited by a very fine umber.7 In general, the chin is slightly upwards.8

W. Wreszinski, Atlas Zur Altägyptische Kulturgecichte I, Leipzig 1923, tafel. 196. E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, p. 30. 4 E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, pp. 13, 17, 19. 5 E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, p. 22. 6 E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, p. 24. 7 E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, p. 25. 8 E. Dziobek, S. Thomas, S. Norbert, Eine Ikonographische Datierungsmethode Dynastie, Saga 3, 1992, p. 26. 2 3

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für Thebanische Wandmalereien der 18. für Thebanische Wandmalereien der 18. für Thebanische Wandmalereien der 18. für Thebanische Wandmalereien der 18. für Thebanische Wandmalereien der 18. für Thebanische Wandmalereien der 18.

Transverse Hall The deceased is seen raising his hands, giving offerings; his right hand holds the offerings, the left is damaged and only the fingers remain. Loret mentioned that the deceased is holding a large cup containing six geese in one hand while with the other he pours water on them. 9 He is barefoot, his right foot stepping forward and he faces left towards the entrance. The scene is partly damaged but it is clear that he is standing in front of two altars, full of offerings – poultry, meat, and bread. A flame-like shape appears around the offerings; from a charcoal fire emanate numerous red flames over the offerings, indicating that they are burnt.10 Between the two altars there is an arrangement of lotus flowers (six opened lotus flowers, eight buds), and a long candle in a bowl on the very left of the scene next to one of the altars.11 There are still traces of soot at the bottom of the two offering altars and by the leg of the deceased. The knee-high fire altar appears at the end of the reign of Tuthmosis III and in the following period: these are often found in the tombs and are always depicted in white; they were probably made of stone. There is little doubt today about the occurrence of actual burnt offerings in the Egyptian cult, although this was refuted by past scholars. What is perhaps still an open question, however, is whether occasionally meat pieces were burnt only to be eaten by the party. However, this is unlikely, especially when myrrh and incense are still being poured in large quantities over the burning sacrificial pile, as shown in many graves and also described in the accompanying text. It can therefore be assumed that offerings were burnt entirely for the gods, up to whom the scent and smoke arose, and were intended as food for them.12 The offering vessels contain either bread or an unplucked goose on its back with head hanging down. Tongues of flame come out from another vessel cup, indicating that must be some sort of fuel, possibly coal, at the bottom of the vase, but this is not represented and neither do we see those little black grains that could be mistaken for incense. Nothing indicates that the offerings were purified with incense or any other substance. Food is shown on a brazier; it seems not to matter whether the food is entirely burnt to ashes or only just passes through the flame. There were also other small alters placed by the feet of the deceased but were not seen with flames. The offerings in front of the officiant are piled on an item of furniture of particular shape, one at the bottom and one at the top. In the gaps that separate the various kinds of food (bread, meat, poultry, vegetables, fruit, etc.) there are more fires and quantities of small, black grains, on a dark blue background, certainly representing pieces of coal. Sacrificial ceremonies of this kind appear to take place on altars prepared in advance. The small altars, each with a goose and bread, are arranged next to the deceased and the officiant ignites them. Lifting his hands, he presents the offerings to the god, doubtlessly reciting a short formula before they are thrown onto the high altar. This process is repeated with the other small altars until all the food from the large household is offered up.

V. Loret, La tombe de Khâ‐em‐hâ, MMAF 1, 1889, p. 116. V. Annelies, A. Brack, Das Grab des Tjanuni, Theben Nr. 74, AV 19, 1977, p. 29. 11 Such candles are often depicted in other tombs and were probably made of fat mixed with myrrh or incense; they are always found in connection with the burnt offering. In addition to baskets of fruit, the scene usually ends with a row of tall, white pitchers standing on a mat and decorated with plants; cf. V. Annelies, A. Brack, Das Grab des Tjanuni, Theben Nr. 74, AV 19, 1977, p. 29. 12 V. Annelies, A. Brack, Das Grab des Tjanuni, Theben Nr. 74, AV 19, 1977, p. 29. 9

10

53

tomb of kha-em-hat Jequier said‫׃‬ ‘The Egyptians have never burned their offerings to consecrate them; the conclusion is that not only the Egyptians did not practice the holocaust; but also never made their sacrifices and offerings by fire. One of the frequent scenes found in the first room, on both sides of the entrance door; it attracts the attention according to its position against the daylight, and it is most often very mutilated, representing the deceased standing; giving offerings to different gods; Amon; Osiris; or the western deities; a heap of food; that he intended to save for the afterlife. These vessels or cups used by the deceased for this ceremony carried in hand or placed on cylindrical support; referred to as a fire altar’. In each hand he holds one of those vessels contains either bread; or goose with feathers; lie on its back with a hanging head. Flame tongues come out from the cup; there must be fuel; may be coal at the bottom of the vase, but it was never represented; we do not even see those little black grains that could be mistaken for incense. Nothing indicated that the offerings were purified with incense or any other substance; there is food on a brazier; it does not matter whether the food is entirely burnt to ashes or just only passed by the flame. There were also other small alters placed by the feet of the deceased but were not flamed. The offerings in front of the officiant are piled up on a piece of furniture of particular shape, one at the bottom; the other at the top; in the intervals which separate the various food stuffs piled up; breads; meat; poultry; vegetables and fruits; quantities of small black grains, on a dark blue background; and new flames everywhere: these black grains certainly represent pieces of coal. Ceremony of this kind of sacrifice appears to take place on the altar that may be was lightened up with fire in advance; and the small altars each loaded with goose; bread; placed next to him; the officiant lights two altars; by hand; lift his hands to present the offerings to the god, without doubt by reciting a short formula; then throw content on the high altar; start again with two others and so on until all the food is piled up in the big household.13 Four vertical columns of text in front of the deceased as follows‫׃‬ (1) … Imn-Ra- @r-Axty n [Wsjr Xnty – Imnty] (2) …..Wbn AX. f m tAwy Dam jn (3) ………sS-nsw ¢a-m-ḥAt swA .f tm (4) …..sns.w .n manDt ap Hm.f G. Jéquier, La combustions des offrandes funéraire, Rec. de Trav. 32, 1910, p. 166-169; cf. M. Kyle, Some Further Observations Concerning the Holocaust among the Ancient Egyptians, Rec. de Trav. 31, 1909, p. 49-54. 13

54

Transverse Hall (1)……Amon- Re- Horakhty for [Osiris Khenty……] (2)…..He and his bnw bird illuminate the two lands with golden rays by …… (3)…..The royal scribe Kha-em-hat praises Atom (4)…… his morning bark, his majesty passes…. Similar scenes found in other tombs (Deceased preform rituals) TT 57 scene no. 7 Tomb Number TT 13 Shuroy(14) TT 16 Panehesi (15) TT 17 Nebamon(16) TT 22 Wah(17) TT 29 Amenemopet TT 36 Ibi(18) TT 38 Zeserkara’sonb(19) TT 42 Amenmosi(20)

Provence Dra cAbu el Naga Dra cAbu el Naga Dra cAbu el Naga Sh. cAbd el Qurna Sh. cAbd el Qurna Asasif Sh. cAbd el Qurna Sh. cAbd el Qurna

Scene Location Hall – West wall Hall – East wall Hall – East wall Hall – West wall Hall – East wall Hall – North wall Hall – West wall Hall – East Wall

PM Reference p. 26, 13 p. 28, 5 p. 29, 2 p. 37, 1 p. 45, 2 p. 63,5 p. 70, 5 p. 82, 6

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Khôkha

Date Ramesside Ramses II Amenophis II Tuthmosis III Amenophis II Psmatikoshos I Tuthmosis IV Tuthmosis III to Amenophis II Amenophis II Amenophis II Amenophis III Ay

TT 43 Neferronpet(21) TT 45 Dhout(22) TT 46 Ramose(23) TT Neferhotep24

p. 83, 2 p. 85, 5 p. 87, A p. 94, A, B, C.

TT 56 Userhet25 TT 64 Hekerneheh26 TT 69 Menna 27 TT 72 Re28

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna

Amenophis II Tuthmosis IV Tuthmosis IV Amenophis II

Hall – East wall Hall - South wall Hall - West Pillar Pillared Hall – North-West Pillar (South side) Hall – North wall Hall – East wall Hall – East wall Hall – West wall

p. 112, 6 p. 128, 6 p. 137, 5 p. 142, 1

TT 74 Thanuny29 TT 76 Thenuna 30 TT 77 Ptahemhet31

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna

Tuthmosis IV Tuthmosis IV Tuthmosis IV

Hall – East wall Hall – East wall Hall – East wall

p. 144, 2, 7 p. 149, 1 p. 151, 5

Schott Photo 4929, http://www.schott.uni-trier.de. E. Drioton, et M. Baud, Le tombeau de Panehesi, MIFAO 57, 1928-1935, fig. 16. 16 Schott Photos 8639 – 8642, the similarity here is in the offerings and the braziers. 17 Schott Photos 8530-8531. 18 Schott Photos 8686-7. 19 W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, figure 142; MIFAO 63, p. 86-7, figure V. 20 N. Davies, The Tombs of Menkheperrasonb, Amenmose and other, London 1933, pl. XLVI, E, p. 32. 21 Schott Photos 8458; W. Helck, Das Thebansiche Grab 43, MDAIK 17, 1961, fig. 4, p. 105. 22 N. Davies and Gardiner, Seven Private Tombs at Kurnah, London 1948, figure II; Schott Photos 8145. 23 PM, p. 470, 28 deceased preforms ritual, offers on braziers. 24 N. Davies, The Tomb of Neferhotep at Thebes, NewYork 1933, figure LXI, LII B, LIII, p. 62-3. 25 CH. Beinlich-Seeber, Abdel Ghafar Shedid, Das Grabe des Userhat, Mainz am Rhein 1987, figure II, p. 48. 26 Schott Photos 8368, 8372-3. 27 Schott Photos 3947; C. Campbell, Two Theban Princes, London 1910, p. 90-92. 28 Schott Photos 8572. 29 Schott Photos 8376-80. 30 Schott Photos 8399. 31 Schott Photos 8280. 14 15

55

tomb of kha-em-hat Tomb Number TT 78 Haremhab32

Provence Sh. cAbd el Qurna

Date Scene Location Tuthmosis IV to Hall – West wall Amenophis III Hall – East wall

PM Reference p. 152, 1, 5

TT 79 Menkheper33

Sh. cAbd el Qurna

p. 156, 3

TT 80 DhutNufer

Sh. cAbd el Qurna

Tuthmosis III to Hall – East wall, Amenophis II North side Amenophis II Hall – East wall

TT 85 Amenemhab34

Sh. Abd el Qurna

Tuthmosis III to Hall – East wall Amenophis II Tuthmosis III Hall – East wall North side Thutmosis III to Hall – East wall Amenophis II North side Amenophis III Hall – East wall North side Tuthmosis IV to Hall – West wall Amenophis III Tuthmosis IV to Hall - East wall Amenophis III North side

p. 171,10, 12

Tuthmosis III Tuthmosis III Tuthmosis III

p. 226, 3, p. 227, 10 p. 228, 5 p. 229, 2

TT 86 Menkheperra-sonb35 Sh. cAbd el Qurna TT 88 Pehsukher36

Sh. cAbd el Qurna

TT 89 Amenmosi37

Sh. cAbd el Qurna

TT 90 Nebamun38

Sh. cAbd el Qurna

TT 91.Captain of Troops (name missing)39

Sh. cAbd el Qurna

TT 109 Min44 TT 110 Dhout45 TT 112 Menkheperrasonb46 TT 130 May47

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna

TT 92 Suemnut40 TT 93 Kenamun41 TT 94 Ramose42 TT 96 Sennufer TT 99 Sennufer TT 104 Dhutnufer TT 108 Nebseny43

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. cAbd el Qurna

Sh. cAbd el Qurna

Amenophis II Amenophis II Amenophis II Amenohphis II Tuthmosis III Amenophis II Tuthmosis IV

Tuthmosis III

Outer Hall – East wall Hall – East wall Hall – East Wall Hall – East wall Hall – East wall Hall – East wall Hall – East wall Hall – South wall Hall – East wall Hall – East wall South side Hall – East wall

p. 158, 4

p. 175, 3 p. 180, 5 p. 182, 9 p. 184, 5 p.187, 4 p. 187, 1 p. 190, 2 p. 194,1 p. 197, 1, 7 p. 204, 1 p. 217, 1 p. 225, 2

p. 244, 1

A. Brach and A. Brack, Das Grab des Haremhab, Theben Nr. 78, AV 35, 1980. Schott Photos 2102, 8292; H. Guksch, Die Gräber des Nacht-Min und des Men-Cheper-Ra –seneb, Theben Nr. 87,79, AV 34, 1995, pl. 26. 34 Schott Photos 8299, 6914. 35 N. Davies, The Tombs of Menkheperrasonb, Amenmose and Another, London 1933, figure XVI. 36 Schott Photos 4384. 37 Schott Photos 8429. 38 N. Davies, The Tombs of Two Officials of Tuthmosis the Fourth, London 1933, figure XX. 39 Schott Photos 8323; J. Jéquier, Rec.de Trav. 32, 1910, fig.1, p. 167. 40 M. Kyle, Some further observations concerning the holocaust among the ancient Egyptians, Rec. de Trav. 31, 1909, fig 2, p. 52; Schott Photos 6844. 41 N. Davies, The Tomb of Kenamun at Thebes 1, New-York 1930, pl. XXXVII, XXXVIII. 42 N. Davies, The Tomb of the Vizier Ramose, 1941, figure XIV; Schott Photos 8327. 43 Schott Photos 5549. 44 Schott Photos 5674. 45 N. Davies, Tehuti‫ ׃‬Owner of Tomb 110 at Thebes in Studies Presented to F.LL. Griffith, London, 1932, figure 43b, p. 284. 46 N. Davies, The Tombs of Menkheperrasonb, Amenmose and Another, London 1933, figure XXIII, p. 21. 47 V. Scheil, Le tombeau de Mâi, MMAF 5, 2, 1894, p. 541-543. 32 33

56

Transverse Hall Tomb Number TT 147( name missing)48 TT 151 Ḥety TT 161 Nakht49 TT 162 Kenamun TT 165 Nehemaway50 TT 172 Mentiywy51

Provence Drac Abu el -Naga Drac Abu el –Naga Dra Abu el –Naga Drac Abu el -Naga Drac Abu el -Naga Khôkha

Scene Location Hall – West wall Hall – West wall Hall – West wall Hall – West wall Hall – West wall Hall – West wall

PM Reference P. 258, 2, 8 p. 261, 3 p. 274, 1 p. 275, 1, 3 p. 277, 1 p. 279, 1

Hall – West wall

p.304, 4

Hall – West wall

p. 304, 2, p. 305, 8

Sh. cAbd el Qurna

Date Tuthmosis IV Tuthmosis IV Amenophis III XVIII Dynasty Tuthmosis IV Tuthmosis III to Amenophis II Tuthmosis III to Amenophis II Tuthmosis IV to Amenophis III Tuthmosis III

TT 200 Dedi

Khôkha

TT 201 Ra52

Khôkha

TT 225 first prophet of Hathor (name missing)53 TT 226 Royal Scribe (name missing) TT 229 Name lost54 TT 256 Nebenkemet55 TT 295 Thutmosi

Hall – West wall

p. 325, 1

Sh. cAbd el Qurna

Amenophis III

Hall – East wall

p. 327, 2

Sh. cAbd el Qurna Khôkha Khôkha

Dynasty XVIII Amenophis II Tuthmosis IV to Amenophis III Amenophis III Early Dynasty XVIII Tuthmosis I

Hall – West wall Hall – East wall Hall – South wall

p. 328,1 p. 341, 4 p. 377, 4

TT 333 Name lost TT 343 Benia56

Drac Abu el Naga Sh. cAbd el Qurna

Hall – South wall Hall – East wall

p. 401, 3 p. 411, 6

TT 345 Amenhotep57

Sh. cAbd el Qurna

p. 413, 1

Early Dynasty XVIII Dynasty XVIII

Hall – East wall (Door thickness) Passage – East wall, inner room Hall – East wall

TT 349 Thay

Sh. cAbd el Qurna

TT 350 Y

Sh. cAbd el Qurna

TT 359 Inherka58

Deir El Medina

Ramsesses III and IV Amenophis II

Outer chamberWest wall Hall – East wall

p. 422, 6 -7

TT 367 Paser59

Sh. cAbd el Qurna

p. 415, 1, 4 p. 417, 2

p. 430, 1

Conclusion This scene has been attested in 59 tombs, 55 of which date to the 18th Dynasty, three to the 19th Dynasty, and only one to the time of Psemmatikhos I. 42 tombs have been located at Qurna, nine at Drac Abû el-Naga, six at Khôkha, and one at Deir el-Medina. The tombs with S. Schott, Das Schӧne Fest, Mainz 1953, p. 863. Schott Photos 3716, 8728-34. 50 N. Davies, Five Theban Tombs, London 1913, p. 40. 51 Schott Photos 8505-8508, 8595, 8596. 52 Schott Photos 8612, 8615. 53 Schott Photos 8449. 54 M. Mackay, Proportion Squares on Tomb walls, JEA 4, 1917, figure XV, p.77. 55 Schott Photos 8759 – 61. 56 Schott Photos 8048 – 54. 57 Lepsius, L.D. 3, Berlin 1842-1845, figure 9 C. 58 Cherpion and Corteggiani, Le tombe d’Inherkhâouy (TT 359) à Deir El–Medina 1-2, MIFAO 128, 2010, p. 71, pl. 54-56. 59 A. Fakhry, Tomb of Paser, ASAE 43, 1943, p. 394, figure XVI. 48 49

57

tomb of kha-em-hat offering and mirror scenes parallel to those of Kha-em-hat are TT 38, 52, 56, 57, 64, 74, 77, 78, 89, 91, 109, 147, 162, 201, 343, and 367. The number of tombs that has the same counterpart offering scene or the mirror scene like Kha-em-hat are‫ ׃‬TT 38, 52, 56, 57, 64, 74, 77, 78, 89, 91, 109, 147, 162, 201, 343, 367. VII.B East wall - south side - lower register (sub-scene) Offerings to Amon-Re - Butcher’s scene (see figure 14,14A) This scene, c. 60 cm high and 1 m wide. This is a scene of six officials giving offerings to Amon Re, three on each side. The three on the left are slaughtering a bull, one of them (!uje) carries the head with both hands; he is tall and slim compared to the other two men and wears an apron with a wide belt around his waist. One of the other men is shown bending forward, cutting the leg or thigh of the bull with a knife (PA HkA- m -nxw). This man is fat and bald and wears a short wide apron. The lower part of the scene here is damaged, so we can only see the man leaning down, his other hand holding up the thigh of the bull. The third figure (Nb.j m ib.j) holds the thigh of the slaughtered animal, hands stretched forward, to separate it from the body. This man has a fat neck and belly, short hair, and an apron tied around his waist with a wide belt. The three men are wearing welding caps on their heads and simple working aprons. There is another register below these men depicting jars, bread baskets, meat, and flowers. Underneath these men there is another register, on the left-hand side there are five vessels, three of them containing bread and the others lotus bundles. On the right are three small vases containing loaves of pointed, white bread, and six vases of libation on a support; five are similar in size, while the sixth is larger and different in design. The inscriptions in this scene are divided into two sides, left and right. The scene in general is well preserved and all the details and the texts are clearly seen; there are no traces of colour however. The scene is in bas-relief. Inscriptions (left hand side)

58

Transverse Hall (1)n kA.k Imn-Ra (2) jw wab sp-sn(60) (3) ssnb.k pA (4) @kA anx wDA snb (5) nfr dj.k wnn (6) ¢a-m-HAt (7) m Hs.f ra nb (8) jn sDm aS n jmj-r Snwty (9) ¢a-m-HAt @wj (10) sDm aS n jmj-r Snwty ¢a-m-HAt (11) nb.j m ib.j (12) sDm aS n jmj-r Snwty ¢a-m-HAt (13) PA HkA- m-nxw (1) For your Ka, Amon-Re, (2) by it is very pure. (3)You will be healthy, (4) O ruler given life, prosperity and health. (5) You will cause (6) Kha-emhat (7) to exist in his favor every day. (8) By the servant of the overseer of granaries (9) #a-m-HAt @wj (10) The servant of the overseer of granaries Kha-em-hat, (11) Nb. j m ib.j (my lord is in my heart), (12) The servant of the overseer of granaries #a-m-HAt (13) PA HkA- m -nxw61 Inscriptions of the three officials who came up with gifts (left- hand side – see figure 13, 14, 14A) Three other officials are giving lotus bunches, pointed bread, and geese. They are wearing different wigs and differently designed aprons, with shirtsleeves folded into their belts. The first bearer is holding three stems of papyrus in his left hand, an image of meat in his raised right hand. The second bearer is holding a goose by the wings in his right hand and an image of white bread in his raised left hand. He wears a pleated belt with a wide pleated triangle folded over a second apron; his shirtsleeves have designs on them. The third bearer is holding two geese in his right hand and two lotus flowers and three buds in his left. The offerings in front of them contain large bread and meat images covered with flowers, three baskets of white bread and six jars on stands; five are the same size and design while the sixth is somewhat larger and has two handles. The style and quality of the scene resemble the scene in the tomb of Ramose – most probably the same team of artists was involved.62 What is noticeable is the absence of muscular detail that is represented continuously in earlier work.63 (1) sS hsb jt n nb tAwy m ^ma-MHw PA wAH Dd.f Ssp (2) bw nfr Imn-Ra jw wab Hr aAwy (3) pA jmj-r Snwty Hs sw ra- nb (4) sS n Snwty pr-aA anx wDA snb wAD msw (1) The scribe and account of granary of the lord of the two lands Upper and Lower Egypt PA wAH, he says: (2) take the good Amon-Re cause it is pure from the hands (3) of the overseer of granaries and praise him daily, (4) the royal scribe and overseer of the pharaoh given life, prosperity and health wAD msw (young born or rejuvenation born). 64

sp-sn might be that he means repeating the sentence or the ritual twice. W. Helck, Urk. 4, Berlin 1961, p. 282. 62 J. Capart, Propos sur l’art égyptien, Bruxelles 1931, p. 180, fig. 127; Schott Photos 6036, 6037. 63 F. Petrie, The Arts and Crafts of Ancient Egypt, London 1923, p. 53, fig. 61. 64 Cf. W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte, Leipzig 1923, figure 197. 60 61

59

tomb of kha-em-hat Similar scenes in different tombs (Butchers in scene of offerings on braziers) TT 57 scene no. 7 Tomb Number

Provence

Date

Scene Location

TT 15 Tetiky65

Dra Abu el Naga

Early XVIII Dyn.

Chapel – West wall

Tuthmosis IV

Hall – West wall

TT 22 Waḥ

TT 38 Zeserkarasonb66 TT 45 Ḏḥout

67

69

Sh. Abd el Qurna Khôkha

Sh. Abd el Qurna c

TT 55 Ramose70

TT 64 Hekerneheh71 TT 69 Menna

Sh. cAbd el Qurna c

TT 49 Neferhotep68 TT 52 Nakht

Sh. Abd el Qurna c

72

Sh. cAbd el Qurna Sh. cAbd el Qurna Sh. Abd el Qurna c

TT 72 Re73

Sh. Abd el Qurna

TT 74 Thanuny

74

Sh. Abd el Qurna c

TT 79 Menkheper75

Sh. cAbd el Qurna

TT 80 Dhutnufer

Sh. cAbd el Qurna

TT 89 Amenomosi77

Sh. cAbd el Qurna

TT 88 Pehsukher76 TT 108 Nebseny

78

TT 109 Min79 TT 151 Hety

TT 162 Kenamun TT 165 Nehemaway80

Sh. cAbd el Qurna Sh. Abd el Qurna c

Sh. cAbd el Qurna Dra Abu el-Naga Dra Abu el-Naga Dra Abu el-Naga

TuthmosisIII

Amenophis II Ay

Tuthmosis IV

Amenophis IV Tuthmosis IV Tuthmosis IV Amenophis II

Tuthmosis IV

Hall – West wall

Hall – East wall-North side Pillared Hall

Hall – East wall Hall – East wall Hall – East wall Hall – East wall

Hall – West wall Hall – East wall

Tuthmosis III to Amenophis II

Hall – South wall

Tuthmosis III to Amenophis II

Hall – South wall

PM Reference p. 27, 6 p. 37, 1 p. 69, 2 p. 85, 5

p. 94, A,B,D. p. 99, 1.

p. 107, 3; p. 109, 8 p. 128, 6 p. 137, 5 p. 142, 1

p. 144, 2; p. 145, 7 p. 156, 3

Amenophis II

Hall – East wall

p. 158, 4

Amenophis III

Hall – East wall

p. 182, 9

Tuthmosis III

Hall – South wall

p. 226, 3

Tuthmosis IV Thutmosis IV Dyn. XVIII

Tuthmosis IV

Hall – East wall

Hall – West wall Hall – West wall Hall – East wall

p. 180, 5 p. 225, 2 p. 261, 3 p. 276, 3 p. 277, 1

N. Davies, The Tomb of Tetaky at Thebes, JEA 11, 1925, figure III; Eaton Krauss believes that this tomb dates back to the reign of Ahmose; cf. Four notes on the Early Eighteenth Dynasty, JEA 84, 1998, p. 205-210. 66 A. Mekhitarian, Ägyptische Malerei, Genève, skira 1954, figure 66. 67 N. Davies and Gardiner, Seven Private Tombs at Kurnah, London 1948, figure II. 68 N. Davies, The Tomb of Neferhotep at Thebes, New York 1933, p. 64. 69 N. Davies, The Tomb of Nakht at Thebes, MMA 1917, figure XI. 70 N. Davies, The Tomb of the Vizier Ramose, London 1941, figure XIII, XLVII right. 71 Schott Photos 8372. 72 M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 46, fig. 2.8a. 73 Schott Photos 8471. 74 Schott Photos 3883, 3884, 8395. 75 Schott Photos 8293; Jéquier, Rec. de Trav., 1910, figure XXXII. 76 Schott Photos 4384. 77 Schott Photos 8445, 8446; N. Davies, The Tomb of Amenomose (no. 89) at Thebes, JEA 26, London 1950, p.132. 78 Schott Photos 5553. 79 Schott Photos 8584. 80 N. Davies, Five Theban Tombs, London 1913, p. 40. 65

60

Transverse Hall Tomb Number

Provence

Date

Scene Location

TT 172.Mentiywy81

Khôkha

Hall – West wall

TT 181 Nebamun

Khôkha

Tuthmosis III to Amenophis II Amenophis II

Hall – East wall

TT 256 Nebenkemet Khôkha TT 295 Dhutmosi TT 367 Paser

82

Khôkha Sh. cAbd el Qurna

PM Reference p. 279, 1

Amenophis III

Hall – West wall

p. 286, 2

Tuthmosis IV to Amenophis III

Hall – South wall- East side

P.377, 4

Amenophis II

Hall – South Wall,East side, West side

p. 341, 4 p. 430, 1; p. 431, 4

Conclusion The scene is recorded in 25 tombs. All the attested scenes dates to the 18th Dynasty. 15 are located at Qurna, four at Khôkha, and four at Drac Abû el-Naga.

Figure 14. Hall - east wall - south side - sub scene- butchers (by A. Damarany).

81 82

Schott Photos 8506. Hegazy & Tosi, A Theban Private Tomb, Tomb No.295, MDAIK 45, 1983, figure 7.

61

tomb of kha-em-hat

Figure 14A. Hall - east wall - south side - sub scene- butchers (by A.Halim).

VIII. Remains of storehouse scene (see figure 13,13A) What remains of the scene is c. 70 cm high and 90 cm wide. The whole wall is partially damaged except for the upper part of the register that shows five pyramidal shapes representing granary stores. Only the top parts are shown, the rest of the wall is damaged. A (xkrw) frieze is also added, decorating the panel of the top register. This scene may be a representation of a large official storehouse. Remains of measuring crop and recording grain Only parts of the lower section of this scene are still in place, c. 60 cm high and 1.60 m wide. The scene is destroyed except for some parts; it was restored and covered with plaster. The upper register has disappeared except for the feet of the deceased, who seems to be holding a staff, followed by his assistant. Both men are barefoot, the deceased has larger feet than his assistant. It could be that the deceased is observed here at work in the fields. In front of him there are two registers, also destroyed except for the legs and hands of some men measuring and recording the grain. These men are followed by three others with brooms. In front of the figures is a pile of grain and three scribes are shown recording the amounts of grain. The lower register depicts a row of five officials, with their chief observing four workmen measuring and sweeping the scattered grain with their brooms. In front of them three standing scribes write down the accounts; the pile of grain is the one in the previous register. The standing officials on the left are holding their shoulders with their right hands, their left 62

Transverse Hall hands hang down by their sides. The last official has his hand palm opened in front of his face. There are remains of a vertical hieroglyph line separating these employees from their chief. The chief is standing, holding his right forearm with his left hand. All wear short wigs, shirts with a small ribbon around the neck, and short aprons with belts knotted around their waists. The chief ’s apron is distinguished by a pleated strap dangling from his belt. In front of the chief there are four employees, three represented in a row, slightly bending forward. They are bald and wear short aprons; one carries a bushel behind his back, the fourth is bending over, almost touching the ground, sweeping the grain with a small broom and collecting it in a small sack in the other hand. The four men preceding are also bending forward, each carries a bushel in his hand, and they are wearing short wigs and short aprons. Facing these men are the scribes, represented holding their scribal palettes and in the action of writing; their heads are destroyed, but they are wearing shirts and short aprons tied around the waist with a design showing at the end. They are barefoot and shown at a higher level than the others. Fragments of a measuring grain scene The remnants of this scene are 30 cm high and 1.60 m wide. The scene is very badly destroyed except for some feet; the empty wall was covered with plaster. The scene is on the left side of the wall and shows a row of eight workmen, each carrying a bushel for measuring grain, followed by three workers with brooms, only their legs can be seen. Opposite them, on a higher level, are the feet of six scribes. Behind them are two standing figures facing each other. The one holding a staff is the deceased and his feet are shown larger than those of the other figure, who seems to be an important employee as he is represented at a large scale, but not of course as large as the deceased. He wears a short apron. No traces of colour are attested. Part of a vertical text column as follows‫׃‬ imyw-r m pr gs pr nA n prwyt aA anx wDA snb The overseers of the administration of the administrative districts of the Pharaoh, given life, prosperity and health. VIII.A Kha-em-hat offerings to goddess Renenut, mistress of harvesting83 (see figure 15,15A) This scene, c. 70 cm high and 1.10 m wide, is well preserved, but the colours have disappeared. Kha-em-hat is represented, followed by two figures carrying offerings in both hands; in front of them are piles of offerings on mats and five large jars on a pedestal. The other side of the scene represents the shrine of Renenut. She is enthroned as the snake-headed mother goddess, with the child Nepri is sitting on her lap; she is breastfeeding him and her head is crowned with the modius and A counterpart scene was found in TT 48, first hall, South end wall, right part, but the difference is in the date, it was written fourth month, since it was the date of measuring corn in Tomb TT 38 and was succeeded by four days as mentioned in TT 57, cf. S. Sӧderbergh, Four Eighteenth Dynasty Tombs, Oxford1957,p. 42, Footnote 2; H. Nelson, Medinet Habu, Chicago 1930, p. 88, mentioned that the feast of Renenut was on the first day of the ninth month. 83

63

tomb of kha-em-hat double feather. She sits in the garlanded chapel, whose roof rests on columns ornamented at the top with Hathor capitals. There are several opinions concerning the identification of the child sitting on the lap of the goddess. Prisse d’Avenne84 suggests that the child on Renenut’s lap is Amenophis III, perhaps a reference to his divine birth. Wilkinson posits that Renenut is depicted nursing her son Nepri85 on her lap.86 Blackman refers to him as only a boy, without identifying him.87 The shrine has a flat roof with a cornice, beneath the sky sign. A curved decorated curtain is suspended between two poles and tied around them; a long pleated ribbon is falling from each side. The shrine of Renenut rests on two large mounds of grain that look like the hieroglyphic sign for the double granary. In front of the goddess is a standing ointment jar, adorned with two lotus flowers, a vessel holding various cuts of meat, poultry, vegetables and fruit, and round bread, as well as jars on stands. Kha-em-hat is represented with a designed wig, a necklace and collar, a bracelet, and armlet on each arm. He wears a wide, transparent shirt with short sleeves and two overlapping aprons, one is short with two curved parts in front, under another long and wide transparent skirt of double lengths, short in front and long at the back, fastened by a wide, pleated belt around his waist and a long, pleated tassel hanging down in front. Both his hands are raised, giving the goddess two burnt-offering stands. He is followed by two of his subordinates, smaller in scale than Kha-em-hat, wearing the same clothes, but with different wigs. They are bringing loaves of pointed bread, ears of grain, two quails and other poultry, as well as a lotus bunches. The offerings are arranged in three layers, each placed on a mat. The top layer is smaller, followed by a larger layer, while the third is the largest. A variety of offerings can be seen, i.e. a large jar of ointment with two lotus flowers on it, two wide vases with two rows of flowers of different sizes on top, bread, meat, cucumber, onion, bovine head, baskets of fruits, bird, and lotus flowers. Two items cannot be identified, but it seems they are cakes of some sort and ribs of meat.88 There is also here the rare depiction of a date, and the fixing of the depicted festival to the appearance of the new month or the new moon.89 The festival seems to last for four or five days: on the first day the corn was measured by the officials so that the yield might be estimated and the tithes assessed, then the corn was cut and trodden, and at the winnowing on the first of the new month offerings were made to the divinities concerned.90

P. d’Avenne, Monuments égyptiens, Paris 1847, p. 8, figure XLII. Nepri was the grain deity and was associated with Renenut; he was mentioned in CTII 95 and was assimilated with Osiris, his cult centre being in southern Fayum by the times of Amenophis III, IV; cf. R. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, New York 2003, p. 117. 86 R. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, New York 2003, p. 226. 87 W.S. Blackman, Some Occurrences of the Corn-’arūseh in Ancient Egyptian Tomb Paintings, JEA 8, 1922, p. 236. 88 M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 26. 89 S.W. Blackman, Some Occurrences of the Corn –arûseh in Ancient Egyptian Tomb Paintings, JEA 8, 1922; in TT 48 a similar figure of Ernutet is associated with the 27th day of the eighth month, harvest day according to the scene in TT 38. 90 N. Davies, The Tomb of Nakht, MMA 1917, p. 65. 84 85

64

Transverse Hall Text is as follows‫׃‬

Rntwt nbt Snwt(91) Renenut, Mistress of Harvest.

(1) Wdn xt nbt nfrt wabt n Rnnwt nbt Snwt (2) m Apd 1Smw sw 1(3) pn mst (4) Nprj jn (5) mH jb mnx n nb tAwj jmj-r Snwty nw (6) ^ma-MHw (7) sS-nsw (8) ¢a-m-HAt wHm anx (1) All pure and good offerings for Renenut, Mistress of the harvest (2) on the first month of the summer season (3) The first day (of Pachons),92 this day of birth (4) of the corn god (Nprj)93 (5) by the efficient confidant of the Lord of the two lands, the overseer of granaries (6) of Upper and Lower Egypt (7) and the royal scribe (8) Kha-emhat, renewal life. 94

Chr. Leitz, LGG, 8, 2003, p. 339, D.3. First Coptic month of harvesting as mentioned by Wreszinski in figure 198, the inscription speaks of a sacrifice to the goddess on the occasion of the birthday of the child Nepri, the corn god, on the 1st of the month Pachon for more information; cf. Hermann in: MDAIK 8, 1939, p. 174, cf. S. Schott, Work in Western Thebes, Chicago OIC, 18, 1931, p. 88, fig. 44- 45. 93 Cf. Chr. Leitz, LGG, Band IV, Leuven 2002, p. 204. 94 The text here is parallel to the text in TT 38 Zeserkaraʾsonb, but the dates are exactly the same in tomb 38 and 48 which on the twenty seventh day of the eighth month of springtime but in TT 57 the date was on the first day of the ninth month; cf. S. Söderbergh, Four Eighteenth Dynasty Tombs, 1, Oxford 1957, p. 41- 43. 91 92

65

tomb of kha-em-hat The inscriptions of the two writers following him:

(9) M spt rnp.wt nbt (10) nfrt wabt n kAt Rnwt (11) nbt Snwt dj.t wnn (12) pA jmj-r Snwty m (13) Hst ra nb jn (14) sS [Hsb jt nb- tAwy ](15) m ^ma -MHw PA wAH(16) sS Hsb jt n Snwty (17) pr aA anx wDA snb Ra Spst (9) Bring all kinds of good and pure vegetables (10) to the ka of Renenut, (11) mistress of the harvest. May you cause (12) this overseer of granaries (13) to be in favor daily, (14) (said) by the scribe and the counter of the grain [of the lord of the two lands] (15) of Upper and Lower Egypt PA wAH, (16) the scribe and counter of grain (17) of the Pharaoh, may he be given life, prosperity and health Re, the esteemed. The figures were made with great care, but here, except for the knees, none of the muscular details appear, as they would have done in the past. The features smile gracefully without any real expression, and the minor details of the dress are worked out to give a vivid pattern.95 It is these tombs of Kha-em-hat and Ra-mose that exhibit this quality of relief treatment.96 It seems as if the sculptors worked according to a model carefully established in advance, as all the fine details are represented, e.g. the three bearers with their offerings, exactly in the same attitude and at a little distance from each other. Only a few minor details appear differently. In the nearby tomb of the vizier Ra-mose (TT 55), some of the perfect reliefs there may well also be the work of the sculptors who worked at Kha-em-hat. Ra-mose was in office at the end of the reign of Amenophis III. 97 Offerings to Renenut were made in tombs 38, 48, 56, 57, 77,112, 172, and 217.98 Similar scenes in different tombs (child king suckled or nursed by goddess) TT 57 scene no. 8 Tomb Number TT 48 Amenemhat99 TT 73 Amenhotep100

Provence Khôkha

Date Amenophis III

Sh. cAbd el Qurna Hatshepsut

Scene Location PM Reference Portico- South End Wall p. 88, 3 Hall – West Wall

p. 143, 3

F. Petrie, Arts and Crafts of Ancient Egypt, London 1923, pp. 20, 53. R. Hamann, Agyptische Kunst, Berlin, 1944, p. 226, fig. 241 - 242. 97 J. Capart, Thèbes, Bruxelles 1925, p. 250. 98 N. Davies, The Tomb of Nakht, New York 1917, p. 64. 99 S. Sӧderbergh, Four Eighteenth Dynasty Tombs, 1, Oxford, 1957, figure XLII. 100 S. Sӧderbergh, Four Eighteenth Dynasty Tombs, 1, Oxford, 1957, p.3, figure II, III, the scene here represents Hatshepsut 95 96

66

Transverse Hall Conclusion The scene was attested in two tombs that date back to the 18th Dynasty. One tomb located at Khôkha while the other located at Qurna. Similar scenes in different tombs (Quail) TT 57 scene no. 8 Tomb Number

TT 38 Zeserkara sonb c

TT 52 Nakht 102

TT 93 Kenamūn

103

101

Provence

Sh. Abd el Qurna c

Sh. cAbd el Qurna Sh. Abd el Qurna c

TT 226 Name lost104

Sh. cAbd el Qurna

TT 297 Amenemōpet

Asâsif

Date

Scene Location

Tuthmosis IV Hall – East wall Tuthmosis IV Hall West wall

PM Reference p. 69, 3 p. 99, 1

Amenophis II Inner Hall – West wall p. 194, 24 niche Amenophis III Dyn. XVIII

Hall – East wall -south side

Hall – West wall

p. 327, 3 p. 379, 3

Conclusion The scene is represented in only five tombs, all from the 18th Dynasty: four are in the same location at Qurna, except for one tomb at Asâsif.

Figure 15. Hall - east wall - south side - sub-scene - Renenut goddess of harvest (by A. Damarany). being nursed by Goddess Satis, but not exactly the same scene as in tombs TT 48, 57. 101 V. Scheil, Tombeau de Ra’eserkasenb, MMAF 5, 1894, figure IV, p. 576-7. 102 Shedid und Seidel, Das Grab des Nakht, Mainz 1991, p. 24. 103 N. Davies, The Tomb of Ken-Amun at Thebes, NewYork 1930, figure LVI. 104 N. Davies, The Tombs of Menkheperrasonb, Amenmosĕ, and another, London, 1933, figure XLV, XXX.

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tomb of kha-em-hat

Figure 15A. Hall - east wall - south sideSub-scene - Renenut goddess of harvest (By A. Halim).

IX.Unloading freight ships scene (lower register right-side wall – see figure 16,16A) Dimensions‫ ׃‬the scene is about 70cm in height and 1.20m in width. This scene, c. 70 cm high and 1.20 m wide, is divided into two registers bordered at the top by a broad line and at the bottom with a representation of water. The scene is partially destroyed, especially the middle part, and cracks show on the wall to the left and right. The upper register depicts several Egyptian cargo ships docked105 at the port of Thebes to collect produce.106 Several corn galleys can be seen. The upper register has c. 20 ships in a line, lowering their sails. The first ship to the left is followed by the others, hidden behind it, forming a long line. The rudder is decorated at the end with the king’s head – wearing a nemes and the uraeus in front. A curved handle is fixed to the middle of the rudder, two ropes attached at both sides. The fine details of the mastheads, rigging, and steering oars were represented very precisely. A man is shown repairing something on deck, and an overseer beats a subordinate (now destroyed). For Egyptian ships in the New Kingdom, see S. Vinson, Egyptian Boats and Ships, Shire 20, Princes Risborough 1994, pp. 37–45; B. Landstrӧm, Ships of the Pharaohs, London 1970, pp. 134–139. 106 J. Baikie, Egyptian Antiquities in the Nile Valley, London 1932, p. 610, figure XXV. 105

68

Transverse Hall In the lower register we see a ship docked at its destination and the foreign imports being unloaded.107 A woman is standing by the cabin entrance on the left of the ship, which is loaded with many products. It has a high deck, superstructure, and a bow decorated with a bull’s head; the top of the poles are turned up at the top, there are three interlocking rounds and a narrower frame for placing the ropes.108 The upper part of the standing masts is lowered. The rudders, one per ship, move on the support bracket and in an incision at the stern; they are moved by a hook-shaped handle lashed to a pole. They end up with the representation of the king’s royal heads with uraeus and beard and two pleated ribbons, which represent the ends of the royal head cover.109 Two flying ducks are represented following the last ship, facing right – they were believed to act as a guide to the sailors. Similar scenes in different tombs (freight ships) TT 57 scene no. 9 TT40 Amenhotep110 TT 69 Menna111 TT 80 Dhutnufer112 TT 100 Rekhmire113 TT 130 May TT 155 Antef114 TT 162 Kenamun115 TT 192 Kharuf TT 217 Ipuy116 TT 253 Khnemmosi117 TT 261 Kha-emweset118 TT 297 Amenemopet

Qurnet Murai

Amenhotep IV to Tut Ankh Hall – East wall – Amun South side Sh. cAbdel Qurna Tuthmosis IV Hall – East wallNorth wall Sh. c Abd elAmenophis II Hall- East wall Qurna Sh. cAbd el-Qurna Tuthmosis III to Amenophis II Passage – North wall – East Half Sh. cAbd el-Qurna Tuthmosis III Hall – West wall Drac Abû el-Naga Hatschepsut –Tuthmosis III Hall Fragments Drac Abû el-Naga Dynasty XVIII Hall – West wall Asâsif Amenophis III Portico – West wall Deir el Medina Ramesses II Hall – East wall Khôkha Amenophis III Hall – North wall Drac Abû el-Naga Dynasty XVIII Hall – East wall Asâsif Dynasty XVIII Hall – East wall

p. 75, no. 3 p. 134, no. 2 p. 158, 159, no. 4, 10 p. 211, no. 14 p. 244, no.8. p. 265, no. 6 P. 275-276, no.1 p. 299, no. 7 (8) p. 316, no. 5 p. 337, no. 2 p. 344, no. 1 p. 379, no. 1

Conclusion The scene was attested in twelve tombs, the majority dates back to the 18th Dynasty while only one dates back to the 19th Dynasty. Four tombs are located at Qurna, three at Drac AbuNaga, Two at Asâsif, one at Khôkha and one at Qurnet Murcai. M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo, 2017, p. 27-29. For more details, see J. Dilwyn, Boats, British Museum 1995, p. 54, figure 49, p. 57. 109 W. Wresinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig1923, figure 199. 110 N. Davies, A. Gardiner, The Tomb of Huy, London 1926, p. 14, figure X, p. 19, 20. 111 W. Wreszinki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig1923, figure 231. 112 Schott Photos 7034-7044. 113 N. Davies, The Tomb of Rekhmire at Thebes, New York 1973, 1, p. 57, figure LXI, LXVIII. 114 S. Sӧderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, figure XLIII. 115 N. Davies, R. Faulkner, A Syrian Trading Venture To Egypt, JEA 33, 1947, p. 40-46, figure X. 116 W.Wreszinski, Atlas I, figure 366. 117 Schott Photos 7402. 118 Schott Photos 7451-7452. 107 108

69

tomb of kha-em-hat

Figure 16. Hall - east wall - south side - lower register - freight ships (by A. Damarany).-

Figure 16A. Hall - east wall - south side - lower register - freight ships.

70

Transverse Hall Market scene (see figure 17,17A) The market scene in TT 57 reflects a trading and economic relationship between Egypt and Nubia via the river. The scene depicts a royal fleet exchanging goods or grain somewhere in Upper Nubia. It is divided into two sections, the first represents the ships being loaded, the second a group of Nubian traders. The upper register suffers from severe damage, there are 21 vessels with folded sails, the scene is very detailed, showing the shore, and two crew members are busy working on maintaining the ship; an overseer is beating a subordinate, while the other sailors are offloading the goods on their heads. The lower register shows 21 ships with hoisted sails; on the left a woman seems to be saying farewell to a sailor, other crew members are seen on ramps, loading bundles – also on their heads. The vessels have high masts with banners; there is a large oar with a king’s head, a uraeus decorating the handle end; bovine heads decorate their bows. Similar ship details appear in two Amarna tombs – 4 (Meryra) and 5 (Penthu). Two huge geese can also been seen spreading their wings, as if in flight, to the left of the ships. Vandier considers this a symbol of a happy journey.119 To the right of the ships there is the market scene, divided into three small registers, the middle one being mostly destroyed. The buyers are Egyptians while the sellers have African features. Africans in Kha-em-hat’s tomb have no equivalent in any other representation in the Theban necropolis. They represent the ethnic features of Africans in a very precise way. The difference in height is noticeable between the Egyptians and the Nubians, as seen in the upper register, showing the latter, with large heads, stooping to communicate with the former. Negotiations between the merchants are being undertaken in the scene, so they are perhaps bargaining over prices or having problems understanding each other. It is difficult to determine the produce being sold by the Nubians, but it seems to be food. There are no texts in the scene, but TT A4 would seem to provide some information about the merchandise coming from Nubia. Dates would most likely feature, and probably honey from the beekeepers as well. There are aspects in common between the scenes found in TT 57, TT 162, and TT 217.120 The exchange place was called mryt, meaning riverbank or mooring site. The fleet looks as if it is the property of a monarch, resembling the vessels seen in the Amarna tombs, with the masts ending with the pharaoh’s head; they are also comparable in size, indicating that it belonged to a king and not a noble family for example.

119 120

C. Pino, The Market Scene in the Tomb of Kha-em-hat, JEA 91, 2005, pp. 95–105. C. Pino, The Market Scene in the Tomb of Kha-em-hat, JEA 91, 2005, p. 101.

71

tomb of kha-em-hat Similar scenes in different tombs (market) TT 57 scene no. 9 Tomb Number

Provence

Date

Scene Location PM Reference

TT 54 Huy121

Sh. cAbdel Qurna Tuthmosis IV- Amenophis III Hall – North wall p.105, no. 5

TT 143 name lost122

Drac Abû el-Naga Tuthmosis III – Amenophis II Hall – East wall

TT 217 Ipuy124

TT 89 Amenmosi Sh. cAbdel Qurna Amenophis III

Hall – East wall

p. 182, no. 14

TT 162 Kenamun123

Drac Abû el-Naga Dyn.XVIII

Hall – West wall

p. 275, no. 1

Deir el Medina

Hall – North wall p. 316, No. 5

Ramesses II

Tomb Number Provence

Date

TT 366 Zar

Mentuhotep Nebhepetre

A.4. Siuser

Asâsif

p. 255, no. 6

Scene Location PM Reference c

Dra Abû el-Naga Dyn. XVIII c

Hall – East wall Hall

p. 429, no. H p. 448

Conclusion The scene is attested in seven tombs, six from the 18th and one from the 19th Dynasty (three from Drac Abû el-Naga, two from Qurna, one each from Asâsif and Deir el-Medina).

Schott Photos 7509 – 7512. W. Wresinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, pl. 347-348; Schott Photos 4094. 123 R.O. Faulkner and N. Davies, The Syrian Trading Venture to Egypt, JEA 33, 1947, p. 40-46, figure VIII. 124 J. Capart and M. Werbrouck, Thèbes, Bruxelles 1925, figure 198. 121

122

72

Transverse Hall

Figure 17. Hall - east wall - south side - market scene (by A. Damarany).

73

tomb of kha-em-hat

Figure 17A. Hall - east wall - south side - market scene.

X. South wall (see figures 18-23) A deep niche housing two life-size statues, two wide reveals and two jambs. South wall – life-size statues in the niche 125 (see figure 18) The era of Amenophis III introduces a new concept that focuses on private tomb owners and their families. For the first time, a new tradition appears, i.e. life-size statues in the chapel for the tomb owner with a relative. In the tomb of Kha-em-hat there are four niches and this represents a cult that appears in the reliefs on the tomb walls of other high dignitaries and their families, e.g. in tomb TT 55 (Ra-mose). This development of three or more chapels is linked to the immediate pre- and post-Amarna periods and is found in tombs TT 41, TT 49, as well as TT 55, and TT 57. The design of the niches in the tomb of Amenemope (TT 41), and even more splendidly in the grave of Nefer-renpt (TT 178), from the time of Ra-messes II, vividly shows that the statues 125

PM scene no. 10, p. 115.

74

Transverse Hall could have a more comprehensive function than just the receipt of offerings. Starting from the 18th Dynasty, a frame was added around the niche, decorated with bunches of flowers and garlands. The inscriptions on both sides of the statues include offering presentation lists. TT57 features eight life-size statues: two in the niche in the transverse hall, and six in the inner room, paired in their niches. Next to each statue is an offering list. Between the two statues, the wife of Kha-em-hat is presented in relief. The statues were carved from the rock, the tradition still being used during the Ramesside period – as seen in TT 106 (Pa-ser) and TT 157 (Neb-wenn-en-ef). There was an increase in the statue cult from the beginning of the 18th Dynasty, and they appear in different tombs in the Theban necropolis, where occasionally three or four statues are found in one niche. The niche in the south wall of TT 57 contains two life-size statues: one of the deceased and the other of his father, the royal scribe Im-hotep. They are both represented seated, wearing similar wigs with two locks of hair hanging on each side resting on the shoulders. The right hand is crossed over the body in the form of a grip while the other lies underneath but with a flat palm. The statues were severely damaged and have been restored with plaster. Parts of the inscription line could be seen on both statues. The wife of the deceased is depicted in relief between them in small scale, sitting on a chair. She is wearing a long, tight-fitting dress with a collar, and a long wig with thin braids at the ends, three thick locks are thrown backwards. There are double bracelets on her arms and her right hand is lifted towards her husband. In her left hand is a small bouquet of lotus flowers. She is represented in profile and the portrait is exquisite; unusually, the artist has tilted her eye, which is very large and beautiful, he has shown her with full shoulders, as was the usual Egyptian style. Her outer garment is decorated with a woven edge and plaited, the transparent sleeve covering three-quarters of her arm. The backrest of her chair is low and the seat cushioned. 126 The side walls have texts of Litany of Re and offering list for each statue, the left figure is identified as Osiris, the royal scribe Im-hotep, while the right figure is Osiris royal scribe and overseer of double granaries Kha-em-hat. 127 The deceased in his priestly garment is making offerings, as is made clear by the panther head decorating his costume. The opening of the mouth ritual can also be seen in the lower register of the wall, with all its instruments, i.e. the adzes.

W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 202. B. Bohelke, The Overseer of Double Granaries of Upper and Lower Egypt in the Egyptian New Kingdom, 1570–1085 B.C., New Haven 1991, p. 230. 126 127

75

tomb of kha-em-hat

Figure 18. Hall - south wall - life-size statues in a niche Kha-em-hat and his father ImHotep (by A. Damarany).

76

Transverse Hall X.A South wall - east side next to statues (see figure 19,19A) The scene covered the whole wall, c. 2m high and 1.50m wide. The autobiographical stelae attested in most of the 18th Dynasty tombs, usually inscribed on the narrow wall of the transverse room, are not found in TT 57. Instead the wall was used to illustrate the cult of the dead. A hollow niche was carved in the narrow wall and this housed two seated and life-size statues – Kha-em-hat and his father, Im-hotep. On both sides, right and left of the statues, preparations for the funeral banquet were presented, but only parts of the scene of the sacrificial animals are preserved on the outer frame of the niche. The wall here is divided into two parts, a small sketch and a large scene. At the extreme top corner of the scene there is a very small sketch (c. 6 cm x 12 cm) representing a priest raising his hands and pouring a libation from a Hst vase. In front of him there is a kneeling figure and an offering table with piles of food. It is clearly a sketch rather than a scene. Most of the wall is broken and black soot still covers the broken ceiling of the niche where the statues are and the upper part of the offering presentation list. A human figure (the deceased) can be seen dressed in the traditional outfit of a priest, i.e. a short sleeve garment ends with pleats, and a panther head decorates the garment around his waist, the tail is between his legs. He is standing in front of an offering table, facing the inside of the niche where the statues are seated. His left hand is extended forward, holding a short stick (wrt-HkAw). He is barefoot, his left foot is ahead of the right. Four vertical columns with texts can be read, and the rest is completely gone. The lower scene represents three rows of tools featured in the opening of the mouth ritual. It is divided into four registers: the first contains a large mDt jar, mnxt, nw, Hst, nmst vase, xpS, four jars, two linen bags, two ostrich feathers, an incense burner, four rectangular pieces on top of each other; the second register contains five stp tools (adze) and three large vases of natron; the third register contains eight vases, each group of four being similar; and the fourth register contains a mat piled with offerings (bread, fruits, ox foreleg, a vase) and a large, closed box with a sloping top. The broken parts of the wall were consolidated with plaster. (1)……Wsjr sS- nsw jmi-r Snwty n nb-tAwy (2)…..f .n.k r.k sA mr (3) …..Ax mr.f Dd- mdw (4)…….rn.k n Skr hA.tj (1).....Osiris, the royal scribe, the overseer of granaries of the lord of the two lands (2)……..your name, your beloved son (3)…….his beloved spirit, words said (4)…….your name for god Sokar.

77

tomb of kha-em-hat

Figure 19. Hall - south wall - east side of the statues Kha-em-hat in his priestly garment, giving offerings (by A. Damarany).

78

Transverse Hall

Hall - south wall - east side of the statues Kha-em-hat in his priestly garment, giving offerings

Figure 19A. Hall - south wall - east side of the statues Kha-em-hat in his priestly garment, giving offerings.

79

tomb of kha-em-hat X.B South wall - west side - next to southern statues (see figure.20, 20A) This scene is symmetrical to the one on the east side; the small sketch is at the top corner, inwards. Partially damaged, it is very similar to the opposite side. Parts of the deceased could be seen, i.e. some of the face and wig. He is facing inwards within the niche, looking towards the statues, giving offerings, lifting both hands, and holding something like a stick. At the bottom there is a shrine with sloping top, showing the opening of the mouth instruments. In front of the deceased is the offering presentation list, also severely damaged. The lists are repeated several times in the tomb in the inner room beside each statue. The upper left corners of both the west and east walls next to the statues have small figures representing two men – the one at the back is bending over, while in front of him the other figure kneels before an offering table. The scene is covered with soot, but it seems that it was unfinished, as only some sketchy lines can be made out and it is not finely carved like the rest of the tomb. It is possible that this was some kind of graffiti, carved at a later period. Squeezes Griffith Institute Squeeze 4.49: hands of priest holding the instrument for opening the mouth and text, from the west wall of the niche.

80

Transverse Hall

(1)…… sS-nsw jmj-r Snwty ¢a-m-HAt mAa-xrw (2)…… r HkA.w wp.t r ir.t n Wsjr (3)….. Htp …. Spj Dd mdw hA (4)……Wsjr sS-nsw Jj-m-Htp mAa-xrw.f (5)…….ann .k Nw.t tp .k js.t Tt …. nxt sAj (6) …..f HkA.w js.t jTj sy %tX (7)…f HkAw jst pr sn m tp .k (8)… jn … k .. sn sanx .k sn xpr .n .n .k (9) ….. m pHty .k stp .k sA.k n anx Hna .sn HA (10)……… Hr Wsjr sS-nsw Jj-m-Htp mAa-xrw xm (11) …. f xpr .n.k m ma kAw n nTr.w nb xa n (12) …. Xa .n .k m bjty (13) …. Sxm Tt m (14)…. nTr.w nb.w kA.w .s (15) …… n js.t hA (16)…….^w (1) ……The royal scribe, overseer of granaries, Kha-em-hat, the justified (2)……… Magicians open the way for the Osiris to see (3)……..(Im)-Hotep, abandoned, words said, ho (4)……Osiris, the royal scribe Im-hotep, the justified (5) ……You go back upon the sky (6)……… his magicians took her (to) Seth (7)……..his magicians, she went out upon you (8)……. You, them you caused them to live …..made for you (9) ……at your strength ….stp] you, your protection of life is with them, HA, (10) …….in favour of Osiris the royal scribe Im-hotep the justified……(11) …… prevent. He made for you ??? the spirits of all gods, [you] appeared (12) you appeared like the king, (13) ….power,???...... (14) ……. All of gods-her spirits [……] (15) …..we ha, (16) ….the god Shu.

81

tomb of kha-em-hat Similar scenes in different tombs (Litany) TT 57 scene no. 10, 24, 26, 28 Tomb Number

Provence

TT 23 Thay129

Sh.cAbdel – Qurna Merenptah

TT 3 Peshedu128

Date

Deir el-Medîna

Ramesside

TT 34 Mentuemḥēt130 Asâsif

Taharqa and Psammetikhos I

TT 65 Nebamūn

Sh.cAbdel – Qurna Ramesses IX

TT 106 Paser131

Sh.cAbdel – Qurna Sethos I to Ramesses II

TT 158 Thonūfer

Dra Abû el-Naga

Ramesses III

Khôkha

Ramesses II

TT 359 Inḥerkhac134

Deir el –Medìna

Ramesses III-IV

Tomb Number

Provence

Date

Asâsif

Psammetikhos I

132

TT 184 Nefermenu TT 279 Pabas

TT 389 Basa

133

135

TT 390 Irerau

c

Asâsif

Asâsif

c

Psammetikhos I

Saite

Scene Location

PM Reference

Inner room- South wall

p. 41, no. 37

Chapel B

p. 57

Hall – (8) North wall – (9) West wall

p. 130-131, no.8-9

Court – (3)North wall- (5) left door thickness

p. 269, no. 3, 5

Vaulted ceiling – South half

Hall – East wall

p. 10

p. 222, no.10

Hall – East wall

p. 291, no. 10

Inner chamber G- East wall

p. 423, no. 12

Hall – West wall

p. 440, no. 5

Vestibule – North wall

p. 358, no. 8

Scene Location

PM Reference

Hall – door thickness

p. 441, no. 5

Conclusion The litany of Re was found in 11 tombs, almost all from the 19th Dynasty onwards, three tombs at Qurna, four at Asâsif, and two at Deir el-Medina.

C. Campbell, The Miraculous Birth of King Amon-Hotep III and other Egyptian Studies, London 1912, p.186. Schott Photos 3610. 130 J. Assmann, Zwei Sonnenhymen der Späten XVIII, Dynastie in thebanischen Gräbern der Saitenzeit, MDAIK 27, 1971, p.10. 131 M. Wegner, Stilentwickelung der Thebanischen Beamtgräber, MDAIK 4, 1933, figure XXV. 132 Schott Photos 3732-7; A. Varille, Chant de la tombe no. 158 à Dra Abou’l Negga, BIFAO 35, 1935, p. 154-7. 133 Lepsius, L.D III, p. 272. 134 B. Bruyère, Rapport sur les fouilles de Deir el Médineh, FIFAO 18, 1931, figure XIV; Cherpion and Corteggiani, La tombe d’Inherkhaouwy (TT 359) à Deir el-Medina, MIFAO 128, 2010, p.74, figure 113. 135 Lepsius, Denkmäler aus Aegypten und Aethiopien, 3, 1849-1859, p. 248 [Bottom right a]. 128

129

82

Transverse Hall

Figure 20. Hall - south wall - west side - next to southern statues. Kha-em-hat is giving offerings (by A. Damarany).

83

tomb of kha-em-hat

Figure 20A. Hall - south wall - west side - next to the southern statues with squeeze Kha-em-hat is giving offerings (By A. Halim).

84

Transverse Hall X.C Statues (see figure 18) Two life-sized seated statues in a niche in the south wall of the transverse hall carved out of rock, with inscriptions and badly damaged. The statues are represented in the Osiride form or the mummy form; they occupy a space about 2 m high and 1.60 m wide. 136 The two statues are damaged; the heads, together with the faces, the hands, and the legs are destroyed. One statue belongs to Kha-em-hat while the other belongs to his father Im-hotep. They are wearing wigs and collars, and were supposed to have had their hands crossed over their chest. Both statues bear a long vertical column of inscription starting from the waist, passing all over the lap, and extending down to the feet. Parts of these inscriptions are still intact. The statues were consolidated with plaster during the restoration work. X.D Seated woman between the legs of the statues (see figure 21,21A) A seated woman between the two legs of the statues is clearly seen; she is represented in basrelief, wearing a long wig ending with fringes; the strands of hair hang down on her shoulder and back. Her face is represented in profile but with full shoulders, one is covered with her hair while the other shows the rows of the wide collar she is wearing around her neck. Her eyes are almond-shaped, with eyeliner extending to the temple. Her lips are damaged. She is raising her left hand, wearing two bracelets. In the right hand she is holding a small bouquet with lotus flower and buds; this hand is resting on her lap and it only has one bracelet. She is wearing a long, transparent dress knotted under her chest. She is seated on a high-backed chair, on a cushion. She is barefoot.137

136 137

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 55. Schott Photos 6040.

85

tomb of kha-em-hat

Figure 21. Hall - south wall Seated female figure between the two statues of Kha-em-hat and his father Im-hotep (by A. Damarany).

86

Transverse Hall

Figure 21A. Hall - south wall.Seated female figure between the two statues of Kha-em-hat and his father Im-hotep.

87

tomb of kha-em-hat Inscriptions on the statues X.E Inscription on the west side statue belongs to Im-hotep (see figure 18, 22)

Hsy……… nbw(138)….. nbw Hry sStA m hn n jpw sS nsw(139) …..Htp nTr-aA The praised one ………gold……. bearer of secrets chest of Anubis for this royal scribe …..Hotep the great god. X.F Inscriptions of the east side statue belong to Kha-em-hat (see figure 22)

sS nsw ¢a-m-…t…… mAat? xr nTr-aA The royal scribe Kha-em-hat ……truth ? under the great god.

W. Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut 1982, The golden one, Title p. 201. W. Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut 1982, Royal scribe, Title no. 1392, p. 161. 138

139

88

Transverse Hall

Figure 22. Hall - south wall - life-size statues in a niche. Kha-em-hat and his father Im-hotep - inscriptions of the statues (by A. Halim).

89

tomb of kha-em-hat X.G South wall - east jamb (left-hand side – see figure 23) The east jamb is 2.80 m high and 30 cm wide; the wall is fully decorated except for 40 cm at the bottom. The east and west jambs present the preparations for the funeral service, but only vestiges of the sacrificial animals are preserved. Both sides are divided into four registers; three of these can seen and the fourth is destroyed. The top register is destroyed The second register is partially destroyed, except for a small fragment that represents a butchery scene (the back portion of a slaughtered ox with legs tied, and with the tail and a mat showing underneath the animal. Part of the register’s division line is also visible. There are no traces of colours. The following register is c. 40 cm high and 30 cm wide. It represents a butcher bending forward, facing right, and holding the foreleg of a slaughtered ox with his left hand and cutting it with the knife he holds in his right; part of his head is shown. He is wearing a short kilt tied around his waist with a belt knotted in front. The ox is lying on the ground on its back; his legs are tied with a rope, as previously mentioned; his testicles and tail are visible. There is a cut in the neck, and the head rests backwards on the ground, tongue protruding. The body of a goose is seen behind the butcher; its head is cut and represented under the body facing the opposite direction. There are no traces of colours. The bottom register is c. 25 cm high and 30 cm wide. The scene is well preserved and only a few parts are destroyed. It represents four slaughtered male gazelles, each two in a row, facing right. The heads have been severed and are represented under the bodies, only two are visible as the rest of the scene is destroyed; their legs are tied together, the tails are lifted showing the testicles hanging down. X.H South wall - west jamb (right-hand side – see figure 23) The west jamb is c. 2.80 m high and 30 cm wide. Similar to the east jamb, it was, presumably, also divided into four registers, but the whole jamb is destroyed except for the bottom register, which currently exists but not very clearly.140 The third register represent a crouched animal, perhaps an ox, but only its tail is visible; the bottom register depicts slaughtered gazelles, legs tied, each two in a row, similar to the fourth register of the east jamb, the only difference being that they face in the opposite direction. There are no traces of colour.

M. El Tanbouli (The Tomb of Kha-em-hat [TT 57], Cairo 2017) describes a register which is almost the same as the east jamb, but the current wall is destroyed and nothing is seen except for the bottom register that represents tied, slaughtered gazelles. 140

90

Transverse Hall

Figure 23. Hall - south wall - left - right jamb.

91

tomb of kha-em-hat Similar scenes in different tombs (Victims141) TT 57 scene no.10 Tomb Number

Provence

TT 17 Nebamūn

142

Dra Abû el-Naga c

Date

Scene Location

PM Reference

Tuthmosis III

Passage – (4) south wall, (5) West wall

p. 35, no. 4-5.

Passage – North wall

p. 46, no. 9

Amenophis II

TT 20 Mentuḥirkhopshef143

Drac Abû el-Naga

TT 29 Amenemōpet145

Sh. cAbd el-Qurna Amenophis II

TT 21 User144

Sh. cAbd el-Qurna Tuthmosis I

TT 34 Mentuemḥēt

Asâsif

TT 36 Ibi146

TT 39 Puimrē

Asâsif c147

TT 63 Sebkḥotp148

TT 82 Amenemḥēt TT 92 Suemnut

TT 96 Sennūfer149 TT 100 Rekhmirē

c150

TT 122 [Amen]ḥotp

TT 276 Amenemōpet

TT 277 Amenemōnēt151 A.4 Siuser

TaharqaPsammetikhos

Psammetikhos I

Khôkha

Tuthmosis III

Sh. cAbd el-Qurna Tuthmosis IV Sh. Abd el-Qurna Tuthmosis III c

Sh. cAbd el-Qurna Amenophis II Sh. cAbd el-Qurna Amenophis II Sh. Abd el-Qurna Amenophis II c

Sh. cAbd el-Qurna Tuthmosis III Qurnet Mura i

Tuthmosis I

on main hill

Dynasty XVIII

c

Qurnet Muraci

Ramesside

Inner room – South wall

p. 31, no.11.

Passage – South wall

p. 36, no. 8

West Portico- North wall

p. 58, no. 6

Court – North wall

p. 67, no. 17

Passage -South wall

p. 127, no. 11-12

North Chapel

Passage – West wall Passage – West wall Hall – West wall

Passage – West wall Chapel A

Inner room – South wall Hall –Niche Passage

p. 73, no. 19

p. 165, no. 10 p. 189, no. 14 p. 201, no. 33 p. 212, no. 15 p. 236, no. 8

p. 353, no.10 p. 355, no. 8 p. 448

Conclusion The scene is attested in 16 tombs, 13 from the 18th Dynasty, one from the Ramesside period, and two to the late period. Eight tombs are located at Qurna, two at Qurnet Muraci, two at Asâsif, and one at Khôkha.

The same scene of victims was repeated in TT 57 once again in the inner room – South niche, on the right hand side wall of the niche (scene no. 10 - 24, PM, p. 115, 118). 142 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford, 1957, figure XXV. 143 N. Davies, Five Theban Tombs, London, 1913, figureX. 144 N. Davies Five Theban Tombs, London 1913, figure XXI. 145 N. Davies Five Theban Tombs, London 1913figure XLIII. 146 V. Scheil, Le tombeau d’Aba, MMAF 5, 2, 1889, figure IX. 147 N. Davies, The Tomb of Puyemré at Thebes, MMA, 1923, figure XLII. 148 Dziobek, Eberhard and Mahmoud Abdel Raziq, Das Grab des Sobekhotep, Theban Nr 63, AV 71, 1990, figure 7. 149 Schott Photos 5311-13. 150 N. Davies, The Tomb of the Vizier Rekhmire at Thebes, New York, 1943, figure LXXIX, Ph. Virey, Rekhmara, Prèfet De Thèbes sous Thoutmès III, MMAF 5, 1894, figure I. 151 J. Vandier, Deux tombes Ramessides à Gournet - Mourraȉ, MIFAO 87, 1954, figure V-VI. 141

92

Transverse Hall Similar scenes in different tombs (butchers in other scenes): TT 57 scene no. 10 Tomb Number

Provence

TT 7 Ra mosi

Deir el-Medina

c

Date

Ramesses II

TT 20 Mentu-her-Khepesh-ef152 Drac Abû el Naga Tuthmosis III TT 34 Mentuemḥēt

Scene Location

PM Reference

Passage –east wall

p. 35, no. 4-5

Central Chapel – east wall (jamb scene)

p. 74, no. 21

Chapel – north wall p. 16, no. 7-8

Asâsif

Taharqa & Psammetikhos

TT 39 Puimrēc154

Khôkha

Tuthmosis III

TT 60 Antefoḳer155

Sh.c Abd el-Qurna Sesostris I

TT 79 Menkheper

Sh.c Abd el-Qurna Tuthmosis III to Hall – west wall Amenophis II

153

TT 87 Minnakht156 TT 90 Nebamūn

157

TT 92, Suemnut158

Sh.c Abd el-Qurna Tuthmosis III

Chapel C – South

Hall – South wall

p. 122, no. 12, 14

p. 156, no. 2

Hall – south wall

p. 178, no. 3

Outer Hall – south wall

p. 188, no. 5

Hall – west wall

p. 198, no. 10

p. 230, no. 6

Sh. Abd el-Qurna Tuthmosis IVHall – north wall to Amenophis III c

Sh.c Abd el-Qurna Amenophis II

p. 57, Chap.C, p. 59, no. 14

TT 93 Kenamūn159

Sh.c Abd el-Qurna Amenophis II

TT 96 Sennūfer160

Sh.c Abd el-Qurna Amenophis II

TT 112 Menkhepereracsonb162

Sh.c Abd el-Qurna Tuthmosis III

Hall – east wall

TT 192 Kharuf

Asâsif

Sh.c Abd el-Qurna Tuthmosis III

West of court – Portico

p. 299, no. 7

TT 251 Amenmosi164

Amenophis III to IV Amenophis III

Hall – south wall

p. 338, no. 8.

TT 103 Dagi (grain storage and Butcher scene )161

TT 172 Mentiywy

163

TT 253 Khenemmosi

Outer hall – east wall

p. 184, no. 8

Sh.c Abd el-Qurna End of Dynasty XI Portico – north wall

Khôkha

Khôkha

Tuthmosis III to Passage – north Amenophis III wall Hall – south wall

p. 190, no. 3 p. 216, no. 10; p. 217 fragments from the walls.

p. 280, no. 11

p. 336, no. 2

N. Davies, Five Theban Tombs, London 1913, figure XVIII –X. E. Russmann, Relief Decoration in the Tomb of Mentuemhat TT 34, JARCE 31, 1994, p. 4-7. 154 N. Davies, The Tomb of Puymerê at Thebes, 2, New York, 1923, figure LII, p.17-20. 155 N. Davies, Antefoker, London 1920, figure XXVI. 156 H. Guksch, Die Gräber des Nacht-Min, Mainz 1995, figure 5, 12 157 N. Davies, The Tomb of Two Officials, London 1923, figure XXX-XXXII. 158 W. Wresniski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, 31a. 159 N. Davies, Kenamūn at Thebes, New York, 1930, figure XXXVIII-XLII. 160 N. Davies, The Graphic work of the Expedition, MMA 24,. 2, 1929, p. 41-6, fig. 8. 161 N. Davies, Five Theban Tombs, London, 1913, p. 31(butcher scene) figure XXXI (fragment 9), 35 (husking grains). 162 N. Davies, The Tombs of Menkheperresonb, Amenmose, and Another, London, 1933, figure XXVII-XXVIII. 163 Contains a niche with statues and a butcher scene, cf. PM, p. 280 no. 11. 164 Schott Photos no. 8495-8. 152 153

93

tomb of kha-em-hat Tomb Number

Provence

TT 341 Nekhtamūn165

Sh.c Abd el-Qurna Ramesses II

TT 388 No name

Asâsif

TT 308 Kemsit

A.2. Tomb of dancers

Deir el –Bahari

Date

Mentuḥotep

Dyn. XVII

Scene Location

PM Reference

Hall – North and south wall

p. 408, no. 5-7

Square Hall

p. 447

Burial chambernorth wall Hall - North

p. 386, no. 4.

p. 439, no. 4-7

Conclusion The scene is attested in 21 tombs, 13 from the 18th Dynasty and others between the Middle Kingdom period and the 19th Dynasty. 11 of the tombs were found at Qurna, three at Asâsif, and two at Khôkha. XI. West wall (see figures 24,24A) xkr Frieze As is customary for every panel with a scene, it is topped with xkr frieze. This one is partially destroyed except for the left side, the remaining section being c. 20 cm high and 60 cm wide; the colours are preserved. A coloured band is seen on the sides and at the bottom. Two broad, red dado lines act as a border at the bottom of the scene. XI.A. West wall - south side (see figure 24,24A) King Amenophis III was represented on two related walls in the hall of the tomb of Kha-emhat, on both sides of the entrance to the passage in the tomb, following the 18th-Dynasty artistic canon. This scene, in bas-relief, was also found in TT 48, 192, and 55. The Deceased presents harvesting records to King Amenophis III The scene occupies the whole wall, c. 2m high and 3 m wide. The scene is preserved, except for the top right-hand side; the middle parts are destroyed. Traces of colour can be seen. The king is sitting on his throne inside a kiosk, the herdsmen presenting cattle to him. The upper wall is destroyed. In front of the king stands Kha-em-hat, bowing in respect, presenting a significant document to the monarch, underneath it are inscribed the numbers of the cattle represented. Kha-em-hat’s upper body is destroyed and only the lower part, from the waist, can be seen. Behind Kha-em-hat the scene is divided into three registers, showing the workers bringing cattle to the king, each group of workers in different outfits and wigs. The details of the relief are very fine, indicating the great skills of the artists during this period. The workers are also bowing, as a mark of respect, in front of the king and Kha-em-hat. The folds of their bellies can also be made out and generally the male forms are depicted more fully. The modelled or fuller male abdomen becomes more frequent over time. There are three workers near the front of the first register, their heads are damaged, as is the rest of the wall; they are holding three bulls. They are wearing plain wigs and short aprons with pleated belts around 165

N. Davies, Seven Private Tombs, London, 1948, figure XXIV.

94

Transverse Hall the waist. There are five workers behind them, also leading bulls. A further figure with a bull is seen at the very back, making six bulls in total.166 In their other hands the workers hold rolled papyri, perhaps giving the number of cattle presented by each employee. The bulls in the relief are characterised as very heavy, and with folds of fat seeming to touch the ground, indicating that they have some difficulty in moving. This breed of bull has no horns but is of outstanding quality, and is the kind most frequently represented in tomb scenes in the New Kingdom. They are sometimes referred to as ‘jwA’ and artists would often exaggerate their great bulk. These animals were only bred to produce meat and were never used for working in the fields.167 There was a significant change during the reign of Tuthmosis III in the appearance of kings in tombs, i.e. they began to appear on the occasion of the reward or promotion of an official, as well as on other significant occasions. The king was always depicted sitting on his throne, placed on a dais within a canopy supported on columns. In TT 55 and TT 57, the king’s canopy was supported by two sets of columns (papyrus and lotus), each of which supports a separate roof with plinth, cornice, and frieze of uraei complete. The base was adorned with representations of subjugated peoples.168 The upper part of the figure of the king is destroyed. The original head is in Berlin (14442), and it has been restored on-site with a cast.169 He is shown wearing the blue crown ‘xprS’170 with a coiled cobra in front; a long ribbon goes down to his shoulders from the back of his head. The facial features of the king are different in the southern scene than in the northern one; the eye takes an elongated almond shape and appears without the thick cosmetic line. The cosmetic line was replaced by a short, thin extension of the rim bordering the upper edge of the eye; the eyebrow is slightly arched and slants down, becoming thinner.171 Incidentally, the tip of the nose may not have been added expertly, as it is slightly longer than its counterpart, with the sculptor somewhat softening the thick neck. The only exact parallel to this portrait is in The Griffith Institute squeeze of five men and six cattle, facing right; W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 206; Burton, T 819. 167 S.Y. Ameen, The representations and texts during the New Kingdom and the Late Period of Ancient Egypt, unpublished MA thesis, Faculty of Archaeology, Cairo University 1987, pp. 15–16 (in Arabic). 168 In TT 48 and TT 226, the canopy became larger and was represented with four separate baldachins. This might be a parallel with the four funerary shrines of Tutankhamun, with the dais extending beyond the columns, and the lion figures also added, cf. N. Davies, The Place of Audience in the Palace, ZÄS 60, Leipzig 1925, pp. 50–52. 169 The head of Amenophis III was compared with the head of his son Amenophis IV, as both were found represented in almost the same manner, wearing the same crown ornamented with the coiled cobra in front. The same resemblance in features, son to father, to the head of Akhenaton was found on the Northern Colonnade of the temple of Luxor; cf. P. Ghaliongui, A Medical Study of Akhenaten, Ann. Serv. 47, Cairo 1947, pp. 31–33, fig. 1, 3. 170 The blue crown was represented in royal iconography in representations at the beginning of the New Kingdom, yet it had been recognised that there is textual evidence for its existence in the Second Intermediate Period, precisely in the 13th dynasty, i.e. the stela of Neferhotep found in Karnak describing the king as being adorned with ‘aprw m xprS’, translated as the ‘cap crown’, which was the original form of ‘xprS’, cf. V.W. Davies, The Origin of the Blue Crown, JEA 68, 1982, p. 69. Steindorf also agree with Davies that the blue crown appeared in the New Kingdom in addition to the other form of headdress used in the Old and Middle Kingdoms, consisting of a tall, hood-like structure. Where reproduced in colour it is painted uniformly blue and often decorated with more or less close-set circles. Kamose was the first to adopt it, wearing it in times of war and peace, and gradually it replaced other crowns. It is still doubtful, however, whether the crown was used only in war or was gradually transferred from the battlefield to peaceful ceremonials and other appropriate occasions. What kind of metal was used for this crown is not yet known, cf. G. Steindorf, Die Blaue Königskrone, ÄZ 53, 1914, pp. 59–60. 171 This model of facial features was found in TT 47, TT 57, TT 192, and TT 226; K. Myśliwiec, The Art of Amenhotep III, Cleveland 1990, p. 18. 166

95

tomb of kha-em-hat Thebes, TT 48 (Surer).172 He is wearing a double bead necklace and a wide collar underneath, sitting on his throne, in profile but full shoulder. The artist has represented the face details proficiently, especially the eye with its almond shape. He is wearing a long apron, the ox tail visible and fastened to the back of the belt. In his hands are the royal insignia, the crook and the Ankh sign in one and the flail in the other. His legs and sandalled feet are together. The throne has a half back and a low side rest, decorated with a lion’s head. The frame fill consists of a representation of the king as a Sphinx, the feet of the king rest on a small stool or step. Further to the right the wall painting has completely disappeared. On the far right of the panel is the throne on which the king sits; it is decorated with a head of a lion, its mouth open and tongue sticking out in front of the armrest; the legs end in lion paws. The step leads up to the pedestal, a piece of side wall with a colourful ribbon pattern as border decoration and with the figures of a tied Levantine and Nubian in the middle, around a sign of the extended ‘smA-tAwy’. The symbol is composed of the Upper Egyptian lotus flower and the Lower Egyptian papyrus flower tied around the neck, representing the unity between South and North. Showing foreigners around the sign expands the power of the king’s authority. 173 The decoration scene of bound foreigners was found in the tombs of Sobek-hotep (TT 63), Anen (TT120) and the unnamed TT 58. The arm of the throne is decorated showing the king as a sphinx slaying his enemies;174 he drops the head of a bearded Syrian to the ground. The decoration of the side arm of the throne, with the king as the sphinx, the striker of his enemies, must have been similar to the scene that has become customary in depictions associated with Amenophis III. Incidentally, an analogous decoration can also be found in the tomb of Anen, TT 120.175 The king here is wearing a royal head covering with a coiled cobra in front, a straight royal beard, pleated collar, showing the round tail lifted upwards. A royal fan is represented by the middle of the sphinx’s body. In front there is a cartouche with the name ‘Nb- MAat- Ra’, while behind there is the winged cobra (Nekhbet) wearing the double crown, four branches of lotus flowers at the base. The cobra’s body is tied around one of the lotus stems, and the inscriptions concern the attributes of the goddess Nekhbet. The throne is placed on a mat and there are traces of red paint; the feet of the king are on a footrest, with remaining traces of blue and red. The bottom register shows the platform of the throne and represents the nine enemies of Egypt. This is framed by a decorated band with blue and red vertical strips, wherein each enemy is placed in a rectangular shape, with each shape featuring a prisoner with his hands tied behind his back, and his lower body appears as an oval shape containing the name of the country they originated from. Some traces of blue colour remain. The nine bows that stand for the traditional enemies of Egypt were frequently represented under the feet of a royal statue,176 especially in the New Kingdom. This dates back to the early period of Egyptian history, expressing the king’s superior power over his enemies and his strength in subjugating his enemies. The use of the bow image to represent groups of people can be traced as far back as the scorpion mace-head from Hierakonpolis. One of the earliest surviving examples of the king crushing the nine bows under his feet is to be found on a statue of Djoser from L. Borchardt, Aus der Arbeit an den Funden Von Tell El Amarna, Mitt. D.O.G. 57, 1917, fig. 15, p. 16. F. Anthony, Foreigners in Ancient Egypt, London 2017, p. 42. 174 P. d’Avenne, Egyptian Art, Cologne 2014, pp. 294–295. 175 For comparison, cf. N. Davies, The Graphic Work of the Expedition, BMMA 2, 1929, p. 39, fig. 3. 176 The statue of Djoser was found in the south-eastern corner of the step pyramid. 172 173

96

Transverse Hall Saqqara, again symbolising the king’s power over his enemies. Paintings of actual bows are not shown in the tomb under discussion, with anthropomorphic crenellated ovals being used instead, standing for the superiority of the king over these countries and its peoples, and were represented in a specific order. These ovals, replacing the lower bodies of the figures, evoke the idea of a fortified city. 177 The faces and figures portrayed are usually of two main types, Asiatic and African, but relying on facial features alone is usually problematic, i.e. the ‘¤ekhetIAm’ being given Asiatic features in the tomb of Kha-em-hat, showing no difference in features between Libyans and Asiatics.178 The ‘¤ekhetiu- jm’, from the oases, are often represented with the type of beard, long hair and fillet traits that are used to represent the Levantines. This Levantine type was also used to represent the &jehenu (Libyans) in TT 93, TT57, and TT 55.179 This form of decoration is typical and was repeated in several tombs. Usually, the names of the enemies are those of Egypt’s neighbours.180 The first example of what may be termed the classical list of the Nine Bows in the New Kingdom appears in the reign of Amenophis III, shown painted on the dais of the royal Sed festival pavilion, in which the king appears enthroned before the people. It is represented on the walls of several Theban tombs and in the same order, e.g. TT 192 (Kheruf), TT 48 (Surer),181 and TT 57. Each of the bows is portrayed as a captive figure with arms lashed behind. An oval escutcheon or shield bears the name of the people, whose faces vary according to their locality.182 Numbers 1, 2, 4, 6, and 9 have almost all the same facial features – long nose, thick lips, pointed chin, a beard, and long hair with a ribbon around the head. Numbers 3 and 8 have more negroid features; number 5 has an aquiline nose, full mouth, and square chin; number 7 has stronger cheek bones.183 Traces of blue and red colours are seen very clearly on the wall; two red and thick horizontal dado lines are visible at the bottom of the wall. Amenophis III celebrated his jubilee in the 30th year of his reign.184 He has the inscribed title ‘Lord of the Jubilee’, and is receiving the statement of regal abundance. The inscription runs: ‘Appearance of the king upon the great throne, to receive the report of the harvest of the South and the North. Communication of the report of the harvest in year 30 in the presence of the king, consisting of the harvest of the great inundation of the Jubilee which his Majesty celebrated’, followed by the figures 33, 333, and 300. Kha-em-hat records the ‘The reward of the stewards of the estates of the Pharaoh together with the chiefs of the South and the North after the statement of the overseer of granaries concerning; they increased the harvest of year 30’.

F. Anthony, Foreigners in Ancient Egypt Theban Tomb Paintings from the Early Eighteenth Dynasty, London 2017, p. 38, fig. 17. 178 J. Vercoutter, The Iconography of the Black in Ancient Egypt; cf. F. Anthony, Foreigners in Ancient Egypt, p. 40. 179 F. Anthony, Foreigners in Ancient Egypt Theban Tomb Paintings from the Early Eighteenth Dynasty, London 2017, p. 49. 180 W. Wresinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 88b; the list of enemies existed before the New Kingdom era and it included the names of Upper and Lower Egypt as well, this is because the king created Egypt by uniting both the South and the North, and had to control the chaos and rebellions within Egypt’s boundaries, cf. F. Anthony, Foreigners in Ancient Egypt Theban Tomb Paintings from the Early Eighteenth Dynasty, London 2017, p. 39. 181 N. Davies, The Egyptian Expedition 1914–1915, MMA 10, 1915, fig.4. 182 E.Uphill, The Nine Bows, in Jaarbericht Van Het Vooraziatisch-Egyptisch Genootschaf 19, Leiden 1967, p. 395. 183 A. Fakhry, A Note on the Tomb of Kheruf at Thebes, ASAE 42, 1943, pp. 472–473. 184 Amenophis III was represented on all his monuments as the living image of the Sun God on earth, in celebration of his Jubilee festival, i.e. after 30 years of his reign; W. J. Raymond, Images of Amenhotep III in Thebes, Cleveland 1990, p. 41. 177

97

tomb of kha-em-hat Griffith Institute Squeezes Griffith Institute squeezes: 4.56, text above Kha-em-hat; 4.4 and 4.4a, upper part of six men, from left end of register I; 4.5 and 4.5a, six calves, from left end of register I; 4.6 and 4.6a, three calves, and part of text behind Kha-em-hat, and part of text behind Kha-em-hat in register I; 1.4a and 1.4b, upper part of three calves from group at right end, and part of text behind Khaemhet in I; 1.5a, 1.5b and 4.68A, upper part of two men in III; 1.6a, 1.6b, 4.8, 4.8a and 4.8b, head of Amenophis III; 4.68B, top left-hand corner of kiosk, 1.2, 4.7, 4.7a and 4.7b. Sphinx slaying captive, with bound captives below, on arm of throne.185

Inscriptions Text in front of the king‫׃‬ (1)……Mj anx Ra (2) ….Xat nsw Hr st wrt r sSp snn n Smnw ^maw-MHw (1)……… life like Re (2)……. The appearance of the king on his great throne to receive the documents of harvesting of Upper and Lower Egypt.186

Jaromir Malek et al., Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391–1353 BC) (22 January 2007), http://www.griffith.ox.ac.uk/gri/4khaem. html (viewed 12 August 2019). 186 H. Breasted, Ancient Records, Chicago 1906, p. 350, §872. 185

98

Transverse Hall Text inscribed on the throne of the King‫׃‬ NTr- Nfr Nb-MAat- Ra di anx The good god Neb-Maat-Re, given life. Di anx snb wAs Given life health and prosperity. Text in front of kha-em-hat‫׃‬ dmD Snw Hfn Dba xA Sn.t187 Total of billion, million, hundred thousand, ten thousand, thousand hundred. Text in front of the employees 188

(1)……..^maw-MHw SAa m tA pn n KAS (2) nfrjt r tAS n NHrjn (1) Upper and Lower Egypt, from the beginning of the land of Kush (2) to the borders of Nahrina.189

187

L. Morenz, Zählen Vorstellen Darstellen, Berlin 2013, p. 82.

188

smj- snn n Smnw n [^maw-MHw] m -bAH nswt m Smaw n pA Hapy aA n pA @b-sd [tp.n] Hm .f in nA n jmj - r pr n nA n prjt aA -prw anx -wDA -snb Hna [nA …..] n xrt.w nw. [Reporting the harvesting documents of Upper and Lower Egypt, in the presence of the king from the harvest of the high flood of the first Heb-Sed festival of his majesty domain, done by the overseer of the good Pharaoh and the ruler of Upper and Lower Egypt given life, prosperity and health together with the chiefs of the……….., The text inscribed on the wall is destroyed except for the last two lines above, but was written by W. Helck, Urkunden der 18. Dynastie, Heft 21, Berlin 1958, 1841,10, another translation by Breasted, Ancient Records, Chicago 1906, p. 350,§872. 189 Amenophis III celebrated at least three Jubliees. The first one in year 30, the second was not recorded but only in year 34, and the third in year 36 as mentioned in the tomb of Kheruf, Breasted, Ancient Records, p. 349,§870, p. 351, §873.

99

tomb of kha-em-hat Hau - Nebut

(1) ḤAw- Nbw (2) ^A.t (3) &A-^maw (4) %xt-JAm (5) &A – MHw (6) PDtyw - ^w (7) &Hnw (8) Jwntyw - %ti (9) Mntyw- Nw- %tt (1) Hau-nbw (2) Shat (3) Ta-Shema (4) Sekhet-Iam (5) Ta-Mehu (6) Pedjtiu-Shu (7) Tjehenu (8) Jwntjw-Stj (9) Mentiu-Setjt

Figure 24. Hall - west wall - south side. Kha-em-hat presenting harvest records to king Amenophis III (by A. Damarany).

100

Transverse Hall

Figure 24A. Hall - west wall - south side with squeeze. Kha-em-hat presenting harvest records to king Amenophis III (by A.Halim).

101

tomb of kha-em-hat Similar scenes in different tombs (bringing animals to deceased) TT 57 scene no. 11 Tomb Number

Provence

TT 11 Djhout

Dra Abû el Naga

190

c

Date

Scene Location

PM Reference

Amenophis II

Passage – North wall

p. 45, no. 9

Hall – East wall – South side, South Wall – East side, North Wall

p. 71, no. 3, 5; p.72, no. 8-9

HatshepsutTuthmosis III

TT 29 Amenemopet191

Sh.cAbd el-Qurna

TT 31 Khons192

Sh.cAbd el-Qurna

Ramesses II

TT 40 Amenhotep194

Qurnet Mura’I

Amenophis IV to Tut Ankh Amon

TT 41 Amenemopet

Sh. cAbd el-Qurna

TT 56 Userhat195

Sh.cAbd el-Qurna

Ramesses I to Sethos I

TT 39 Puimre193

TT 60 Antefoker

TT 74 Thanuny197 TT 76 Thenuna

198

TT 78 Haremhab

199

TT 79 Menkheper200

p. 48, no. 8

Hall – East wall North side, West wall- South side

p. 76, no. 6, 8

Hall – East wall

p. 79, no.1.

Amenophis II

Hall – North wall

p. 111, no.3

Sh.cAbd el-Qurna

Tuthmosis IV

Hall – East wall

p.146, no.10

Sh. Abd el-Qurna

Amenophis III

Hall – South wall

p. 154, no. 8

Sh.cAbd el-Qurna Sh.cAbd el-Qurna c

Sh.cAbd el-Qurna

TT 81 Ineni201

Sh.cAbd el-Qurna

TT 82 Amenemhet202

Sh.cAbd el-Qurna

TT 84 Amunezeh

TT 85Amenemhab

p. 22, no. 10

Hall – East wall

Khôkha

196

Hall – South wall

Sh. Abd el-Qurna c

Sh.cAbd el-Qurna

Tuthmosis III

Sesostris I

Tuthmosis IV

Tuthmosis III to Amenophis II

Passage –North wall

Hall – South wall Hall – West wall

p. 122, no.11 p.149, no. 2

p. 156, no. 1

Amenophis I to Tuthmosis III

Hall – West wall, Hall – East wall

p. 159, no. 4, p.161, no. 9

Amenophis II

Hall – East wall

p. 168, no. 2

Tuthmosis III

Tuthmosis III to Amenophis III

Hall – North wall Inner room – West wall

p.164, no. 5

p. 175, no. 30

S. Sӧderbergh, Eine Gastmahl im Grabe des Schatzhausvorstehers Djehuti, MDAIK 16, 1958, p. 282, fig. 2. ( N. Davies, Five Theban Tombs, London 1913, p. 16-18, figure XLIII. 192 ( Schott Photos 8067. 193 ( N. Davies, The Tomb of Puyemre at Thebes, New York 1922, p.55, pl. XXI, XXVIII, (scene no.3); W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure148, (scene no.5), W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 157 (scene 8-9). 194 N. Davies, The Tomb of Huy, Viceroy of Nubia in the reign of Tutankhamun, London, 1926, figure VIII, XXIII, XXX. 195 W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923pl.187; Schott Photos 5064-5065. 196 N. Davies, The Tomb of Antefoker, London 1920, figure XIII. 197 W. Wreszinski., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923,figure 237; A. Mekhitarian, Ägyptische Malerei, Brüssel 1954, p. 96,98. 198 W. Wreszinski , Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 244. 199 W. Wreszinski., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure. 247. 200 W. Wreszinski., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 255. 201 W. Wreszinski., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure pl. 264. 202 N. Davies, The Tomb of Amenemhet, London, 1915, figure VI. A. 190 191

102

Transverse Hall Tomb Number

Provence

Date

Scene Location

PM Reference

TT 87 Minnakht

Sh.cAbd el-Qurna

Tuthmosis III

Hall – East wall

p. 178, no. 3.

TT 90 Nebamun204

Sh.cAbd el-Qurna

Hall – North wall

p. 184, no. 8

TT 93 Kenamun205)

Sh.cAbd el-Qurna

Tuthmosis IV to Amenophis III

TT 95 Mery

Sh.cAbd el-Qurna

Amenophis II

Outer Hall – North East wall Hall – East wall

p. 19, no. 11, 12

Passage – West wall

p. 205, no. 7

TT 86 Menkheperrasonb203 TT 88 Pehsukher

Sh.cAbd el-Qurna Sh.cAbd el-Qurna

TT 99 Sennufer

Sh. Abd el-Qurna c

Tuthmosis III Tuthmosis III to Amenophis II Amenophis II Tuthmosis III

Hall – East wall Hall – East wall

TT 100 Rekhmire206

Sh.cAbd el-Qurna

Tuthmosis III to Amenophis II

TT 121 Ahmosi

Sh.cAbd el-Qurna

Tuthmosis III

Hall – wast wall

Sh. Abd el-Qurna Tuthmosis III

Hall – East wall

TT 123 Amenemhet207 TT 127 Senemioh

208

TT 131 Amenuser TT 145 Nebamun

209

TT 151 Hety210 TT 155 Antef

211

Sh.cAbd el-Qurna c

Sh.cAbd el-Qurna

Tuthmosis III

Drac Abu el Naga

Tuthmosis IV

Dra Abu el Naga

Dra Abu el Naga c

TT 162 Kenamun212

Drac Abu el Naga

TT 186 Ihy213

Khôkha

TT 188 Parennufer

Khôkha

TT 172 Mentiywy

TT 201 Re

214

TT 297 Amenemopet

Tuthmosis III

Khôkha

Khôkha Asâsif

Dynasty XVIII Hatshepsut – Tuthmosis III

Hall – South wall East side, Passage Hall – East wall

Hall – West wall

Hall – North wall Hall – West wall

Passage – East wall

p. 177, no. 4, 7 p. 180, no.6

p. 195, no.4

p. 206, no.2; p. 207, no. 4; p. 209, no.6, 8, 13 p. 235, no. 1 p. 236, no.5

p. 242, no. 7, 10 p. 245, no. 3 p. 257, no. 2 p. 261, no.2

p. 265, no. 11

Dynasty XVIII

Hall – West wall

p. 275, no.1

First Intermediate Period

Hall – North wall

p. 293, no. 4

Amenohpis IV

Tuthmosis IV to Amenophis III

Hall – West wall Hall – West wall

p. 294, no. 11

Early XVIII Dynasty

Hall - East wall

p. 379, no.1

Tuthmosis III to Amenophis II

Hall – North wall

p. 280, no. 4

p. 304, no. 3

N. Davies, The Tombs of Menkheperrasonb, Amenmose and another, London 1933, figure VIII, XIV. W. Wreszinski., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 289; N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London 1923, figure XXXI. 205 N. Davies, The Tomb of Kenamun at Thebes, NewYork, 1930, figure XXXII – XXXIV. 206 N. Davies, The Tomb of Rekhmire at Thebes, New York, 1935, figure XVI – XXIII, XXXIII- XXXV, XLVIII –LXXVIII. 207 Schott Photos 8207. 208 ( W. Wresinzki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure. 344 -345. 209 Schott Photos 8636 -7. 210 W. Wresinzki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 351; Schott Photos 4087-8. 211 S. Sӧderbergh, Four Eighteenth Dynasty Tombs, Oxford, 1957, p. 21, figure XVI, top left. 212 G. Daressy, Costume Phéniciens d’aprés des peintures égyptienne, REA 3, 1931, figure XI. 213 E.P. Newsberry, A Sixth Dynasty Tomb At Thebes, ANNS 4, 1903, p. 98, pl. II. 214 Schott Photos 8614. 203 204

103

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 312 Espekashuti

In court of a Dyn. XI tomb

Saite

Hall – East wall

p. 388, no. 3

Hall – East wall

p. 411, no. 8

Hall – East wall

p. 431, no. 5

TT 308 Kemsit215

Deir El Bahari

TT 343 Benia216

Sh.cAbd el-Qurna

TT 367 Paser217

Sh.cAbd el-Qurna

Mentuhotep (Nebhepetre) Early XVIII Dynasty

Amenophis II

Burial chamber – South wall

p. 386, no.5

Conclusion The scene is attested in 41 tomb, with 35 dating to the 18th Dynasty. 27 tombs are located at Qurna, five at Khôkha, and five at Drac Abû el-Naga. Similar scenes in different tombs (Name ring captives) TT 57 scene no. 11 Tomb Number

TT 48 Amenemḥēt

TT 49 Neferḥōep219

TT 58 unknown name

220

TT 63 Sebkḥotp221

TT 64 Ḥeḳerneḥeḥ

222

TT 77 Ptaḥemḥēt223 TT 78 Ḥaremḥab

224

TT 93 Kenamūn225

Provence

Date

Scene Location

PM Reference

Khôkha

Ay

Hall – West wall

p. 91, no.7

Khôkha

218

Sh. Abd el-Qurna c

Sh.cAbd el-Qurna Sh. Abd el-Qurna c

Sh.cAbd el-Qurna Sh. Abd el-Qurna c

Sh.cAbd el-Qurna

TT 192 Kharuef226

Asâsif

TT 216 Neferḥōtep

Deir el-Medìna

TT 217 Ipuy227

Deir el-Medìna

Amenophis III Amenophis III Tuthmosis IV Tuthmosis IV Tuthmosis IV Tuthmosis III

Amenophis II Amenophis III to IV

Ramesses II to Sethos II Ramesses II

Portico – North wall Hall – North wall Hall – West wall

Hall- (5) West wall, (7) East wall, (8) North wall Hall – North wall Hall – North wall

p. 89, no.7

p. 120, no. 8

p. 127, no.10

p. 128, no.5,7; p.129, no. 8 p. 151, no.4 p. 153, no.8

Outer Hall- West wall p. 191, no.9; p. 192, no.16 West of court- Portico p. 299, no. Chapel – Hall – West wall Hall – East wall

p. 313, no. 8 p. 315, no. 2

Naville and Hall, The Eleventh Dynasty Temple at Deir El Bahari, vol.3, London, 1913, p. 9. Schott Photos 8041-2. 217 A. Fakhry, Tomb of Paser, ANNS 43, 1943, figure XVII. 218 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, figure XXX-XXXV. 219 N. Davies, The tomb of Nefer-Hotep at Thebes, 2, New York, 1933, figure 1. 220 N. Davies, Ancient Egyptian Paintings, 2, Paris 1954, figure LX. 221 E. Dziobek and M. Abdel Raziq, Das Grab des Sobekhotep, Theban Nr 63, AV. 71, Mainz 1990, figure I, p. 34. 222 P. Newberry, The Sons of Tuthmosis IV, JEA 14, 1928, figure XII. 223 M. Baud, Les dessins ébauchés de la nécrOpole Thébaine, MIFAO 63, 1935, fig.48, p. 118. 224 U. Bouriant, Tombeau De Harmhabi, MMAF.5, 1894, figure IV. 225 N. Davies, The Tomb of Ken-Amun at Thebes, New York 1930, figure XI, XII, IX, A, XI, A. 226 A. Fakhry, A Note on the Tomb of Kharuef at Thebes, ANNS 43, 1943, figure XXXIX, XLII. 227 Davies, Two Ramesside tombs at Thebes, New York 1927, figure XXXVII. 215

216

104

Transverse Hall Tomb Number

Provence

Date

Scene Location

PM Reference

TT 155 Antef (captives tied to smA emblem)229

Dra Abu el Naga

ḤatshepsutTuthmosis III

Passage – Door thickness

p. 265, no. 7

TT 226 unknown name228 Sh.cAbd el-Qurna c

Amenophis III

Hall - North wall

p. 327, no. 4

Conclusion The scene is attested in 13 tombs – 11 from the 18th Dynasty and two from the Ramesside period. Seven tombs are located at Qurna, two at Khôkha, two at Deir el -Medina, and one at Drac Abû el-Naga. Similar scenes in different tombs (nine bows) TT 57 scene no. 11, 15 Tomb Number

Provence

Date

Scene Location

PM Reference

TT 47 Userḥēt

Khôkha

Amenophis III

Hall

p. 87

Amenophis IV

Hall- West wall

p. 109, no. 7

Hall – North wall

p. 145, no. 6

TT 42 Amenmosi230

Sh.cAbd el-Qurna

TT 48 Amenemḥēt231 Khôkha TT 55 Racmosi232 TT 63 Sebkḥotp

233

TT 74 Thanuny234 TT 120 Anen c

235

TT 192 Kharuef236 TT 367 Paser237

Sh.cAbd el-Qurna Sh.cAbd el-Qurna Sh.cAbd el-Qurna Sh. Abd el-Qurna c

Asâsif

Sh.cAbd el-Qurna

Tuthmosis IV to Amenophis II Amenophis III Tuthmosis IV Tuthmosis IV

Amenophis III

Hall – North wall

p. 82, no. 5

Portico- North wall p. 88, no. 4 Hall – West wall

Hall – North wall

p. 126, no. 5 p. 234, no. 3

Amenophis III-IV West of court- Portico p. 298, no. 8 Amenophis II

Hall – North wall

p. 431, no. 5

Conclusion The scene was attested in nine tombs, all from the 18th Dynasty. Six tombs are located at Qurna, two at Khôkha, and one at Asâsif. XII. East wall - north side (see figure 25-25C) The Xkr frieze is 20 cm high and 2.50 m wide, it is very well preserved despite the soot covering. The colours are not affected and the 40 Xkr signs that form the upper border of the wall were beautifully painted in red, blue, green, white, and yellow. N. Davies, The Tombs of Menkheperrasonb, Amenmosĕ, and another, London 1933, TTS 5, figure XLI-XLIII. S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, figure XVIII. 230 N. Davies, The Tombs of Menkheperrasonb, Amenmosĕ, and another, London 1933, figure XXXIII. 231 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford, 1957, figure XXXI-XXXIV. 232 N. Davies, The Tomb of the Vizier Ramose, London, 1941, figure XXIX. 233 E. Meyer, Bericht über eine Expedition nach Ägypten zur Erforschung der Darstellungen der Fremdvölke, Berlin 1913, figure 754. 234 A. Brack, and A.Brack, Das Grab des Tjanuni, Theben Nr. 74, AV 19, 1977, figure 30. 235 N. Davies, The Graphic Work of the Expedition, 24, No. 11, Part 2: The Egyptian Expedition 1928-1929 (Nov., 1929), fig. 1-6. 236 W. Wolf, Die Kunst Ägyptens, Stuttgart, 1957, fig. 480, p. 503. 237 A. Fakhry, Tomb of Paser (No. 367 at Thebes), Le Cair,e 1943, figure XXVII. 228 229

105

tomb of kha-em-hat

Figure 25. Hall - east wall - north side. Kha-em-hat is giving offerings and surveying the fields (by A. Halim).

106

Transverse Hall

Figure 25A. Hall - east wall - north side. Kha-em-hat is giving offerings and surveying the fields (by A. Halim).

107

tomb of kha-em-hat XII.A Kha-em-hat is giving offering (see figure 25B) The scene is c. 2 m high and 1 m wide. On the wall to the right of the entrance appears a scene matching the one on the left, i.e. a second great burnt offering. This also occupies half the width of the wall and fills its full height. A difference exists other than the offering table and the text. The scene here is in bas-relief, while the other is in sunken relief. The deceased is giving offerings to Amon–Re-Horakhty and the gods of the dead, Hathor and Anubis, so they might give life and health to the Pharaoh King Amenophis III. This is followed by a prayer to the sun god for the benefit of Kha-emhat.238 The deceased is represented life-size, in profile, facing outwards; he is wearing a wig of round strands, a double necklace, round ornamented collar. He has a short-sleeved shirt, plaited apron with a round cut and a long shirt over it, and a plaited belt made of soft fabric knotted around his waist. He has bracelets on his upper and lower arms; traces of blue and red colour are clear on the bracelet of his right hand. The particular long apron was an independent invention of the time of Tuthmosis III and Amenophis II, and received an additional plissé decoration from the time Amenophis III. The figure is shown raising his hands, holding a small altar with four geese (two in a jar and two on an incense stand) and bread in his left hand, and a blue jar with ointment in his right. Other food offerings (bread, meat, baskets of figs and grapes) are in front of the deceased on two cylindrical altars placed on a small, low pedestal. Above the baskets and bread there are the head and foreleg of an ox, ribs of beef (spHt), a heart and a large piece of meat, all covered with flames. At the foot of the altars are two artichokes and a bunch of lotus flowers on a higher pedestal. The deceased is barefoot, with the nails of the big toes quite visible. Traces of red, blue, white, and red ochre are to be seen on the body of the deceased, as well as on the offerings and at the bottom, but overall the colours have disappeared. The figure and the writings are in bas-relief. The same scene is found in the tombs of Nacht (TT 52) and Userhat (TT 56), but with less detail than in TT 57 and TT 52. Squeezes – – – –

238

Griffith Institute squeezes 1.7a and 1.7b, upper part of Kha-em-hat Griffith Institute squeezes 4.32, 4.32a, 4.32b, 4.32c and 4.33, head of Kha-em-hat. Griffith Institute squeezes 4.34 and 4.34a, offerings held by Kha-em-hat, and text. Griffith Institute squeezes 4.35, 4.35a and 4.35b, offerings on braziers.

W. Wresinzki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 190.

108

Transverse Hall Text in front of Kha-em-hat:

109

tomb of kha-em-hat (1) Wdn xt nbt nfrt wabt n Imn - Ra ………………. n @t @r tpt smyt n Inpw (2) tp dw.f dj.sn anx wDA snb n nswt kA Nswt- Bjtj Nb -MAat -Ra di anx jn nsj n nTr nfr (3) Hr tp n krs Inpw sS - nsw jmj-r Snwt nw ^ma-MHw ¢a-m-HAt mAa xrw (4) Dd.f nD Hr .k Imn-Ra #prj m jptswt (5) di .k pr .j m Hrw m Xrt -nTr smA.j (6) m wdHw. k m Xrt- Hrw sAxw .k sAH(7) nTrj bA Sms .j wnn nfr Hr pAt &A-Wr (8) rnpj .j wAD kA .j Hr jmj.t wrt Xnm .j sA nTrj XAt.j smA pst nt Imntt jwf wAD psj Hr xAwt Ra (1) All good pure things are offered to [Amon – Re…….], Hathor, mistress of the cemetery, for Anubis (2) who resides on his mountain, may they give life, prosperity and health, to the royal Ka of King of Upper and Lower Egypt Neb-Maat-Re, given life by the praised one of the good god, (3) the chief of chapel of Anubis,239 the royal scribe and the royal overseer of granaries of Upper and Lower Egypt Kha-em-hat, the justified,(4) he says: Hail, Amon-Re-Khepri in Karnak, (5) you allow me to go out of the necropolis (6) during the day to join to your altar in the day time,(7) you glorify my dignity and deitify (divine) my soul. I fellow Wnn- nfr since the old time of Thinite nome 240 (8) I am rejuvenated by my Ka and will be green among the greatness. I unite myself with the divine sons and my dead body (corpse) and joined the Ennead of the west. My raw meat will cook on the altar of Re. Connection between Anubis and the Heb-Sed festival The relation between Anubis and his role in the Heb-Sed festival is well attested, appearing in detail in the vignettes of Ne-user-re in his funerary complex. The name Sed was determined by the sign of a standing jackal on a standard, which was also associated with Upwawet. Helck is of the opinion that the Sed festival was a royal hunting ritual, with the king anointing a standard of a jackal as a deity of hunters.241

B. Bohleke, The Overseers of Double Granaries of Upper and Lower Egypt in the Egyptian New Kingdom, 1570 – 1085 BC, published PhD dissertation,University of Yale 1991, p. 223. 240 Chr. Leitz, Geographisch-osirianische Prozessionen aus Philae, Dendara und Athribis, Soubassementstudien II, Wiesbaden, 2012, p.109. 241 T. du Quesne, The Jackal Divinities of Egypt, London 2005, pp. 272–273. 239

110

Transverse Hall

Figure 25B. Hall – east wall – north side. Kha-em-hat is giving offerings with squeeze (by A. Halim).

111

tomb of kha-em-hat XIII. Kha-em-hat inspecting the surveying of the fields (see figure 25C) First register 242 The scene is 65 cm high and 1.40 m wide. It has a coloured border at the top, and on the left side the colours are visible. The scenes of daily life were used in tombs for decorative purposes, chosen for their attractiveness and appropriateness, and placed on the wall nearest the outer door.243 The deceased is shown observing work in the fields, indicating that he is fully attached to the world of living, even though he is preparing himself for the afterlife and eternity. Kha-em-hat, followed by many servants, is seen presiding over a survey of the lands subject to his authority. The survey is carried out using cords and pegs and a scribe writes down the results. The lower register represents the retinue of this high-ranking official, with carts and all the necessary preparations for a meal in the open air. The scene represents different agricultural tasks, over which Kha-em-hat supervises. The field workers proceed to clear the land, plough and sow, reap the ears of corn and then carry them to be trodden by oxen; the grain is cleaned and measured and tied up in sacks. Scribes record the numbers of measures. Men are working in the background in harvesting and stripping flax. Finally, the peasants came to pay homage and to offer many presents to the overseer of lands, who is depicted sitting in the shade of sycamore fig, holding a cane in one hand and a scepter in the other, and observing the different tasks.244 In all, the general scene represents Kha-em-hat four times on the wall, in every register. Depicted life-size, he makes offerings like a similar figure on the opposite wall (see pl. VII), while in the other three depictions he is shown observing the survey and inspecting the harvest. The scene in the inner half of the wall Here the deceased is represented standing, his right foot advancing, wearing a simple short wig with thin round locks. He is wearing a transparent, short-sleeved shirt, knotted around his neck with two ribbons, short apron rounded in front, a long, transparent apron overlapping the short one, short in front and long at the back, fastened by a belt around his waist knotted in front with two hanging ends. He is holding a long stick in his right hand, extended forward. There is the sign r ( ) in red. He is holding a sceptre in his left hand that extends down by his side. On each leg he wears a knee-shield fastened by four strips, and sandals on his feet. Traces of red colour can be seen on his face and chest. Behind Kha-em-hat there are two registers, the lower one depicting four scribes, two in a row and two standing side by side. They wear wigs, shirts, short aprons, and sandals. The first two hold scribal palettes and papyrus rolls in their hands, the other two at the back hold only scribal palettes in one hand while the other hand rests on his opposite shoulder. The upper register also represents four scribes in the same order as the lower register, but they are dressed in simple, short aprons PM scene no 13, p. 116. N. Davies, The Tomb of Nakht at Thebes, New York 1917, p. 60. 244 P. d’Avennes, Egyptian Art, Cologne 2014, pp. 102–103. 242 243

112

Transverse Hall with belts, wearing short plain wigs; they are barefoot. The first scribe is holding a scribal palette and a long-handled bag; the second holds a sack, a stick and a papyrus roll; the third has a long, narrow bag, a stick, and a pair of sandals; the fourth is hidden by his colleague and only one hand is shown, carrying a scribal palette. Two registers in front of the deceased The upper register contains four men and a boy. The man on the extreme left, holding the beginning of a cord, is looking back to those who follow him. In a plain wig, he has on a simple, short apron and a belt. The coil of the cord is wrapped around one of his shoulders and he is passing the cord to the third man. The second man, wearing a plain wig, shirt, and a doublelayered short apron, is holding a palette and a container with a handle. Behind him is the boy, bareheaded and with no shoes, wearing a simple, short apron with a belt. He holds a stick in one hand and rests the other hand on the handle of a long, narrow case on his shoulder. Above him two quails are seen flying, as in the lower scene, but in a different direction, facing left. The third man is represented without a wig, wearing a short, simple apron and a belt. He is holding the cord passed to him by the first man in both hands and coils it around his shoulder. The fourth man has a wig, a shirt with short sleeves, and a double-layered apron with belt. He is holding a pen and the scribal palette and is shown in the act of writing. All the men in the scene have sandals. The lower register shows five scribes preceding the deceased, wearing different wigs and different clothes. These men were employed to write down the boundary limits and calculate the taxes due on the harvest. The figure on the left is an old man; he is the surveyor, hair in disorder, and shown stooping forward, with his fat chest and wrinkled neck. In his right hand is a wAs sceptre resting on a round boundary stone. The surveyor’s role was to attest that the boundaries had not moved during the inundation.245 He is holding the beginning of the measuring cord and passing it behind him to the others, as far as the fourth man, who holds the rest of the cord in coils, one wrapped around his shoulder and the other in his hand. The second man in the row is not wearing a wig and he has on a simple kilt rounded from the front; the third man has a frizzy wig, short-sleeved shirt, and double apron. He holds a scribal palette in one hand and a rectangular container in the other; the fourth man, the one with the cord coils, is wearing a plain wig and a short, rounded apron from the front; the fifth man holds a scribal palette and a papyrus roll in his hands. All are wearing sandals. Flying right, two quails are seen between the third and fourth man. An old man working as the surveyor was also encountered in TT 69 (Menna). In both tombs (i.e. TT 57 and TT 69), no inscriptions were found next to him, but, according to a tomb fragment (37982) in the British Museum, it is the only case with four vertical columns of texts pronouncing an oath, affirmed by the great god who is in heaven that the witness stela is standing in its place; this formula was used in the 18th Dynasty.246 The Middle Kingdom 245 246

M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 31.

, S. Berger, A Note on Some Scenes of Land-Measurement, JEA 20, 1934, p. 54.

113

tomb of kha-em-hat ‘Harageh Papyrus ’ indicates that a surveyor scribe oversaw a team that included scribes and a man who held and stretched out a rope. Their job was to measure yields, and the coiled rope on their shoulders was surmounted by a ram’s head, the emblem of Amun-Re. However the original was much damaged during the Amarna period.247 Horses and chariots (second register) Dimensions‫ ׃‬the scene is 50cm in height and 1.40m in width. This scene is 50 cm high and 1.40 m wide. Two trees flank the scene, on the right and on the left. Traces of blue and red are visible to indicate that they were once coloured. Underneath the tree on the right there is food, and two jars stand on pedestals; a large jar is seen on the ground and there are two food baskets. The one to the right is on a square box and the other is placed perhaps on a higher stand, as it appears higher than the jars on the pedestal. The middle scene represents Kha-em-hat and his officers, driving out to the fields for an inspection in two chariots,248 each pulled by handsome and vigorous horses.249 In the shade of the tree on the left, the servants prepare the midday meal – three pitchers and a basket, each placed on a stand. There are two servants, one bends forward extending his hand to open the lid of a wooden box under the tree, putting something in it. The servant following him is carrying a pitcher and a holds washing basin on his head. Kha-em-hat, face damaged, is represented in a large scale in front of the tree on the right. He is wearing a short wig and a short kilt with two rounded ends in front. There are ropes in both hands. Before him are the two chariots pulled by the four horses. The animals are drawn with an elegance and fidelity that are still clearly visible. It is a type of representation that occurs mainly in funeral and agricultural scenes.250 There are four other servants, three on the chariots – one facing the front and the others facing Kha-em-hat; two have whips, but of the third only the head is visible, wearing a different wig than the others. The fourth servant stands in front of one of the chariots, trying to control the horse by pulling the saddle with one hand to stop him, a stick in his other hand. He is wearing a plain wig and a short apron with a wide belt; parts of his upper body are now missing. In this scene Kha-em-hat and all the figures are depicted barefoot. The scene is well preserved except for small grooves on the faces of the horses. Traces of red ochre could be seen on their bodies.

M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 31. The Egyptians had adapted the original Canaanite chariot design to make lighter and faster vehicles. It was first used for hunting and as a means of transport for the elites when visiting their estates, then later for military purposes, cf. R. Partridge, Transport in Ancient Egypt, London 1996, p. 105. 249 Surveys near the site of the palace of Amenophis III at Malkata (4 km away) have revealed that the area may have been used as a training ground for charioteers and horses, R. Partridge, Transport in Ancient Egypt, London 1996, p. 101; the earliest attestation of horses and chariots in reliefs was discovered in the Ahmose complex in southern Abydos, cf. S. Harvey, New Evidence at Abydos for Ahmose’s funerary cult, Egyptian Archaeology 24, 2004, pp. 3–6. 250 S. Söderbergh, Eine Gastmahlsszene im Grabe des Vorschatzhausvorstehers Djehuti, MDAIK 16, 1958, p. 287. 247 248

114

Transverse Hall Harvest scene (third register) Dimensions‫ ׃‬The scene is 30cm in height and 1.40m in width. This scene is 30 cm high and 1.40 m wide. The theme has to do with harvesting.251 There is a tree to the extreme left, and under it, to the left, there is a basket of bread and food (now partially destroyed), and on the right side of the tree there is a squatting person sitting on a small cushion in the shade. He may well be asleep, resting his head on his arms and leaning on a stick. In front of him there is a chariot and two horses, one with head lowered, eating something on the ground. The chariot driver is shown on the ground, head nodding, possibly also asleep, in one hand reins and whip, a stick the other hand. He is wearing a plain wig, an apron, and is barefoot. In the middle of the scene is a group of ten peasants in two rows, five per row, gathering the grain stalks and cutting them with the sickles in their hands. They wear plain wigs, aprons with belts, and are barefoot. Traces of red ochre are visible on their faces. Between the two rows of peasants, a small boy252 is seen bending down, carrying a basket and a bowl, picking up grain from the ground. Behind the peasants, a little boy is sitting on a sack, naked except for a girdle around his waist. Playing his flute, he is seen in a plain wig and with a necklace.253 The charioteer sleeps, as does the overseer who squats under the tree beneath which the meal is prepared for the Lord. All the women wear belts to tie up the baskets and the last woman on the right offers the workers something to eat. The double-flute player sits on a filled sack – a boy wearing one hip belt and two thick necklaces, perhaps he is the man’s son. Beneath the boy there are two women holding bowls, bending down to collect the fallen grain, each with a basket next to her. The first woman looks taller than the other; they wear a head cover, tied at the back, and long, tight dresses and a belt; both are barefoot. Behind the girls two men are trying to close a sack by inserting a long pole through its rings. One man, a higher level than the other, is holding the pole under his arm and the cord of the sack in his other hand; he wears a plain wig and an apron with a belt, and is represented with his legs apart, as if jumping to add more strength to close the sack; he wears sandals.254 The other man is represented level with the ground; he holds the pole in both hands and pushes downwards to try to close the sack. He is dressed the same way as his co-worker, but he is barefoot. Behind the men there are another two women collecting grain: the first is represented standing, carrying a bowl in one hand and some food in the other; her head is covered with a cloth tied around the back and she has on a long, tight dress with a belt and is wearing sandals. The other woman is bending According to Davies, the gathering in of the harvest is celebrated by the sacrifice of a goat, probably to Ernutet or Renenut, usually represented after the crop has been finally stored, and the grain then divided into two parts, one for the owner and his household, and the other for sale in the city’s market, cf. Davies, Two Ramesside Tombs, MMA 1927, p. 56, figure XL. Transport from the fields to the market was by boat, explaining perhaps why in TT 57 we see the east wall scene following through into the north and south sides, where we see Renutet, the boats, and the market scene on the corresponding wall. 252 M. El Tanbouly, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 35, describes the figure as a girl, not a boy. 253 In relation to scenes of harvesting and pressing, on these occasions in the Old Empire, a flautist or a singer would accompany the work, probably a vestige of a belief attaching to the god of wheat. In the New Empire, a decade later, the same tradition reappears, but it already constitutes a folkloric custom. Boys still play the zoummarah today at Egypt’s public feasts, cf. H. Hickmann, 45 Siècles de musique dans l’égypte ancienne, Paris 1956, p. 12, figure XXXVII. 254 The same scene of the men closing a large basket is found in TT 52 (Nakht). The man is also represented jumping up higher than his partner, but he has one leg longer than the other; O. Rostem, Remarkable Drawings with Examples in True Perspective, ANNS 48, 1948, p. 173, fig. 9. 251

115

tomb of kha-em-hat down to collect the grain in a bowl in her hand; she is dressed the same way as the others. The middle part of the scene has a crack. Bringing flax and cattle threshing (fourth register) Dimensions‫ ׃‬The scene is 30cm in height and 1.40m in width. This scene is 30 cm high and 1.40 m wide, and is well preserved except for some damage to the left part and at the bottom. The left side represents the pulling of flax, bundling it up and making stacks on the ground. On the left, a supervisor, seated on a high block, stretches his legs forward.255 He plays the double-flute. Women pluck the flax, and the man beside them twines the stalks into bundles. The filled baskets are being carried to cattle on the threshing floor. This part of the scene is severely damaged. A group of women is represented in front. They have different movements – some stand while the others bend forward, holding bundles of flax. They are all dressed in long, tight dresses with a designed front. They are all barefoot. In front of the women, a man is sitting on the ground binding a bundle with string. The scene here is also damaged. In front of this man there are six bundles of flax. A small register on top of the sitting man represents a naked boy separating the fibres. The rest of the scene is a continuation of the previous register of harvesting. Two men carry a large sack of grain slung on a pole, resting on their shoulders. They wear plain wigs and aprons and they both look alike; their legs are wide apart, as if they are in the action of walking quickly. In front of them is the threshing floor, where two men and some cattle are represented. The man at the back is raising both hands – one extended forward and the other raised on top of his head. He holds a short fork, but his other hand is damaged. In front of him there are the cattle – eight heads are visible, but the legs of six are preserved; they are represented in a row of four, following one another. One has collapsed from fatigue and is trying to stand, tongue protruding. In front of the cattle there is a standing man, knees bent, turning his head back towards the cows. He is holding a long fork. All the men are dressed alike.

255

M. El Tanbouli describes her as a woman (The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 37).

116

Transverse Hall Plowing, sowing, winnowing and measuring grain in the presence of the deceased Fifth register The scene is 60 cm high and 2.50 m wide. In this scene a full picture of the agricultural life relating to the job of the deceased, an overseer of granaries, is represented. The upper register deals with measuring the crops to determine the amount of income tax to be paid by landowners. This calculation was made by the ministry of finance, a body known as early as the Second Dynasty and which also dealt with survey work, however this was never shown depicted on walls before the 18th Dynasty. It was found in TT 57 (Kha-em-hat), TT 69 (Menna), TT 38 (Zeserkarasonb), TT 75 (Amenhotepsasi), and a fragment of a tomb painting in the British Museum (37982).256 The deceased is shown sitting down in the lower right corner, under a tree, on a cross-legged stool covered with animal skin. The stool has legs in the form of animal legs with paws and is placed on a pedestal. The deceased is holding the ‘sxm’ sceptre and a long ‘wAD’ sceptre in his raised right hand. He is wearing a designed wig, a wide collar with three rows of beads, and is dressed in a transparent shirt with short sleeves and a long skirt and a wide belt with a hanging ribbon; he is barefoot. Part of his face is damaged, the nose and the mouth, and traces of colour indicate that his body was painted in the red, blue, and green colours that are visible on the tree. During restoration work, the scene of the deceased was moved a little to the left. The deceased sits, observing the progress of the agricultural scene that spreads out across the wall. The order of the scene begins from the lower register and ends at the top of the wall. Kha-em-hat, always represented at a larger scale than the other figures, observes the field survey. The harvest scene moves from the fourth row from above through all the lines down to the right. The last two registers represent grain harvesting, threshing, and flax harvesting. We see the preparation of the soil for agriculture and the pools of water left behind after the inundation, which will take a long time to dry out.257 There is a worker on the left rear who refreshes himself with a drink of water from the hose hanging down from a tree branch. He wears a wig and short kilt and is barefoot. Under the tree are also two containers, perhaps full of fruit or food. The other side of the tree is badly damaged, but perhaps there were two sacks full of seeds placed underneath it. A ploughman is driving two cows in front of him, holding a whip in his hand, but the scene here is partly damaged. A naked boy with a side-lock of hair is facing the opposite direction; he is holding a small basket with a handle in his hand. In front of the boy there are two ploughmen, each driving two cows – two face right and two left. The men, holding sticks, are wearing wigs, short skirts, and are barefoot. On the side is the winnowing scene, with a group of peasants forming a semi-circle in two rows, each made up of six peasants facing each other. The scene is full of different movements: one peasant bends down to scrape up some grain, others stand to lift the grain before letting it fall back to the ground – to remove the outer skin and the dust. There is a large pile of grain lying on the ground. The peasants are wearing wigs, short skirts, and are shown barefoot. 256 257

S. Berger, A Note on Some Scenes of Land-Measurement, JEA 20, 1934, p. 54, figure X. N. Davies, The Tomb of Nakht at Thebes, New York 1917, p. 60.

117

tomb of kha-em-hat Behind them there is a corn doll (corn arûseh),258 a crescent-shaped object with fringed ends. A row of spots has been painted on the body, attached to which is a grasping hand, as if seizing ears of wheat. Davies has suggested that this was intended as a scarecrow, or a god of the harvest, as sometimes this god is represented with a sheaf on his head.259 Blackman thinks it is a guardian god, as this figure of the king receiving ears of wheat in his hands is exactly the same way as in TT 57; the figure was found in Soleb, in certain rites concerning the rituals of the Sed festival. Blackman suggests that the object represents the corn maiden, as still found in modern Egypt.260 In front of the corn maiden there is a round pot, and a figure with nine small round offerings that might be dates or eggs;261 there is a further representation of round bread, and a small basket that might contain figs. The right side of the scene is divided into two small registers, representing the offerings. The upper register depicts a man prostrating himself. He is wearing a wig and a kilt and is shown barefoot. In front of him are eight ducks tied together and upside down. Also seen are a sheaf, a long-necked spherical vessel, two quails, and three fat ducks standing in front in a row, the heads of the ducks are damaged. The lower register represents two men prostrating themselves. Barefoot, they wear designed wigs and short kilts. Each have their right leg stretching backwards and their left bent up towards their chest. Next to these men there are two fat cows with no horns. In front of them are offerings placed on a mat, four ducks on top and underneath many other items, including three baskets of grain, layered bread/round cakes, vegetables, and flowers. Lower register‫ ׃‬The soil, which has been superficially processed in this way, is spread out of the seeds woven from bast or papyrus fibers and plowed in with oxen spears. The sower on the right has the seed bag from which he spreads the seed, brought along two others, which he placed on the edge of the pool of water. Bottom register‫ ׃‬There is an apparent attempt to represent the landscape in a picturesque way: the fluctuation of the ground determine a series of undulating lines which follow the tree plantations, four trees are represented followed by two cylindrical shapes most probably sycamore trees262 as they were always planted on the edge of the fields. 263 The picturesque detail of country life occurs in most of the agriculture scenes. Might be possible to assume that the artist wanted to depict a soil elevation, a tree-covered mound, after all, could have caused A corn doll appears only in the scenes of TT 38 and TT 57, although it also exists in TT 69 (Menna) with a different shape; it was made from finest shafts of wheat straw, as a symbol of a prosperous harvesting season, and was often hung in the home to ensure an abundant supply of food, cf. M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 31. 259 W. Blackman, Some Occurrences of the Corn-arûseh in Ancient Egyptian Tomb Paintings, JEA 8, 1922, p. 236. 260 According to Blackman, the corn-maiden was made from the finest ears of wheat and plaited into this form. It is always hung in the room where the food is stored to bring prosperity in general to the house to ensure a plentiful supply of food; cf. W. Blackman, Some Occurrences of the Corn –arûseh in Ancient Egyptian Tomb Paintings, JEA 8, 1922, p. 237. The same scene was found in TT 38 and TT 52. 261 Eggs were linked to spring, when the fields were measured, and to fertility in general; M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 31. 262 It was wrongly interpreted by Scheil who relied on a false drawing by Faucher Gudin when he restored the scene he made the person so close to the tree bowing and was interpreted as if he was worshipping it, S. Berger, A Note on Some Scenes of Land –Measurement, JEA 20, 1934, p. 56. 263 S. Berger, S. Berger, A Note on Some Scenes of Land –Measurement, JEA 20, 1934, p. 56. 258

118

Transverse Hall the space had to be filled in. 264 A pond was drawn towards the upper part and represented with nine vertical lines, there are some elements that seem to appear for the first time in Egyptian art; and which mark the individual fantasy of a painter: yet to the reliefs of Kha-emhat agriculture; we find the same details, there are some variants in the arrangement of the elements of the scene but very similar to the agricultural scene of Nakht tomb.265 At the end of the sloping line, a peasant is standing holding an ax with both hands cutting a tree down; he is wearing a wig, short skirt and barefooted. He is represented on a higher level than others. On the extreme left of the scene a ploughman and a sower work together. The former, his body now damaged, holds the handles of the plough and drives two cows with horns; he is carrying a whip in his other hand. Next to him walks the sower, his body hidden behind the cows. His hand is lifted to scatter the seed, and he carries a basket in the other. Three peasants in a row are leaning forward, each holding an implement to cover the scattered seed. Facing these men there are two rows of peasants, the first has five, the other four men. They bend forward, using their hoes to cover the seed. A man is standing in the middle of the two rows of peasants holding a basket in his right hand as he scatters seed with the other. The peasants wear short kilts and walk barefoot. The other half of the scene represents two large piles of grain in the background and a row of three scribes, their hands now damaged. Two other men hold brooms, one is also holding an empty bushel. A row of four men bend forward filling their bushels with grain to measure it. Three scribes stand facing them holding their palettes and lifting their hands in the act of writing down the amounts of grain measured. Another scribe is bending forward and extending his hand towards a seated scribe, who is represented larger scale, holding his palette in his other hand. The scribe sits cross-legged, and his whole foot is shown; he has papyrus paper and a quill and is shown writing down the information dictated to him. He is followed by another seated scribe, almost the same size, but he is looking behind him, extending his hand towards the deceased, who is represented seated in the far right corner of the scene. His other hand holds the scribal palette. The three scribes are counting the grain sacks brought in by the servants and emptied. Others measure the grain, with four scribes writing down the measures and one reporting the amounts to a senior official, whose colleague passes it on to Kha-em-hat.266 The dado at the end of the wall consists of two broad bands bordered by black lines and coloured in red and yellow. The scene contains no text and is packed with detail representing all the process of harvesting, from beginning to end. It is likely that the artist could rely on the visual understanding of the viewer, explaining why he thought there was no need to add text, and thus no extra spaces were reserved for writing. The agricultural scene on the wall refers to the official position of the deceased as an overseer of granaries, and he is depicted supervising the process of work in all its phases. Grain was the source of life in Ancient Egypt, and of great importance as a means of wealth for the deceased, who intended that his status and wealth accompany him into the afterlife, and thus he was keen to represent all the aspects of his official duties when living.

W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1932, figure 191. J. Capart, Thèbes, Bruxelles 1925, p. 268, fig. 183. 266 The same scene is repeated in the tombs of Nakht and Zeserkarasonb.

264 265

119

tomb of kha-em-hat Squeezes – Griffith Institute squeezes 4.24, 4.24a and 4.24b - upper part of Kha-em-hat. – Griffith Institute squeezes 4.21- boy and two men, from scene of measuring crop, from upper row of register I. – Griffith Institute squeezes 4.25 and 4.25a - four men behind Kha-em-hat, from upper row in register I. – Griffith Institute squeezes 4.26 - four men behind Kha-em-hat, from lower row in register I. – Griffith Institute squeezes 4.22 - 1st, 2nd and 3rd men from left, from scene of measuring crop, from lower row of register I. – Griffith Institute squeezes 4.23 - 3rd, 4th and 5th men from left, from scene of measuring crop, from lower row of register I. – Griffith Institute squeezes 4.27- men holding horses in register II. – Griffith Institute squeeze 4.28- two men, chariots and horses in register II. – Griffith Institue squeezes 4.29- men behind rear chariot in register II. – Griffith Institute squeezes 4.30- man asleep under tree, and waiting mule chariot, from upper row in register III.267 Similar scenes in different tombs (harvesting, winnowing plowing) TT57 scene no. 8 Tomb Number TT 15 Tetiky

268

Provence

Dra Abû el-Naga c

TT 16 Panehesi269

Drac Abû el-Naga

TT 18 Baki

Dra Abû el-Naga

TT 17 Nebamun270 TT 21 User271) TT 23 Thay

TT 24 Nebamun

TT 34 Mentuemhet TT 36 Ibi 272

Drac Abû el-Naga c

Sh. cAbdel-Qurna Sh. Abdel-Qurna c

Drac Abû el-Naga Asâsif Asâsif

TT 38 Zeserkaracsonb273 Sh. cAbdel-Qurna ͨ TT 39 Puimre 274 Khôkha

Date

Scene Location

PM Reference

Ramesses II

Hall – South wall

p. 28, no. 4

Tuthmosis III

Hall – East wall

p. 32, no. 1

Early XVIII Dynasty

Amenophis II Tuthmosis I Merneptah

Tuthmosis III

Taharqa & Psammetikhos

Chapel- North wall

Hall – West wall Hall – East wall

Hall – West wall Hall – West wall Reliefs

p. 27, no. 4

p. 29, no. 4 p. 36, no.4

p. 40, no. 26

p. 41, no. 3-4 p. 59-60

Psammetikhos I

Court – East wall

p.67, no. 20

Tuthmosis III

Hall – North wall

p.71, no. 3

Tuthmosis IV

Hall – East Wall

p. 69, no. 3

Jaromir Malek and others, Griffith Institute, (January 22, 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391-1353 BC), viewed 12.August.2019. 268 N. Davies, The Tomb of Tetaky at Thebes (No. 15), JEA 11, 1925, p. 16, figure IV. 269 Baud et Drioton, Le tombeau de Roy (Tombeau No. 255), MIFAO 57, 1932, figure 20-24. 270 F. Givlio, La Pittvra Egiziana, 1929, figure CX. 271 N. Davies, Five Theban Tombs, Archaeological Survey of Egypt 21, ASAE 21, 1913, p. 22, figure XIX. 272 W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 141. 273 W. Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 142-3. 274 N. Davies, The Tomb of Puyemrê at Thebes 1, The hall of memories, New York, 1922, figure XXVIII. 267

120

Transverse Hall Tomb Number

Provence

TT 52 Nakht

Sh. Abdel-Qurna

TT 41 Amenemōpet 275

Sh. cAbdel-Qurna

TT 53 Amenemḥẻt276 Sh. cAbdel-Qurna TT 54 Huy

Sh. Abdel-Qurna

277

c

Date

Scene Location

PM Reference

Tuthmosis IV

Hall – South wall

p. 99, no.1

Ramesses I – Sethos I Tuthmosis III

Tuthmosis IV to Amenophis III

TT 56 Userḥẻt278

Sh. cAbdel-Qurna

TT 60 Antefoḳer279

Sh. cAbdel-Qurna

TT 63 Sebkḥotep280

Sh. cAbdel-Qurna

Tuthmosis IV

TT 69 Menna281

Sh. cAbdel-Qurna

Tuthmosis IV

TT 86 Menkheperra ͨ sonb283

Sh. cAbdel-Qurna

Tuthmosis III

TT 88 Peḥsukher284

Sh. cAbdel-Qurna

TT 96 Sennūfer

Sh. cAbdel-Qurna

Hall- North wall

Hall – South wall, East wall

p. 79, no. 17 p. 103, no. 4

p. 105, no. 5-6

Hall – North wall

p. 111, no. 3

Passage – North wall

p. 122, no. 7-8

Hall – East wall

p. 134, no. 2

Hall – South wall

p. 175, no. 1.

Tuthmosis III to Amenophis II

Hall – South wall

p. 180, no. 1 p. 198, no.11

TT 100 Rekhmirēc 285 Sh. cAbdel-Qurna

Amenophis II

Passage – South wall

Hall – South wall

P.209, No.8

TT 103 Dagi

Dynasty. XI

Hall – South wall

Portico – East wall

p. 215, no. 6

p. 216, no. 10

TT 59 Ḳen

Sh. cAbdel-Qurna

TT 81 Ineni282

Sh. cAbdel-Qurna

TT 101 Thanuro

Sh. cAbdel-Qurna Sh. Abdel-Qurna

286

c

TT 121 Ahmose

TT 125 Duauneḥeḥ

287

TT 127 Senemicoḥ

Sh. cAbdel-Qurna Sh. Abdel-Qurna

Sh. cAbdel-Qurna

Amenohpis II

Hall – East wall

Early Dynasty XVIII Sesostris I

Amenophis I to Tuthmosis III

Amenophis II

Amenophis II Tuthmosis III Ḥatshepsut

Usurped in Ramesside times

Passage – North wall

p. 121, no. 5

Passage – North wall

p. 127, no. 14

Portico – Northern side of the pillar (the inner side)

p.162, no.1415

Hall – East wall Hall – East wall

Hall – South wall

p. 235, no. 2 p. 239, no. 7

p. 241, no. 2-3

N. Davies, The Tomb of Nakht at Thebes 1, New York 1917, figure XVIII- XV, p. 60-66. . Wreszinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 181; Schott Photos 7663. 277 D. Polz, Das Grab des Hui und des Kel, Theben Nr. 54, AV 74, 1997, figure 11-13. 278 The scenes in Userhat has some similarity but not very detailed as the Tomb of Nakht and Kha-em-hat, cf. Seeber and Shedid, Userhat, figure 7,42-3; W. Wrezinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 187-8. 279 N. Davies, Antefoḳer, p. 9-11, pl. III, Wrezinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 192, figure 213 (subscene). 280 W. Wrezinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 20. 281 W. Wrezinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 231-4; M. Hartwig, The Tomb Chapel of Menna (TT 69), Cairo 2013, p. 26, fig. 2.3, the scene is similar to Kha-em-hat in many aspects. 282 Schott Photos 2117; G. Jéquier, Histoire de la civilisation Égyptienne des origines á la conquête d’Alexandre, Paris 1913, fig. 259. 283 N. Davies, The Tombs of Menkheperrasonb, p.15, figure XVII-XVIII. 284 W. Wrezinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 279 – 281. 285 N. Davies, Rekh-Mi-Re, New York, 1935, figure XXXIX. 286 N. Davies, Five Theban Tombs, London 1913, p. 35. 287 C. Aldred, An Unsual Fragment of New Kingdom Relief, JENS 15, p. 150 – 200. 275

276

121

tomb of kha-em-hat Tomb Number

TT 143 Name Lost288 TT 144 Nu

TT 146 Nebamūn

289

TT 147 No Name

Date

Scene Location

PM Reference

Dra ʾAbû el – Naga

Tuthmosis III

Hall – South wall

p. 257, no. 2

Tuthmosis IV

Hall – South wall

p. 258, no. 5

Tuthmosis III to Amenophis II

Passage – East wall

Dra ʾAbû el – Naga

Dra ʾAbû el – Naga Dra ʾAbû el – Naga

TT 162 Kenamūn

TT 172 Mentiywy290 TT 175 No Name TT 176 Userḥēt

Provence

Dra ʾAbû el – Naga Khôkha Khôkha Khôkha

291

TT 186 Iḥy292

Khôkha

Tuthmosis III to Amenophis II Tuthmosis III

Dynasty XVIII

Hall – North wall

Hall – North wall

Tuthmosis IV

Hall – West wall

First Intermediate Period

Hall – North wall

Amenophis II

Hall – North wall

p. 255, no. 4

p. 258

p. 276, no. 4 p. 280, no. 7-8-9

p. 281, no. 4 p. 283, no. 2 P. 293, No. 3

TT 188 Parennūfer293 Khôkha

Amenophis IV

Hall – North wall

TT 212 Racmosi294

Ramesses II

Chapel – South wall P. 309, No.1

Tuthmosis III

Hall – South wall

TT 200 Dedi

Khôkha Deir el-Medina

TT 217 Ipuy TT 241 ͨ Aḥmosi296

Deir el-Medina

295

TT 251 Amenemosi

297

TT 253 Khnemmosi298

TT 254 Mosi299 TT 255 Roy

300

TT 260 User301

TT 266 Amennakht

TT 302 Paracemḥab TT 311 Khety

Khôkha

Sh. Abdel-Qurna c

Khôkha

Tuthmosis III to Amenophis II Ramesses II

Tuthmosis III

Amenophis III

Hall – East wall

p. 294, no. 3 p. 304, no. 9

Hall – East wall

p. 316, no. 5

Hall – North wall

p. 336, no.5

Hall – South wall

p. 331, no. 1 p. 338, no. 5

Khôkha Dra ͨ Abû el Naga

Late Dyn. XVIII

Hall – East wall

p. 338, no. 1

Deir El Medina Dra ͨ Abû el Naga

Tuthmosis III Dyn. XIX

Hall – South wall

p. 343, no. 2

Dra ͨ Abû el Naga

Deir El Baḥari

Ḥaremḥab

Ramesside

MentuḥotepNebḥeptetrēc

Hall – South wall

p. 339, no.1

Chapel – South wall p. 347, no. 2 Hall – South wall Passage

p. 381, no. 1 p. 387

W. Wresinski, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 83a; Schott Photos4093 – 96, 8709; M. Baud, Les dessins ébauchés de la nécropole Thébaine, Tombes Thébaines, nécropole de Dirâ Abû’N- Naga, le tombeau de Panehsy 63, 1935, figs. 75-6. 289 W. Northampton, Theban Necropolis, fig. XIII, Swine treading in grain on the fields, the drawing is in water color by Howard Carter. 290 M. Wilkinson and Gardiner, J. The Manners and Customs of the Ancient Egyptians 1, London1878 , p. 98 (no. 434, 435). 291 Schott Photos 4258. 292 P. Newberry, The Sons of Tuthmosis IV, ANNS 4, 1928, p. 99, figure II-III. 293 N. Davies, Akhenaten at Thebes, JEA 9, 1923,p. 141 -3, figure XXII, XXV. 294 Bruyére, Deir El Mèdineh, p. 65, figure XIX. 295 N. Davies, Two Ramesside Tombs, p. 55-57, figure XXX, XXXI. 296 A. Shorter, The Tomb of AAḥmose , Supervisor of the Mysteries in the House of the Morning, JEA 16, 1930, p. 54, figure XV. 297 Schott Photos 8501. 298 Schott Photos 2469-2470. 299 Schott Photos 2473, 2475. 300 Baud and Drioton, Le tombeau de Roy (Tombeau No. 255), MIFAO 57, 1932, fig. 3. 301 Schott Photos 4206. 288

122

Transverse Hall Tomb Number

Provence

Date

Scene Location

PM Reference

TT 324 Ḥatiay(303

Sh. cAbdel-Qurna Dra ͨ Abû el Naga

Ramesside

Hall – North wall

p. 395, no. 4

Amenophis III

Hall – West wall

p. 401, no. 6

TT 318 Amenmosi(302)

TT 333 Name Lost TT 334 A Chief of Husbandmen

Sh. cAbdel-Qurna

Dra ͨ Abû el Naga

Tuthmosis III to Ḥatshepsut Amenophis III

TT 341 Nekhtamūn304 Sh. cAbdel-Qurna

Ramsesses II

TT 342 Ḏḥutmosi

Sh. cAbdel-Qurna

Tuthmosis III

TT 349 Thay

Sh. cAbdel-Qurna

TT 360 Ḳaḥa

Deir El Medina

Early Dynasty XVIII

TT 366 Zar305

Asâsif

TT 409 Simut

Asâsif

C. 4 Merymacet306

Sh. cAbdel-Qurna

TT 345 Amenḥotep

A.25

C.8 Nakht

Sh. cAbdel-Qurna

Hall – East wall

p. 391, no. 4

P. 401, No. 8

Hall – North and South wall

p. 408, no. 5-7

Hall – North West wall

p. 414, no. 4

Hall – East wall

p. 409, no. 2.

Passage- East wall

p. 415, no. 2

Chapel – SouthEast wall

P. 424, No. 4.

Hall – Pillar B

p. 429, no. B

Ramesses II

Hall – South wall

p. 462, no. 4.

Dynasty XVIII

Hall

p. 457.

Tuthmosis I

Ramesses II

Mentuḥotep Nebḥebetrēc

Shiq el Âteiyât and Dynasty XVIII el Mandara Sh. cAbdel-Qurna

Hall – South wall

Dynasty XIX

Hall

p. 454

p. 459

Conclusion One of the most popular scenes in the Theban tombs, it has been attested in 66 tombs, 45 from the 18th Dynasty, and 13 from the Ramesside period. 31 tombs are located at Qurna, fifteen at Drac Abû el-Naga, nine at Khôkha, and three at Deir el-Medina. Similar scenes in different tombs (felling trees) TT 57 scene no. 13 Tomb Number

TT 16 Paneḥesi307 TT 52 Nakht308

Provence Dra ͨ Abû el Naga

Sh.cAbde el – Qurna

Date

Scene Location

Tuthmosis IV

Hall – South wall p. 99, no. 1

Ramesses II

PM Reference

Hall – South wall p. 28, no. 4.

M. Wilkinson and Gardiner, J. The Manners and Customs of the Ancient Egyptians 1, London1878, 86 (no. 428). N. Davies, Seven Private Tombs, London1948, p. 44, figure XXXI. 304 N. Davies, Seven Private Tombs at Ḳurnah, London, 1948, p. 35, figure XXII, XXIV. 305 S. Donadoni, Arte Egizia, Torino 1955, figs. 57-8. 306 R. Wilkinson and A. Gardiner, The Manners and Customs of the Ancient Egyptians 1, London, 1878, p. 46, fig. 425. 307 W.Wreszinki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 61,72, 112,114; J. Spiegel, Die Entwicklung der Opferszenen in den Thebanischen Gräbern, MDAIK 14, figure XVI 2; Schott Photos 4221; Rostem O., Remarkable Drawings with Examples in True Perspective, ANNS 48, 1948, fig.8. 308 N. Davies, Nakht, New York 1917, p. 60 -66, figure XVIII, XIX; J. Baikie, A Century of Excavation, London 1927,figure 24. 302

303

123

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 67 Ḥepusonb

Sh.cAbde el – Qurna

Ḥatshepsut

Hall – West wall

p. 125, no. 1

TT 53 Amenemḥēt309 TT 217 Ipuy310

TT 251 Amenmosi311 TT 254 Mosi312

TT 341 Nekhtamūn

313

C.4 Merymacet314

Sh.cAbde el – Qurna Deir el-Medina

Sh.cAbde el – Qurna Khôkha

Sh. Abde el – Qurna c

Sh.cAbde el – Qurna

Tuthmosis III Ramesses II

Tuthmosis III

Late Dynasty XVIII Ramesses II

Dynasty XVIII

Hall – North wall p. 103, no. 4 Hall – North wall p. 316, no. 6 Hall – North wall p. 336, no. 5 Hall – East wall

p. 338, no. 1

Hall

p. 457

Hall – South wall p. 408, no. 5

Conclusion This scene is found in nine tombs, six from the 18th Dynasty, and three from the Ramesside period. Six tombs are located at Qurna, and the others at adjacent sites. Similar scenes in different tombs (measuring crop with cord) TT 57 scene no. 8, 13 Tomb Number

Provence

TT 38 Zeserkaracsonb315

Date

Scene Location

PM Reference

Khôkha

Amenophis III

Hall- West wall

p. 88, no.3

Sh. Abdel – Qurna

Tuthmosis IV

Hall – North wall

p. 147, no. 2

Sh. Abde el – Qurna c

TT48 Amenemḥēt316 TT 69 Menna317

TT 75 Amenḥotep – Si-Se318

Sh.cAbdel– Qurna c

Tuthmosis IV

Tuthmosis IV

Hall – East wall

Hall – East wall

p. 69, no. 3

p.135, no. 2

TT 86 Menkheperracsonb319

Sh.cAbdel – Qurna

Tuthmosis III

Hall – South wall

p. 175, no.1

TT 96 Sennūfer

Sh.cAbdel – Qurna

Amenophis II

p. 198, no.11

TT 100 Rekhmirē320

Sh.cAbdel – Qurna

Tuthmosis III

Passage – South wall Hall - East wall

p. 255,no. 4

TT 143 Name lost

321

Draʾ Abû el - Naga

Tuthmosis III to Amenophis II

Hall – South wall

p. 209-210, no. 8

W. Wreszinki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, figure 181; Schott Photos 7663. N. Davies, Two Ramesside Tombs,New York, 1927, figure XXX-XXXVI; W. Wreszinki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 363 -7. 311 Schott Photos 8501. 312 Schott Photos 2473- 4. 313 N. Davies, Seven Private Tombs, London, 1948, figure XXII, XXIV. 314 R. Wilkinson, and Gardiner, The Manners and Customs of the Ancient Egyptians 1, London1878, p. 46, no. 425. 315 V. Scheil, Le tombeau de Ra’eserkasenb, MMAF 5, 1894, figure IV. 316 S. Söderbergh, Four Eighteenth Dynasty Tombs, p. 41-43, figure IV. 317 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo, 2013, fig. 2-3, a-b. 318 N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, TTS 3, 1923, fig.X. 319 N. Davies, The Tombs of Menkheperrasonb, Amenmose and Another (no. 86), 112, 42, 226, TTS 5,1933, figure XVII, XVIII. 320 N. Davies, The Tomb of Rekhmire at Thebes, New York 1973, figure XXXIX. 321 W. Wreszinki. Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 83 a. 309

310

124

Transverse Hall Tomb Number

Provence

Date

TT 297 Amenemōpet

Asâsif

Early Dynasty XVIII Hall – North wall

TT 253 Khenemmosi322 Khôkha

Amenophis III

Scene Location

Hall – North wall

PM Reference p. 335, no. 2 p. 379, no. 3

Conlusion This scene is attested at ten tombs, all from the 18th Dynasty. Six are located at Qurna, two at Khôkha, and two at adjacent sites. Similar Scenes in different tombs (herdsman with pipe) TT 57 scene no. 13 Tomb Number TT 69 Menna

Provence

Sh. Abdel – Qurna

323

c

TT 217 Ipuy324

TT 266 Amennakht

Deir el –Medina 325

Deir el-Medina

Date

Scene Location

PM Reference

Ramesses II

Hall – East wall

p. 316, no. 5

Thuthmosis IV Dynasty XIX

Hall – East wall

Chapel – South wall

p. 135, no. 2 p. 347, no. 2

Conclusion Not very popular apparently, this scene is found in only three tombs, one from the 18th Dynasty and the others from the Ramesside period. Two tombs are located at Deir el-Medina and one at Qurna. Similar scene in different tombs (chariots in daily use)326 TT 57 scene no. 13 Tomb Number

Provence

Date

Scene Location

PM Reference

TT 23 Thay

Sh.cAbdel – Qurna

Merenptah

Court – East wall

p. 38, no. 3

Tuthmosis III

Hall – East wall

p. 71, no. 3

TT 11 Ḏḥout327

TT 36 Ibi

328

TT 39 Puimrēc 329

Drac Abû el-Nagac

Asâsif

Khôkha

Ḥatshepsut to Tuthmosis III

Hall – South wall

Psammetikhos I Court – East wall

p. 22, no. 7

p. 67, no. 20

N. Davies, The Graphic Work of the Expedition, MMA 24, fig.9. It is one of the agricultural scenes dealing with the harvest; those who are traditionally accompanied by the play of the flute; H. Hickmann, 45 Siècle du musique dans lʾÉgypte ancienne, Paris 1956, p.13; M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo, 2013, p. 32 324 J. Capart, and Werbrouck, M., Thèbes: la gloire d’un grand passé, Paris, 1925, fig. 198, p. 284; N. Davies, The work of Tytus memorial fund, BMMA 15, 1920, p. 28, fig.1. 325 N. Davies, Two Ramesside Tombs at Thebes, 5, New York, 1927, figure XL [5], p. 56, note 4. 326 The first attestation for the chariots in Egypt was found on the “second Stela”of Kamose, the form of the chariot is of limied use as a dating criterion, different number of spokes were found starting with four and sometimes eight, cf. Littauer and Crouwel, Chariots and related Equipment from the Tomb of Tutcankhamun, Oxford, 1985, p. 96. 327 S. Söderbergh, Eine Gastmahlsszene im Grabe des Schatzhausvorstehers Djehuti, MDAIK 16, 1958, fig. 5 p. 287. 328 W. Wresz., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 141. 329 N. Davies, The Tomb of Puyemré at Thebes, New York, 1923, figure XXIV. 322 323

125

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 49 Neferḥōtep331

Khôkha

Ay

Hall – West wall

p. 92, no. 6

Tuthmosis IV

Hall – North wall

p. 134-5, no.2

Inner room – North wall

p. 159, no. 10

TT 41 Amenemōpet330

TT 51 Userḥēt

Sh.cAbdel – Qurna

Sh. Abdel – Qurna

332

c

TT 69 Menna333

TT 75 Amenḥotp Si-Se

Sh.cAbdel – Qurna 334

TT 80 Ḏḥutnūfer335

TT 89 Amenmosi336

Sh. Abdel – Qurna c

Sh.cAbdel – Qurna

Ramesses I to Sethos I Sethos I

Tuthmosis IV Amenophis II

Sh.cAbdel – Qurna

Amenophis III

TT 143 Name lost338

Drac Abû el-Nagac

TT 155 Antef339

Drac Abû el-Nagac

Tuthmosis IV to Amenophis III

TT 297 Amenemōpet340

Asâsif

TT 302 Paracemḥab

Drac Abû el-Nagac

TT 90 Nebamūn

337

Sh.cAbdel – Qurna

Tuthmosis IV to Amenophis III

Hall – East wall

Hall – South wall (West side) Hall – North wall

p. 79, No. 17

p. 97, no. 3

p. 147, no. 4

Hall – East wall

p. 182, no. 14.

Hall – North wall

p. 255-256, no. 6

Hall- (3) West wall – (9) North wall

p. 183, no. 3; p. 185, no. 9

Ḥatshepsut and Passage – North Tuthmosis III wall

p. 265, no. 10

Ramesside

p. 381, no.1

Early Dynasty XVIII

Hall – East wall North side

Hall- South wall

p. 379, no.1

Conclusion This scene is known from 16 tombs, 11 from the 18th Dynasty, four from the Ramesside period, and one from the Late period. Eight tombs are located at Qurna, two at Drac Abû el-Naga, two at Khôkha, and one at Asâsif.

J. Assmann, Das Grab des Amenemope TT 41, Mainz, 1991, figure 31. N. Davies, The Tomb of Neferhotep at Thebes, New York, 1933, figure I, XVI. 332 N. Davies, Two Ramesside Tombs at Thebes, New York, 1927, figure XIII. 333 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo, 2013, figure 2.3a, p. 26. 334 Farina, La Pittvra Egiziana, Milano 1929, figure XCVI. 335 W. Wresz. Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923figure 260. 336 Shaw, The Decorative Scheme in TT 89 (Amenmose), JSSEA 33, 2006, p. 232. 337 N. Davies, The Tomb of Two Officials, London 1923, figure XVIII – XXV. 338 Schott Photos 4094; 4097; 8706-8; W. Wresz., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923., figure 347-8. 339 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, figure XVI. 340 The comparisons will often be made with the chapels of TT 38, TT 69, TT 75 and TT 57 as well as the painting fragment British Museum EA 37892, also the oath over a boundary stela exists only in TT 38 and TT 57, N. Strudwick, The Tomb of Amenemopet Called Tjanefer at Thebes, Berlin, 2003, p. 12, p. 49, figure III. 330 331

126

Transverse Hall Similar scene in different tombs (chariots towed mule) TT 57 scene no. 13 Tomb Number

Provence

TT 297 Amenemōpet Asâsif

Date

Early Dynasty XVIII

Scene Location

Hall – North wall

PM Reference p. 379, no. 1.

Conclusion This scene is rarely found. One from Asâsif dates the early 18th Dynasty. Similar scene in different tombs (slaying foes) TT 57 scene no. 11, 15 Tomb Number

TT 48 Amenemḥēt

341

TT 73 Amenḥotep342 TT 78 Ḥaremḥab

343

TT 120 cAnen344

Provence

Date

Scene Location

PM Reference

Sh.cAbd el-Qurna

Ḥatshepsut

Hall – West wall

p. 143, no. 3

Khôkha

Sh. Abd el-Qurna c

Sh.cAbd el-Qurna

Amenophis III Tuthmosis III to Amenophis III Amenophis III

Portico - West wall Hall – North wall Hall – North wall

p. 88, no. 4

p. 153, no. 8 p. 234, no. 3

Conclusion This scene is attested in four tombs, all from the 18th Dynasty, three at Qurna and one at Khôkha.

S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford, 1957, figure XXXI, XXXIII, XXXIV. S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford, 1957, figure I-V. 343 U. Bouriant, Tombeau de Haremhabi, MMAF 5, 1894, figure IV. 344 The rebellion here does not include the people of the Egyptian localities but the people from the upper Nile and Libya were represented as the captives, cf. N. Davies, The Egyptian Expedition 1928-1929, MMA 24, 1929, p. 38, figure I-V. 341

342

127

tomb of kha-em-hat

Figure 25C. Hall - east wall -north side. Kha-em-hat surveying the fields (by A. Halim).

128

Transverse Hall XIV. Hall - north wall (see figure 26, 26A) The wall is destroyed except for a part on the extreme right that shows offering scenes; the rest of the wall has been consolidated with cement. The fragmented scene is divided into three registers. xkr Frieze The frieze, c. 30 cm high and 3 m wide,345 is partially destroyed, with only 12 or so units are intact. Soot that covered the walls, the result of a fire in the tomb, and the conservators have restored it using plaster. The colours were severely affected and have lost their brightness. The wall itself is dark, but traces of red and blue can be seen in the frieze, as well as the remains of the soot on the wall. North wall (see figure 26, 26A) Dimensions: The scene is 70cm in height and 1m in width The scene is c. 70 cm high and 1 m wide. The first register shows two men, one facing right, the other left. The person facing right is destroyed except for part of the head down to the eyes, and his right hand extending to receive offerings from the person facing him. Part of a ‘sxm’ sceptre can be seen between head and hand. The head here seems to be larger than that of the man standing in front of him, indicating that this man was seated on a chair. There are two lines of text above his head, one horizontal and one vertical. Text: First register, person who receives the flowers

1. n kA n wab n Imn For the ka of the priest of Amun 2. %A - Imn

345

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 49.

129

tomb of kha-em-hat The man facing left is represented in a standing position. He is bald and wears a wide belt, short kilt, and sandals. His right leg is forward. He is holding flowers in his left hand, and in his right is a table with various offerings; he presents both items to the person in front of him, the so-called ‘%A- Imn’. He is wearing sandals. Six lines of text (one horizontal and five vertical) are inscribed above his head.Text: First register (person who gives lotus flowers)

(1) Ssp Aw (2) prt m bAH Imn (3) nsw nTrw Hst.w (4) mry.t (5) jn sA .f (6) wab n Imn smn (1) Receive the offerings (2) going out in the presence of Amun (3) King of gods, the praised one (4) the beloved (5) by his son (6) the priest of Amun Smeni. Second register Dimensions: the scene is 70m in height and 1m in width The scene, c. 70 m high and 1 m wide, shows the deceased standing, facing left, wearing a long wig. His body is destroyed down to his waist, but the lower body is almost intact. Barefoot, he has on a short kilt, over which is a long, transparent garment, short in front and long at the back. The hanging part of the belt falls over the middle of the kilt. The deceased is giving offerings, both hands presenting two vases to someone. Unfortunately, the rest of the scene is destroyed, except for an arm stretched towards the deceased, as if taking what he gives, and part of a thigh. A little further on we can see part of the long wig of a person, or god perhaps, as well as a shoulder, collar, and a wdjat eye, as part of the text inscribed behind the person with the wig. It seems that there were two figures in front of the deceased, allowing for the large space in front of him. One of these is a woman or goddess, going by the fragment in the middle which shows part of a long, female wig. Both figures might have been seated, judging by the difference in height between their heads and the deceased. From the text, they might be Isis and Nephthys, and the deceased was giving offerings to them. A very close parallel is to be found in the tomb of Pa-nehsi (east wall, inscribed on the inner, left side of the tomb entrance), with slight differences.346 The deceased is represented 346

Dd mdw hA Wsjr N jj n.k snt.k Nbt –Ht snt jm (yt) gHst Ts.s n.k tp , ,k jnk.s n.k Qsw .k dmD.s n.k awt.k di.s TAw r fnD.k anx

130

Transverse Hall standing, raising both hands with ‘medjet’ vases, given as offerings. He is wearing a plaited wig, a transparent, short-sleeved shirt (with some traces of red colour on his left shoulder). His body is destroyed from chest to waist. He has on a short kilt under a long, transparent one, a belt around his waist, and a ribbon hanging down in front. He is barefoot. Text:

(1) prt m jr Hr mH n.i tw im .s (2) Dj (j) .n .k qs.w. k dmD .s n.k awt .k sfx.s ….r (3) ...[Ss]p .n.k ……stf….. mj Ra pr……. (4) n nTrw A…….(5) m-a……jw r .k itt a.k (6) Ḥr Ds.f (7) nb pat (8) in sS-nsw jmj-r Snwty prwy ¢a- m……. (1) That which comes out of the eye of Horus, I filled you with it. (2) join together your bones for you, assemble your loosen limbs for you………(3) …(receive) …… for you ……. like Ra, come forth …..(4)…. For the gods …………… (5)…towards you …….. take ….. (6) Horus himself….. (7) Lord of the Nobles (8) By the royal scribe, overseer of granaries of the two houses Kha………347

srq Htyt.k, ‘Ho Osiris N. your sister Nephthys has come for you, he sister who is from Gehest town, that she may lift up your head, pull together your bones for you, assemble your bones for you and give breath to your nose so that you may live and your throat breathe’; cf. R.H. Badry, Recontextualized the Pyramid Texts ‘Serpent Spells’ in the Saite Contexts, Institut des cultures Mèditterranèennes et Orientales de l’acadèmie Polonaise des sciences, Ètudes et Travaux 26, 2013, p. 286; cf. Gomaa and El Sawi, Das Grab des Panehsi, Wiesbaden 1993, p. 11. figure 3. 347 V. Loret wrote only the column number eight, the rest may be was not clearly visible from the soot.

131

tomb of kha-em-hat Third register The scene, c. 70 cm high and 1 m wide, is severely destroyed except for the extreme right and some details. It represents the deceased standing, facing right, in front of an offering table with piles of various types of food (meat, vegetables, bread, fruit) and flowers. He is giving offerings to two seated persons, each on a separate chair. The legs of the chairs end with paws. The first person facing the deceased is wearing a long transparent kilt, showing parts of his thighs and down to the feet; he is barefoot. Traces of light-red colour align with the skirt, from knee to shin. Of the second figure in the row, only the feet can be seen and the back leg of the chair. The rest of the scene is destroyed. The deceased is represented standing, wearing a plaited short wig, a shirt with short sleeves, a short kilt under a long one, short at the front, long at the back. A wide belt is tied around his waist, forming a knot at the navel, with the two ends hanging down in front – one end shorter than the other. His face has gone, but it is clear both arms are raised, giving offerings, although the hands and what he is carrying have vanished. He is barefoot. There are eight vertical columns of text in front and around the deceased. One of the lines is short and horizontal above his head, and one vertical line is seen behind him.

132

Transverse Hall (1).…Xrt nTr pr .k aq .k n nHH Ssp (2) …… Hk nw m dj dj n PtH tA wab ….. bA .k (3) wAD mtw.k ……Ḥapy (4) dj .f n …….n .k t Ḥwt-Ḥr dj .f n.k (5) ……… dj .s .n.k jrtt… amw.k rdwy .k Hr jnr (6) Hr..xf …m dj.k wnx…n.k (7) wab mnxt m djdj …n….swjr .k mw Hr (8) dj.j n.k……. (1) Necropolis …… may you come forth and come in to ……….for ever, receive …… (2) offering…….from what is given by Ptah, purified bread…….to your soul (3) May your semen seeds to be flourish ………Hapy (4) He gives………to you bread of Hathor, he gives to you ………(5) She gives to you milk……. Amw.k ??? ….your legs upon stone (6) …..upon ??? by you mummy clothing to you (7) Pure clothes that was given ……. You drink water upon (altar)…… of Re (8) I give to you …… Horizontal line in third register:

(9) dj n .k Wsjr xt nbt jn sS- nsw (10) jmj-r Snwty prwy (I) give to you Osiris all things by the royal scribe, overseer of granaries of the two houses. The dado lines are well preserved; there are two colored lines, one yellow while the other one is red and outlined with black.

133

tomb of kha-em-hat

Figure 26. Hall - north wall. Giving offerings (by A. Damarany).

.

134

Transverse Hall

Figure 26A. Hall - north wall. Giving offerings (by A. Halim).

135

tomb of kha-em-hat XV.Hall - west wall - north side (see figure 27, 27A) Homage to King Amenophis III. This scene, c. 2 m high and 3 m wide, occupies the whole surface of the wall. The scene is partially preserved except for some damaged areas that were covered with plaster when restoring the rest of the scene. A cast replaced the head of the king, and the original head is now in the Berlin Museum (14503).348 Traces of colours can be seen. The scene is bordered by a coloured band, except for the bottom part. Two broad, red dado lines are seen at the bottom end of the wall. To celebrate the jubilee festival of Amenophis III, Kha-em-hat and his subordinates have been called before the king to be rewarded for increasing harvest levels.349 As with most 18thDynasty private tombs, representing the reigning king on his throne became de rigueur. The ruler sits enthroned under a canopy and four pillars, the front pillars with capitals in the shape of the blue lotus flower, with two buds each on one side. The backs of pillars were decorated with closed papyrus-bud capitals. On the abacus there is a narrow architrave, on the king’s head, decorated with a double row of uraei with the sun-disk over them. The cobra frieze is repeated at the very top of the canopy, but ends with a cow’s head leaning down, standing for the goddess Hathor, with horns and its tongue protruding. Under the cow’s head there is a hanging ribbon, underneath which is a standing cobra topped with the sun-disk.350 Between the pillars there is a row of egg-shaped drops hanging down. The khekr frieze tops the kiosk, towards the ceiling, painted in blue and yellow; the sky is blue with yellow stars, the cobras blue and yellow on a red background, and the pendants blue. The lotus capitals are also blue, while the columns are painted in red, yellow, and green.351 The closed papyrus bud capital is painted blue, but the colours on the column itself are now faded. The king is represented to the left of the kiosk, sitting on his throne and wearing a short wig fixed with a band around his head and uraeus on his forehead (the head we see today is a replica, the original being in the Berlin Museum).352 He has a double collar and arm bracelets; the royal insignia is in his hands – crook in the right, together with the sign of life (ankh), and the flail in his left. He is represented in profile, except for his bust which is represented in full figure. He wears a long kilt and rests his sandalled feet on stool. The seated king on his throne, holding the royal insignia, is a counterpart to the scene on south side of the west wall. There are two significant differences here: the short wig held on his head by a diadem that has the cobra in front and two ribbons hanging down at the back, and also the facial features, which differ entirely from its counterpart, that echo the classical Porter and Moss, Topographical bibliography of ancient Egyptian hieroglyphic texts, reliefs, and paintings, The Theban Necropolis 1, Private Tombs, Oxford 1994, p. 116. 349 J. Baikie, A History of Egypt, London 1929, p. 225. 350 The unification of the kings and the sun god Amun-Re started from the reign of Amenhotep II. The deceased king appears in tomb scenes with Sbyw to symbolise his divine solar status, so the king is represented seated in a kiosk that bears solar images and represents the sun god. The ceremony here is done in the presence of Hathor the daughter of Re, so the king is portrayed in a kiosk decorated with a frieze of cobras bearing the sun-disk, the symbol of the eye of Re; cf. J. Padgham, A New Interpretation of the Cone on the Head in New Kingdom Egyptian Tomb Scenes, BAR International Series 2431, Oxford 2012, p. 44. 351 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, p. 38. 352 A. Springer, Die Kunst die Altertums, Leipzig 1923, p. 42 (head No. 14503 in the Berlin Museum). 348

136

Transverse Hall style (type A) that has a long tradition in Egyptian reliefs and was regularly used in royal iconography starting at the beginning of the 18th Dynasty. The eyes were represented with an almond shape, quite elongated, and with a thick, straight cosmetic line; the nose is short and turned up, and the lips protrude slightly.353 Before the king, the god Edfu is represented in the form of the sun, around which is the coiled uraeus, touches his nose with the sign of life, and the name Edfu is inscribed in hieroglyphs ‘pHdt’. The throne is decorated with a scene representing the king as a sphinx trampling down his enemies, two Nubians and an Asiatic, behind him is the winged cobra, representing the two principal deities of Upper and Lower Egypt. The title is written separately, perhaps for lack of space. The cobra is wearing the red crown and behind it there are the signs for

WADt nbt, ‘lady of the Wadjet plant’.354 The

winged cobra spreads its wings in front and in between the wings are the

Sn wAs signs.

The goddess rests on papyrus and lotus plants tied together, with the inscriptions hnt n Trw, ‘Mistress of the Sky God’. The full title is WADt nbt pt Hnwt Ntrw, ‘goddess Wadjet Lady of the Sky, Mistress of the God’. The throne is flanked with a lion’s head, only one being visible. The legs of the chair are those of a lion, elongated and ending in paws; these chair legs standing on small cylindrical poles. Between the legs of the chair two enemies are represented with ethnic features, a Nubian and a Syrian; their hands are tied at the elbows to a pole, signifying the unification of Upper and Lower Egypt. In front of the canopy there are steps leading to the throne of the king. Underneath the steps there is a Rekhyt bird on an ‘nb’, lifting both hands. Facing the bird is a representation of the Nine Bows, similar to the scene on the south wall. The order of these names is the same as in TT 57 (Kha-em-hat) at Qurna, TT 48 (Amnemhat Seruro) at Khôkha, and TT 42 (Amenemose) at Qurna, from the era of Amenophis III. The same list is found in other tombs from different periods.355 The right side of the scene is divided into three registers, including six vertical columns of text – one long line, the others short. The hieroglyphic lines record that Amenophis III is celebrating the jubilee festival of his reign, giving life, stability and prosperity forever, and that he appears on his throne to reward the chief officials of Upper and Lower Egypt. The reward by the king and chief officials of Upper and Lower Egypt is made to the overseer of granaries increases in harvest levels over 30 years.356 The first register on the right side of the wall represents the deceased stretching out his arms in front of one of his subordinates who helps him to put on a necklace. The barefooted man looks young, with a bald head, and is wearing a short kilt with a belt tied around his waist and knotted in the front. He reaches both arms around Kha-em-hat’s neck to fasten the necklace This model of face features was to be found in TT 47 Userhat, TT 48 Surer, TT 57 Kha-em-hat, TT 192 Kheruf, and on the reused filling blocks of the third Pylon of Karnak, Type B facial features were used more than Type A as attested in TT 55, TT 57, TT 192, K. Myśliwiec, The Art of Amenhotep III, Ohio 1990, p. 18-20. 354 For a description of the enemies and the Haou-Nbou, see the entry on the ‘Hall – west wall, south side of TT 57’, p. 104–120. 355 J. Vercoutter, Les Haou-Nebout, BIFAO 48, 1949, p. 15. 356 W. Wres. Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, figure 203. 353

137

tomb of kha-em-hat from behind. Kha-em-hat leans slightly forward, his arms held out in such as way as to allow the subordinate to fasten the necklace around his neck. He is wearing a designed wig with thin locks of different length, topped with a perfume cone.357 These cones only appeared on the tomb owner’s head when wearing the ‘Sbyw’ necklace.358 The cone developed in shape, becoming larger and pointed during the reign of Amenophis III. In this scene the deceased wears a transparent shirt that shows his upper torso, and his rolls of fat are clearly seen. He is also wearing bracelets on both arms and a short kilt with a design somehow folded into three parts of the fabric, two of them being down and the third stretched in front. Behind the subordinate there are five stands on mats stacked on top of each other – the upper one looks like a lighted flame and a pot with a cover on it. Two lotus flowers are placed over the top covers of the stands, a basket next to them, while the second one is full of gifts. There is also a table between the deceased and his subordinate, covered with necklaces and various other jewellery. Traces of colour (yellow, red, green, blue) are to be noticed on the necklaces, mats, and the lotus flower on top. Behind the deceased again stands a subordinate placing the perfume cone over his master’s head. Kha-em-hat is standing upright, with the change in posture noticeable, as here his chest appears stretched. He is wearing a designed wig with a cone on top, a necklace, and a designed kilt with a belt knotted in front. His left hand is bent towards his chest, palm open, while the right is beside his body, touching the hand of his subordinate. There is a large vase on a stand between the two men. Traces of red colour are clear on the body of Kha-em-hat. Both figures are barefoot. Behind the deceased is a row of six men, all facing the same, wearing wigs, shirts, and aprons with belts around the waist. Their left hands are bent to the chest, resting on the right shoulder, while their right hands are next to their bodies, but slightly forward. They are all barefoot. The second register represents the subordinates, paying homage to the king, in several rows; they are in various positions, some standing, some sitting on the ground, while others prostrate themselves. The first group consists of two men standing side by side, wearing wigs topped with cones, necklaces, armlets, and bracelets. They have short kilts with belts knotted around their waists with hanging tassels. Both hands are lifted and they lean slightly forwards, showing folds of fat on their torsos. They are closely followed by a third man in the same costume and position of body and hands, except that his torso does not reveal as much fat as his colleagues. Next to these men two subordinates, again with rolls of fat, prostrate themselves, heads, hands, knees, and toes on the ground. The following group consists of two rows, each with two men standing side by side. They are similar to the previous rows, except that the last two men are standing straight and exhibit no folds of fat on their bodies. They are followed by a four men sitting on the ground, similar to the others, but they rest only their left knees on the ground. The last group consists of three men, similar to the previous figures, except that they have no folds of fat and the wig of the first man is plain, without locks like the others, and, barefoot, their left legs step forward. The cone ceremony is attested from 28 tombs in 30 scenes. TT 57 shows only one phase of the ceremony, TT 217 shows two scenes, and TT 55 four; J. Padgham, A New Interpretation of the Cone on the Head in New Kingdom Egyptian Tomb Scenes, BAR International Series 2431, Oxford 2012, p. 40, fn. 316. 358 There is a connection between the cone and the necklace, the ‘Sbyw’ presented to the tomb owner is believed to be presented by the king to Amun Re before being given to the tomb owner, e.g. scenes at Karnak showing Tuthmosis III dedicating more than one necklace to Amun-Re; J. Padgham, A New Interpretation of the Cone on the Head in New Kingdom Egyptian Tomb Scenes, BAR International Series 2431, Oxford 2012, p. 45, fig. 367. 357

138

Transverse Hall The third register consists of nine men in succession, forming four rows. The first two rows show two men each, followed by another group of three men, then the fourth row has again two men. The heads of the first two men have been replaced as they were initially broken.359 They all look the same, with wigs topped with cones, wide collars around the neck, but in the last two rows the collars are narrower. They wear armlets, bracelets, and have on short kilts, tied with a belt around the waist and knotted in front. All are barefoot. The deceased occupies the middle scene, represented in large scale. He has a designed wig, four rows of a beaded collar underneath two wide ones, bracelets, and armlets. He wears a transparent shirt with short sleeves, and a short, pleated kilt with a design. He is leaning forwards in front of the king, his right hand (now missing) hanging down by his side and the left bent to rest on his chest. His nipple and folds of fat were very clearly represented. He is barefoot like the other figures. The scenes have suffered damage. Perfume cones Perfume cones are not yet found in images of the Middle Kingdom, and are therefore probably inventions of the 18th Dynasty. Initially they were flat, about the size of a fist, but from the time of Tuthmosis IV onwards the larger form gained popularity. Flat or bent belly The increase of full bodily forms can also be observed in male depictions. The modelled or fuller male abdomen is more frequently seen after the time of Tuthmosis IV in a noticeable trend. However, the starred belly remains standard and is found in over half of all pictures.

Squeezes 4.1–68D were made, or acquired, by the Revd. Henry Stobart (1824–1895) in Egypt in 1854/5; squeezes 1.1–15 were made by an unknown person in the 1880s or 1890s; cf. J. Malek et al., Griffith Institute (22 January 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391–1353 BC) (viewed 12 August 2019). 359

139

tomb of kha-em-hat Squeezes – – – – – – – – – – – – –

Griffith Institute Squeezes 4.12 - head of Kha-em-hat. Griffith Institute Squeezes 4.55 - text above Kha-em-hat. Griffith Institute Squeezes 1.9- official being rewarded, from left end of register I. Griffith Institute Squeezes 4.13, 4.13a and 4.13b - upper part of official being rewarded, from left end of register I. Griffith Institute Squeeze 4.14 -u part of official being rewarded, from middle of register I. Griffith Institute Squeeze 4.15 - upper part of official and six men, from middle and right end of register I. Griffith Institute Squeeze 4.16 - upper part of 1st, 2nd and 3rd officials from left, in register II. Griffith Institute squeeze 4.17 - upper part of 3rd, 4th and 5th officials from left, in register II. Griffith Institute squeeze 4.18 - upper part of 4th, 5th, 6th and 7th officials from left, in register II. Griffith Institute squeeze 4.19 - Upper part of 7th, 8th, 9th and 10th officials from left, in register II. Griffith Institute squeezes 1.8, 4.9, 4.9a, 4.9b and 4.9c - Head of Amenophis III. Griffith Institute squeezes 4.11 and 4.11a - cartouches of Amenophis III. Griffith Institute squeezes 4.10 and 4.10a - Sphinx slaying captive on arm of throne, and upper part of captives on side.

Inscriptions inside the king’s pavilion

140

Transverse Hall

(1) nswt- bjtj Nb-MAat- Ra (2) [sA Ra] Imn -@tp HqA -WAst…….. (3) …Hb-sd (4) dj anx Dd wAs mj Ra Dt (5) xat nsw Hr st wrt r fqA nA n xrpw nw ^ma-MHw (1) King of Upper and Lower Egypt Neb-Maat-Re (2) son of Re, Amenophis ruler of Thebes (Waset)…… (3) Heb-Sed (Jubilee) (4) given life, stability and dominion like Re, forever (eternity) (5) appearance of the king on the great throne to reward the administrators (governor) of Upper and Lower Egypt.

Text on top of Kha-em-hat (1) fqA nA n jmj-r pr n (2) nA n pryt aA anx -wDA -snb Hna(360) (3) nA n xrp.w nw ^mAa-MHw (4) m xt Dd n pA jmj-r Snwty r sn r dj sn (5) HAw Hr Smw sn rnpt 30 (1) Rewards to the house overseer (2) of the house of the pharaoh, may he lives, be prosperous and healthy, with (3) the administrators (governor) of Upper and Lower Egypt (4) the house overseer of the two granaries said to them; (5) they caused to exceed their harvest for year 30.

360 this part is corrected by Zethe, see Urkunden des ägyptischen Altertums 1, Abt. 4, Urkunden der 18. Dynastie, Leipzig 1961:1841, 10.

141

tomb of kha-em-hat

Text in front of Kha-em-hat rpa.t HAtj- a mH - jb n nswt m tA r Dr.f jjr nsw m nwty ^maw anx-wy.f 361 m spAt.w tA 362 Hereditary noble, the mayor the trusted by his majesty throughout the entire country, appointed by the king in the cities of Upper Egypt, and his ears in the districts of……. This word was mentioned in the Hymns for Amun-Re in Chester Beatty IV = pBM EA 10684, Recto:  (line [8, 5, 10, and 13) as per example but not exclusively. 362 Helck, URK 4 , 1961:1841, completed this line 361

mHw sS nsw jmj-r ^nw nw Sma -mHw #a- m -HAt, Lower Egypt, royal scribe, overseer of granaries of Upper and Lower Egypt Kha-em-hat.

142

Transverse Hall Similar scene in different tombs (rewards or appoints) TT 57 scene no. 15 Tomb Number TT 23 Thay

Provence

363

TT 49 Neferḥōtep364 TT 50 Neferḥōtep

365

TT 55 Racmosi366

TT 75 AmenḥotepSi-Se367 TT 93 Kenamūn368 TT 106 Paser

Sh. Abd el-Qurna c

369

Khôkha

Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

TT 148 Amenemōpet

Drac Abû el-Naga

TT 188 Parennūfer370

Khôkha

TT 217 Ipuy372

Deir el -Medina

TT 192 Kharuef371

Asâsif

Date

Scene Location

PM Reference

Ay

Hall – West wall

p. 92, no. 7

Merneptah Ḥaremḥab

Amenophis IV Thutmosis IV

Hall – East wall

Hall – South wall

Hall – North wall Hall – South wall

p. 39, no. 18 p. 95, no. 2

p. 110, no. 12 p. 147, no. 3

Amenophis II

Outer hall – West wall

p. 192, no. 17

Ramsses III to V

Hall – North wall

p. 259, no. 4-5

Amenophis IV Amenophis III to IV

Hall – South wall

p. 294, no. 9

Ramsses II

West of CourtPortico, West wall Hall – East wall

p. 315, no. 2

Sethos I to Ramesses II

Hall – East wall

p. 221, no. 5

p. 299, no. 6

Conclusion The scene is attested in 11 tombs, seven from the 18th Dynasty and four from the Ramesside period. Six are located at Qurna, two at Khôkha, and the others at different adjacent sites.

A.K. Kitchen, The Royal Secretary Tjay: His Family and Namefigure, BACE 2, 1991, p. 69-74. N. Davies, Neferhotep, 2, New York, 1933, figure I, IX, X. 365 J. Duemichen, Historische inschriften altägyptischer denkmäler: 2. folge, nebst einigen geographischen und mythologischen, II, Bad Honnef 1982, figure XL. 366 N. Davies, The Tomb of the Vizier Ramose, London 1941, p. 15. 367 N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London, 1923, figure XI- XII, p.14-15. 368 N. Davies, The Tomb of Kenamun at Thebes, New York 1930, p. 17-19, figure VIII. 369 J. Duemichen, Historische inschriften altägyptischer denkmäler: 2. folge, nebst einigen geographischen und mythologischen, 2, Bad Honnef 1982, figure XLI. 370 N. Davies, Akhenaten at Thebes, JEA 9, 1923, figure XXIII, XXIV, p. 138-139. 371 A. Fakhry, Kheruef, JEA 42, figure XL, p. 491. 372 N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London 1923, figure XXVII, p. 48, the development that took place during the Ramesside period is the change of the king in a kiosk, it started to take place infront of the palace window. 363 364

143

tomb of kha-em-hat

.

Figure 27. Hall - west wall - north side. Kha-em-hat being rewarded by King Amenophis III (by A. Damarany).

144

Transverse Hall

Figure 27A. Hall - west wall - north side with squeeze Kha-em-hat being rewarded by King Amenophis III (by A. Halim).

145

tomb of kha-em-hat XV.A Ceiling of the transverse hall- north side (see figures 28 -30A) The ceiling overall is c. 7.40 m long and 2.20 m wide. It is decorated with coloured geometrical patterns, and although large parts are damaged the colours are relatively bright and clear. The ceiling was divided into three parts – northern, middle, and southern. The southern part is destroyed, as is most of the middle, yet the northern part is preserved to date. Three long lines of texts were inscribed, one on each side, and another in the middle. The ceiling also suffered from soot, as did the rest of the tomb. It has been restored by adding two blocks to consolidate it, but it still suffers from cracks that need further restoration to protect it from total loss. There is a rectangular opening in the southern part which connects it with the hill above.373 The inscriptions on the ceiling on the north side are divided into three long lines, one on each side and one in the middle.Middle line inscriptions (north side - see figure 28) Jj Wsjr wr- mA.w n hnj- Inpw sS-nsw imy-r Snwty ¢a-MHAt mAa-xrw Tsj Tw Tsj sw kA .k Wsjr sS-nsw ¢a-m-HAt mAaxrw xdj .k r Dd.w (xntj .k r AbDw) (¢a-m-) HAt mAa-xrw mA n .k s aHa Dd m Dd.w Wsjr sS-nsw jmj-r Snwty ¢a-m-HAt mAa-xrw smn n .k Dam n sAH Wsjr sS -nsw ¢a-m-HAt jrj .k snn .w n jmj -wt dwA.t n .t nTrjj.t Wsjr sS- nsw ¢a-m-HAt O Osiris, (the blessed) greater of seers, to the chest of Anubis, the royal scribe, overseer of granaries Kha-emhat, the justified, rise up and rise up your ka, Osiris, royal scribe Kha-em-hat, the justified, may you go downstream towards Busiris (and you go downstream towards Abydos) Kha-em-hat the justified, may you observe the setting up of the Djed pillar in Busiris, Osiris, royal scribe, overseer of granaries, Kha-em-hat, the justified, may you be handed the Dam scepter of the Orion, Osiris, royal scribe Kha-em-hat, you make the companions of the shrouds (of Anubis jmj-wt) located in the morning of the nTrjj.t festival, Osiris, royal scribe Kha-em-hat.

373

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 51.

146

Transverse Hall

Figure 28. Hall –Ceiling –north side- Middle line inscriptions (by A.Halim).

147

tomb of kha-em-hat Ceiling line parallel to the west wall - north side (see figure 29) The line was written horizontally, as opposed to the middle line, which was inscribed vertically. Parts of the inscriptions have suffered from damage and fire, but most of the signs are relatively clear.

Tsj kA Tw Tsj sw kA.k sm-n- Sspat mAa-xrw Ss-nsw ¢a-m-HAt dj .n.k …..Hk…nt k jmj kA jrp sn Wsjr StA m Pr nfr ¢a-m-HAt dj.n.k j msn tp s n .k jmnt sAx nb nty iArr .f …Wsjr sm n At Ssp n at ¢a-m-HAt rise up and rise up your ka, sm-n- at, the justified, the royal scribe Kha-em-hat, I give…. to ……..you (sacred oil to you all within the ka, their wine, O Osiris, mysterious ….in the funerary hall Kha-em-hat the justified, I gave to you, there … to you the west and all the glorification which (grant) Osiris to the blessed one sem priest of the great chamber, Kha-em-hat.

148

Transverse Hall

Figure 29. Hall – text of the north side ceiling – parallel to the west wall.

149

tomb of kha-em-hat

Figure 30. Hall - ceiling - north side (by A. Damarany).

150

Figure 30A. Hall - ceiling – full view (by A. Halim).

Transverse Hall

151

tomb of kha-em-hat XV.B Hall - west wall - door entrance - see figures 31-31A) The east face of the doorway to the passage is c. 3 m high and 1.70 m wide. The lintel is decorated with a top double-scene and four vertical columns of texts on each side. The right side is better preserved than the left. Traces of colour can be seen on some signs. Kha-em-hat is giving offerings to Isis and Osiris It is a double counterpart scene, about 60cm in height and 85cm in width. This is a double counterpart scene, c. 60 cm high and 85 cm wide. On top of the west wall entrance door, there is a double-scene of Osiris on his throne in mummified form, wearing his Atef crown and carrying the crook, the ‘WAs’ sign and the flail, behind him stand Isis and Nephthys. Osiris is represented seated on a low-back chair and in his mummy form, wearing a crown with the sun-disk in the middle and with two horns to the side. In front of Osiris there is an offering table with Kha-em-hat standing facing it and Osiris, in obvious adoration. The table is piled with various offerings. The right side of the scene represents Kha-em-hat standing, facing left, raising both hands in adoration. He is wearing a wig, transparent shirt with short sleeves, a short kilt with a belt around his waist, topped with a longer transparent one of lengths, short in front, long at the back. The scene is mutilated, and two casts were added during the restoration work that identified the work as an offering scene, followed on both sides of the door with the Htp-dj- nsw formula. The inscription in front of Osiris is only a title, and nothing more can be read as the rest of the scene is damaged. An Inscription with the name of Isis can also be read, but the whole block was added and is not the original one, according to Loret, who mentions both goddesses, each standing on a pedestal behind Osiris. Both wear the sun-disk between two horns above their heads, the uraeus in front, a long wig, tight-fitting dress, raising her right hand and holding the ‘anx’ sign in the left, held down by their sides. The current restored scene in the tomb shows only Isis and a part of Nephthys (

nbt-Hwt).374

Squeezes – Griffith Institute Squeezes 4.36a, 4.36b and 4.37 - Osiris and Isis, from left half of outer lintel, and Nephthys, from right half. – Griffith Institute Squeezes 4.68 - Kha-em-hat, from right half of outer lintel. – Griffith Institute Squeezes 1.10 - part of five columns of text from right thickness. – Griffith Institute Squeezes 4.50 - middle part of columns 2-6 of text on right thickness. – Griffith Institute Squeezes 4.51 - bottom part of columns 2-6 of text on right thickness. – Griffith Institute Squeezes 4.52 - top part of columns 2-6 of text on right thickness.

The name of Nephthys is clear in the squeeze held at the Griffith Institute; cf. J. Malek et al., Griffith Institute (22 January 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391–1353 BC) (viewed 12 August 2019). 374

152

Transverse Hall Left-hand side scene inscription aA HqA Dt the great………. ruler for eternity

Ast mwt nTr(375) nb pt.376 Isis the mother of god, mistress of the sky.

Four vertical lines of text as follow (right-hand side) These are better preserved than on the left side, the upper top sections are all broken. The text is the ‘Htp dj nsw’ formula. (1) [Htp dj -nswt377]………. jnH gr wA …….. r n kA .n wrw-mAw n a.t Spsj jmj-r Snwtj sS-nsw ¢a….. (2) [Htp dj -nswt ]……Hr- tp jw grt ……..jmj Ha.f n kA n Hr- tp m pr-nfr378 jmj- r Snwtj n nb tAwy sS- nsw ¢a…….mAa-xrw (3) [Htp dj- nswt ]……… n tj bA r pt r mAA Itn n kA n Hry-sStA m pr- nfr sS- nsw ¢a …….mAa-xrw (4) [Htp- dj -nswt] As.t …….stp sAw.t Hr jmj-r Snwtj n nb tAwy m ^ma-MHw sS-nsw ¢a……..mAa -xrw (1) [May the ……. be kind and give], ……..embrace him, moreover to push the cord…….. the great to the Ka of the great observer of noble office379 the overseer of granaries, the royal scribe Kha-em-hat. (2) [May the ……be kind and give], …….. moreover…….. clothes, products to his flesh, to the ka of the chief of the funerary house, the overseer of granaries of the lord of the two lands, the royal scribe kha-em-hat. (3) [May ……… be kind and give], ba in the sky to see Aten and the ka [bearer] of secrets of Anubis in the place of the funerary house, the royal scribe ……. (4) [May Isis be kind and give], the protective mother goddess,………….. protection for the overseer of granaries of the lord of the two lands of Upper and Lower Egypt, the royal scribe (Kha)……….. The title “Mwt nTr” appeared in the New Kingdom; cf. Chr. Leitz, Lexikon der ägyptischen Götter und Götterbezeichnungen, 8, OLA 129, 2003, p. 261. 376 The title of Isis “nbt pt” is a very common title; it appeared in the Old Kingdom and lasted till the Graeco-Roman period, cf. Chr. Leitz, Lexikon der ägyptischen Götter und Götterbezeichnungen, 8, OLA 129, 2003, p. 49. 377 For more info, cf. F. Detelef, The Middle Kingdom Offerings Formulas, JEA 89, 2003, p. 39-57. 375

378

pr-nfr funerary workshop, cf. Stele des Abkau (Louvre C 15) (line [x+9], Papyrus Boulaq 3 (Theben West), Balsamierungsritual (line x+2,18), Illahun, pBerlin 10038 A, Brief eines Vorgesetzten (line [VS;11]); Adolf, E. and Hermann, G ,Wörterbuch der Ägyptischen Sprache, Berlin 1971, 517.11. 379 Military title known since the Old Kingdom, Adolf, E. and Hermann, G ,Wörterbuch der Ägyptischen Sprache, Berlin 1971, p. 236, 12.

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tomb of kha-em-hat

154

Transverse Hall Four vertical columns (left-hand side) Four vertical columns bearing inscriptions can be seen on both sides of the door; the left side is mostly damaged except for some signs, but the beginning of each column shows clearly that the ‘Htp -dj -nsw’ formula is being used. It seems that when Loret visited this tomb there were still some intact parts that are now broken; he did not record the rest of the columns, as they were covered in sand, thus the tomb was not cleaned by the time he worked in the tomb. By adding the inscriptions – the present one and Loret’s – we could have almost half of the text. 380

380 The text on the walls now is completely different from when Loret visited the tomb; cf. V. Loret, La tombe de Khâ‐ em‐hâ, MMAF 1, 1889, p. 121, Porte B, Salle I (L-M).

155

tomb of kha-em-hat (1) Htp - dj- nsw ….. mAa – xrw (2) Htp - dj- nsw ……..w nfr.w r jAA.t (n sS - nsw ¢a - m - HAt mAa- xrw) (3) Htp - dj -nsw Gb m Ḥwt……. mAA n Hn Inpw sS - nsw ¢a- m- HAt mAa – xrw (4) Htp - dj - nsw ….. Hr - tp……. pAq …… mrHt rwd …. nb - tAwy m ^ma-MHw sS -nsw ¢a- m - HAt mAa - xrw (1) May the king be kind and give ……..(the justified). (2) May the king be kind and give….. good ……mounds of rubble…. (for the royal scribe Kha-em-hat the justified) (3) May the king and god Geb be kind and give, …… see ……the box of Anubis…..royal scribe Kha-em-hat, the justified. (4) May the king be kind and give, ………, on top of ……, fine linen….., oil in the tomb shaft…….., the lord of the two lands, Upper and Lower Egypt, the royal scribe Kha-em-hat, the justified.

156

Transverse Hall

Figure 31. Hall - west wall - door entrance.Htp-dj-nsw - formula - Osiris with Isis and Nephthys (by A. Damarany).

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tomb of kha-em-hat

Figure 31 A. Hall - west wall - door entrance with squeeze. Htp-dj-nsw - formula - Osiris with Isis and Nephthy (by A. Halim).

158

Transverse Hall XV.C. Hall - west wall - door entrance - north door thickness (see figure 32)

159

tomb of kha-em-hat (1) 0rpa.t HAtj - a (381)wr m jAt.f m nsw anx wDA snb Hr tp sStA Snwt mH jb n @r m MAat Jnpw n Tsw.t .f ra jp Tnw.t sS- nsw Hs nb .f jmj-r Snwty n nb-tAwy ¢a-m-HAt mAa-xrw Dd.f xr rmT xprt.sn Hrw tA m wrw kttjw sS nb wHa Dr.f Spdw Hr m (2) 0mdw nTr wn.f w jb Akw m rx Htpw Hr spw n Axt swA Tj.sn Hr Hw.t .Tn jr.n r xnt Axw gm .T Hs n r sAwt j jnbw jSdj.T sn m Tsw.j Hst n mrj n nsw-bjty sb Tn jmAxw m Htp nn.snDt nn sDm Hryt (3) 0Xnm Tn rSwt n Dt mH jb m Xrt hrw nt ra-nb sDm .n Tnn nTrw nw njwt Tn sprw Tn nb mj djdj Tn sxA .j m- n @r- nfr Dm rn .j Hr jr.n.j Dd .k Tn Htp dj nsw [Imn] Jtm- Ra- @r - Axtj PtH %kr Wsjr Inpw jtrt ^ma-MHw n kA n (4) 0mH jb n nTr - nfr sS- nsw jmj-r Snwty n nb-tAwy m ^ma-MHw ¢a-m- HAt mAa- xrw Dr ntt r jmj jb n nfr sS nsw Hr tp m pr nfr jmj-r Snwty ¢a-m- HAt mAa- xrw jkr nb qd. s spw n wn mAa HD ra Hr pXr jb jr Axt jw.f djdj .f Hr sD n nTr nb rx .n.f rnw .sn smAa .n.f wdn nty Hr sm xt nb nfrt wabt jw .f (5) 0drp .f n Axw stwt .f mw ntyw jm r.f mH m jj sp-sn m T Hnqt n Hr nb rmT jw Hnk .n.f M3t n nsw swAS.n.f @r-nb aH nswt n st r .f m Xnwt m mnx aQA jb mty mHw jb hA n sS nsw jmj-r Snwty ¢a-m-HAt (6) 0pn r Xr-nTr js nswt m mAa - xrw tp tA n xpr sxr.f n wnn.t Ts st jm .f xr watw n stp-sA anx - wDA- snb spr .n .f r Hnwt n mAaty gm nt m sSmw .f nb r - a mxAt m bAH n rnpwt jmjw s jw jpn sw m mAa Xrw m DADAt n nTr nb nTrt nb (t) jx jnDt n Hr .f sAxA n nsw m DbA (7) 0nfrw.f mdw j jtn py n nb jtn wbn m Axt nsw-bjty psD .k Hr n sS-nsw jmj-r Snwty n nb tAwy m ^mw-MHw ¢a-m- HAt mAa- xrw dwA.f m wnwt sHtp .f m tw mSrw dj.k pr bA n sS- nsw jmj-r Snwty n nb tAwy ¢a-m-HAt pn Hna.k r (8) 0pt wdj .f tw msktt mni qd .f tw manDt Abx.f jxm sbAw jmjw pt jAw jaH jmj pSd.t sSp n jmAw .f jgr.t xa.k m Hr n sS-nsw jmj-r Snwty ¢a-m-HAt mAa-xrw jr.f m nfrw .k Ha .f n.k swAS .f stwt .k Ts (9) 0nxt.k saH n sS - nsw imj-r Snwty ¢a-m- HAt pn nn ra.f Hr Ds .f imAxw .f n.k aAy .f m jAw sHD .k n.f wAw.t sn nbt.w mj jrt.n .k n jb TAw n sn.t pt nt qAw anxw dj.k xnm sS -nsw jmy- r Snwty n nb tAwy m ^mAw-MHw ¢a-m-HAt mAa-xrw (10)0 mH stwt nDm prt xr &m Hr ntt n HA stwt wrt mt jw sA n sS - nsw Hr tp m pr-nfr jmj-r Snwty ¢a-m-HAt pn nbw nst rwD sS-nsw Inpw n hn Inpw jmj-r n nb tAwy ¢a-m-HAt mAa -xrw rwD anx sS-nsw jmj-r Snwty prwy (11) 0n nb tAwy m ^ma-MHw ¢a-m-HAt mAa-xrw anx ssn SS-nsw wr mAAw n at Sps st jmj-r Snwty ¢a-m-HAt mAa-xrw tAw jt m mnqt m …..pXr n pr-Xrw fqA n ra-nb n sS-nsw jmj-r Snwty ¢a-m-HAt mAa-xrw ….. m pr sn m Ds m wrS n jwf Hr xAyt ra Hr (12)0….. Ra n sS-nsw jmj-r Snwty ¢a-m -HAt mAa-xrw smA xt.f jmjw bAH .f nTr Sms.f Hms .f st.f m bAH nb ………. St n.f xrp H……..jAw DfAw Hapy jtrw Htp sxprw rnp.wt Hnk.t n jm n sS-nsw jmj-r Snwty n nb tAwy ¢a -m-HAt mAa-xrw 381

W. Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut 1982, title no. 854, p. 102.

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Transverse Hall (13)0……………..wry…………jrp jrtt pr sS-nsw …………..m dbH.t xt .f jrt Hssw.t m prw Hrw mrw nb qbH jAw Nwt &fn.t rw nTrw dj (14)0…………….. n sS-nsw Hr tp m pr-nfr jmj-r Snwty n nb tAwy m ^ma-MHw ¢a-m-HAt pn r mrj.f nDt Hr .f (15)0…………. ¢a-m-HAt mAa- xrw skAp .k sw jm.k swab.k (16)0……………….Hwt .f anx .f nxn m qw …. nTr snrt (1) 0Heir, local prince, great in his office in the royal house, given life, prosperity and health, the overseer of the documents of the land and granaries, truly trustful the king (fill the heart of the king in truth). Privy its tax on the day of reckoning of counts royal scribe whom his master praises, overseer of granaries of the Lord of two lands khaem-hat the justified. He says to people who are on earth, great and small, all write, all decipher skilled. (2) 0in God’s words, he make their hearts full of knowledge, resting about the matter of who are useful, they are passing by your shelter that I have made as a resting place for the transfigured. You find the praise of …….and will look on my grave walls and you take them away from my vertebra. I praise and love of the King of Upper and Lower Egypt, you may reach the respectability in peace without horror, or judge as well. (3) 0You may unite you with the joy and merriment of the daytime of everyday, you may heard us, O, the gods of your cities for all your requests (petitions), as you cause that I remember the good Horus and that my name may be named because of what I have done, you may recite: a boon which the king give, a boon which Amun, Atum, Herakhte, Ptah Sokar, Osiris, Anubis, the chapels of Upper and Lower Egypt, give for the double of …. (4) 0The trust of the good gods, royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt, Kha-em-hat, the justified and the friend of the good god, the royal scribe, head chief of the royal palace (house of beauty)(pr-nfr), overseer of granaries Kha-em-hat, the justified, excellent of character, the lord of wisdom, who has a true, showing friendly face and an open heart, he gives incense to the sacrifice lamb for each god, whom he knew their names, he glorified the offerings which are upon it, consisting of every good and pure things. (5) 0He rewarded the justified and donated (poured) water to those who are there, his mouth is full with regular offerings consisting of bread and beer for everyone. He offered the truth (Maat statue) to the king; he worshipped Horus, lord of the palace. But you called his name in the vestibule as the efficient one, right and proper. So came the royal scribe, overseer of granaries kha-em-hat. (6) 0Of the necropolis by being a justified on earth, the falling down was not done. There was no difficulty with him among the chosen friends of the palace, given life prosperity and health. He came to the hall of double truth, finding all his leaders towards the 161

tomb of kha-em-hat balance, before the years which were in it. Indeed these kings are justified in the assessors (accompany) of every god and goddess, then hail to him who glorify the king because of (7) 0His beauty and words. O Aton the lord of sunshine may you rise in the horizon of king of Upper and Lower Egypt. He was found in all his forms in addition to the balance of the gods, it counted Thot and justified the court of each god and goddess. Greet and glorify him in exchange for its completion. 382 Words Spoken: You solar disk, Lord of the rays, which lights up the horizon, King of the sun, thou mayest shine on the face of the royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt Kha-em-hat, the justified. He prays in the morning and satisfied in the evening, May you allow the soul of the royal scribe and overseer of granaries of the lord of the two lands kha-em-hat to go out with you. (8) 0To the sky. He can navigate you in the morning bark and lands you in the evening bark. He joins the imperishable stars which are in the sky. O moon of the Ennead who shines and illuminate in the underworld. May you appear on the face (of the royal scribe), overseer of (granaries) Kha-em-hat, the justified. He can look back on your beauty and cheers to you. He adored thy rays. (9) 0May you raise the honored royal scribe, overseer of granaries Kha-em-hat, he was not one who was one sided, he stretches his arm to you when you pray, but you enlighten him through all their ways like something you’ve done a grim air, the sky bread, the food to survive, you allow the royal scribe, overseer of granaries of the lord of the two lands in Upper and Lower Egypt Kha-em-hat the justified. (10) 0To breath the good north wind which comes from Atum because it protects the big seat, located in the Hermopolitan region, it guarded the royal scribe, the chief of the royal palace, overseer of granaries of the lord of the two lands Kha-em-hat, the golden one, when the royal scribe, administer of boxes of Anubis, overseer of granaries of the lord of two lands, Kha-em-hat, the justified, given life and strength to the royal scribe, overseer of granaries of the two palaces of the (11) Lord of the two lands in Upper and Lower Egypt Kha-em-hat, the justified, given life and breath to the royal scribe, the great beholder of ….., overseer of granaries, Kha-em-hat, the justified, who also breath the air, the corn god‘s vessel is filled with offerings for the dead for everyday, for the royal scribe, overseer of granaries Kha-emhat, the justified, with ….., with bread and beer and with a lot of meat from the Altar of Re (12) And from …., for the royal scribe Kha-em-hat, the justified. He receives offerings in the presence of his ancestors, he goes in and out and accompanies the gods, he sits on the throne of the lord ……., O generous Nile who provides food, who allows vegetables to grow for the royal scribe, overseer of granaries of the lord of the two lands Kha-emhat, the justified. 382

Another translation was made by A. Varille, L’appel aux visiteurs du tombeau de Khaemhàt, ASAE 40, 1940, p. 602-605.

162

Transverse Hall (13)0…..the great ……., wine and milk, it comes out for the royal scribe, ………., as offerings, if the promised is being done in the temples of those who are above each cooling channel, O Nut- Tefnut, first of goddesses, may you give (14)0……….., to the royal scribe, the chief of the royal palace, overseer of granaries of the lord of the two lands in Upper and Lower Egypt, Kha-em-hat, according to his wish. (15) [man greets him] …….., Kha-em-hat, the justified, you fumigate him and purify him (16) ……. in his house where he used to live as a child, ……. Incense.383

W. Helck, Sethe, K. and Steindorff, G. eds., Urkunden des ägyptischen Altertums: Urkunden der 18. Dynastie, 4,1961, p. 282-284. 383

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tomb of kha-em-hat

Figure 32. Hall - west wall - door entrance - north door thickness. Appeal to the visitors. By A. Damarany

164

Transverse Hall XV.D Hall - west wall - door entrance - south door thickness (see figure 33) According to Loret, the scene that adorned the left side was sawed and carried away by tourists.384 Fourteen vertical columns of text were inscribed, unfortunately most of the wall was destroyed or stolen; only the lower part is intact.

(1) ¢a-m-HAt mAa-xrw Ts.k tw Hr sA.k (2) Ra m wjA n. hnw sDm.k hAj (3) tA n maHat. sAH nxtw (4) rn njw.t spd nxt .k Dw wbA .k jn (5) sDm .k hA m Hwt rwtj (6) .k jr.k wab m tA wr (7) DA.k m wjA n nb mAa.t (8) XA.t.k mn tj bA .k r (9) Sna tw .k Ssp .k sp (10) Sx.t jArw wTs (11) xftyy.w ra sbj .k sfx (12) DA .k pt Htp .k Hr XA.t .k (13) k Hw 15 nt Hb sbj n.k Ra mrr.t (14) Sad mr jry .k Hb (1) Kha-em-hat, the justified, rise up in victory, guard upon your land. (2) Ra in his bark of jubilation, hears you coming down. (3) on the land, cenotaph to endow strength. (4) lower heaven, give you strength on the mountain, to determine your power. (5) you hear rejoicing in the temple in the two horizons (6) you make purification on the great land. (7) You sail in the sacred of lord of truth (8) your corpse will be fixed with your Soul (ba) (9) you will turn back and have your portion of food. (10) The field of (reeds) rushes paradise to raise up. (11) The enemies of Ra, you traveled yesterday. (12) you cross the sky, you will rest on your corpse. (13) food on day 15 of the festival, you will approach the desire of Re. (14) cut down, canal you make festival. 384

V. Loret, La tombe de Khâ‐em‐hâ, MMAF1, p. 122.

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tomb of kha-em-hat

Figure 33. Hall - west wall - door entrance - south door thickness (by A.Damarany).

166

Transverse Hall Fragments of columns (see figure 34)

(1) …….. (2) …. bw mAat (3) ….. m ….. mAa-xrw (1)……….. (2) ….. place of truth …….. (3) ……. the justified.

Figure 34. Hall - west wall - door entrance - south door thickness (by A.Damarany).

.

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tomb of kha-em-hat Similar text in different tombs (Address to visitors or to the living good wishes) TT 57 scene no. 16 Tomb Number

Provence

Date

Scene Location

PM Reference

TT 11 Ḏḥout385

Drac Abû el Naga

Ḥatshepsut to Tuthmosis III

Hall – (11)West wall(12) East wall

p. 22, no. 8; p. 23, no.12

TT 23 Thay

Sh. cAbd el Qurna Merenptah

Court – South wall

p. 38, no. 5

TT 24 Nebamūn

Dra Abû el Naga

Tuthmosis III

Hall – South wall

p. 42, no. 9.

TT 36 Ibi387

Asâsif

Psammetikhos I Hall – (10)West wall – p. 66, no.10; p. (23) Pillared Hall – door 67, no. 23 thickness

TT 39 Puimrēc388

Khôkha

Thutmosis III

386

c

Hall – North wall

p. 72, no. 7

TT 68 [Per?]enkhmūn389 Sh. cAbd el Qurna Dynasty XX

Hall – East wall

p. 134, no. 6

TT 84 Amuneszeḥ390

Sh. cAbd el Qurna Amenophis II

Hall – (4) West wall- (8) East wall

p. 168, no. 4,8

TT 104 Ḏḥutnūfer391

Sh. cAbd el Qurna Amenophis II

Hall – West wall

p. 218, no. 3

TT 127 Semenicoḥ392

Sh. cAbd el Qurna Tuthmosis III

Hall – East wall

p. 242, no.9

Conclusion The text appeared in nine tombs, six from the 18th Dynasty and the rest from a later period. Four are located at Qurna and the others at adjacent sites

K. Sethe, Urkunden des ägyptischen Altertums 1, Abt. 4, Urkunden der 18. Dynastie, 4-2, 1914, no. 441-4 (138), 431- 41 (137). Schott Photos4098; U. Bouriant, Petits monuments et petits textes, Rec. de Trav. 9, Paris 1887, p. 95-7. 387 B. Brugsch, Thesaurus inscriptionum Aegyptiacarum, Leipzig 1883 – 1891, 1430 [Upper]; V. Scheil, Le tombeau d’Aba, MMAF 5, 2, 1889, p. 650-654. 388 N. Davies, The Tomb of Puyemré at Thebes, 1 New York 1923, figure IX, XX, XXII, p. 36-39, contain twenty four columns of text. 389 Schott Photos4156-7; Kampp und Seyfried, Das Grab des Paenkhemenu (TT 68) und die Anlage TT 227, 1991, p. 71- 4. 390 Ph. Virey, Tombeau d’Am-N-Teh, MMAF 5, 2, 1891, p. 344-5. 391 Shedid, Abdel Ghaffar, Stil der Grabmalereien in der Zeit Amenophis‘ II: Untersucht an den thebanischen Gräbern Nr. 104 und Nr. 80, AV 66, 1988, p. 117-120. 392 W. Helck/K. Sethe, G. Steindorff, eds., 1961. Urkunden des ägyptischen Altertums: Urkunden der 18. Dynastie,4, 1961, 494-512. 385 386

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Chapter 3

Passage Passage Three stairs lead down to the passage. With a vaulted ceiling with inscriptions, it is a long, rectangular hall, c. 2.80 m high (2.50 m in the centre). It is c. 5.50 m long and 2.70 m wide. The walls were covered with low relief, mostly now lost except for some fragments found thrown on the floor of the transverse hall. These were replaced during restoration work, when the broken areas on the walls were consolidated with plaster. The registers and pictorial themes are related to the Osiris and Hathor cults, the funeral ceremonies, and the pilgrimage to Abydos.1 East Wall (see figures 35, 35A - 36) The east wall is divided into two parts, serving as the entrance from the hall to the passage. The remaining scene is c. 60 cm high and 30 cm wide. XVII. East wall - south side (see figure 36) The scene is c. 2m high and 60 cm wide. Both the right and left scene were framed with a border, now partially destroyed; the scene is topped with a huge horizon sign ( ), now almost completely broken with only the edges are visible. It is bordered at the top with a vaulted roof. The two scenes were conceived to be connected by a giant sky sign on top of the horizon sign, but only part of it is visible on the left side. The deceased is represented standing on a mountain (

Dw), facing left, towards the entrance door.

Each wall is different. On the right the deceased is represented standing, wearing a pleated wig, a long, double-row necklace ends with a heart, flanked by the Isis knot (tjt) and Osiris Djed pillar (Dd) on each side (the ‘heart amulet).2 Both his hands are lifted in adoration, but only M. Seco Àlvarez, El Niño En La Pinturas de las Tumbas Tebanas de la XVIII Dinastìa, in Kolaios Publicaciones Ocasionales 6, Sevilla 1997, p. 69. 2 The heart amulet was considered one of the essential amulets in Ancient Egyptian beliefs. It can be concluded that all the types of heart amulet known were used as symbols of healing, protection, and with the power to avert the 1

169

tomb of kha-em-hat the right hand visible. Although the rest of the scene is destroyed, it is clear that both arms stretch forwards; nothing is visible next to his body on the other side. He is wearing a short kilt, covered with a long, transparent one; both are knotted around his waist with a fringed belt with a hanging ribbon. The deceased is barefoot, his right leg stepping forwards, with only a part of his feet on the edge of the mountain sign, with his heel hanging over; as for his left leg, the heel rests on the sign, with the rest of the foot hanging over. The scene is partially damaged, the upper portion and left side are destroyed. Some of the inscriptions can be seen, however, i.e. five vertical columns of inscriptions, two behind the deceased and three in front, as follows: The combination of the heart amulet and the deceased standing on the Dw sign refers to chapter 30 B in The Book of the Dead. 3 There was an association between the heart amulet and the pendulum that was only established by the end of the 18th Dynasty. It had a magical intent – to promote the identification between the heart of the deceased with the needle of the divine scale.4 It was used for a funerary reason, as the heart would testify in favour of the deceased, preventing any false results that might occur during the weighing of the heart. Another purpose was to ensure that the symbol of the heart would be aligned with the cosmic order and serve as an image of the equilibrium required to express Maat harmony in human actions and constructions.5 The Isis knot around the neck was to ensure that the power of Isis would surround the body of the deceased.6 The Djed pillar was also represented as a funerary amulet to provide strength for the mummy’s spine.7 It took the form of the symbol of Osiris and refers to Chapter CLV of The Book of the Dead.8 Thus the wearing of these amulets would place the deceased under the direct protection of the respective deity.9

evil influences of Seth. Heart amulets were also used after the process of weighing the heart, to ensure the rebirth of the deceased and justify his or her presence within the Hall of Judgment. Ancient Egyptians believed in the amulet’s magical powers and its important role in ensuring life, health, rebirth, and the resurrection of the deceased in the netherworld; cf. R. Omran, The Representation of Heart in Sheikh Abd El Qurna Private Tombs during the 18th Dynasty, Journal of the Federation of Arab Universities for Tourism and Hospitality/Faculty of Tourism and Hotels, University of Suez Canal, 2016 (in Arabic). 3 R. Sousa, Symbolism and Meaning of Pendulum Heart Amulets, GM 221, 2009, p. 70. 4 R. Sousa, Symbolism and Meaning of Pendulum Heart Amulets, GM 221, 2009, p. 74. 5 R. Sousa, Symbolism and Meaning of Pendulum Heart Amulets, GM 221, 2009, p. 73. 6 C. Andrews, Amulets of Ancient Egypt, British Museum, London 1994, p. 44. 7 C. Andrews, Amulets of Ancient Egypt, British Museum, London 1994, p. 10. 8 C. Andrews, Amulets of Ancient Egypt, British Museum, London 1994, p. 83. 9 C. Aldred, The Jewels of the Pharaohs, London 1971, p. 16.

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Passage

Text (1)…m (jAx) w.k ra- nb sn ……. (2) ….. Hr - jst.j drp -tw .f n.j m Xrt [hrw] m-Awt-Dt (3)……..pr-nfr sS- nsw (4) ….. k [wrD]……… wrD (5) …. [hrw Hm] wj-Tw m (jr) jj.k - nb jw.k -DAj .k - Hrt m- Xrt [ hrw] jw.k m Hr Sm [t .k jmnw](10) w jw.k Htp .k wbn.k dwA rdj .n.k tw r-a.k n sf anx tAwj mAA.sn (1) ….with your light shines day after day, [may I breath the air], (2)……… on my grave, may it be offered to me every day in eternity…… (3) ……..the funerary workshop, the royal scribe (4)……….exhausted……… exhausted, (5) ………….distance, how ingeniously you in all that you have created, you cross the sky daily, because thou art in the face, your way is hidden, you set down and you rise again in the morning, because you appear in your place as yesterday, the two lands are alive when they see you again.

Assman wrote the broken part as he found the equivalent text in TT 389 (Tomb of Basa), TT 33, TT 34, cf. J. Assmann, Zwei Sonnenhymnen der Späten XVIII. Dynastie in Thebanischen Gräbern der Saitzeit, MDAIK 27, 1971, p. 8. 10

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Figure 35. Passage - east wall. Kha-em-hat is standing on horizon sign (by A.Damarany).

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Passage

Figure 35A. Passage - east wall with squeeze. Kha-em-hat standing on horizon sign (right-hand side). %Ax ritual (left-hand side). By A.Halim.

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Figure 36. Passage - east wall - south side. Kha-em-hat is standing on horizon sign. By A.Damarany.

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Passage Passage - south wall (see figure 38 - 40A) The wall is 2.78 m high and 5.57 m wide (see plan with dimensions plate 4). It is divided into four registers, but the wall is destroyed and the scenes poorly preserved. The wall was consolidated with plaster and some of the broken parts were replaced, or completed with squeezes, in different sections. The entire wall was consecrated to funeral rituals and ceremonies. XVIII-XIX. Funeral procession and ceremonies (see figure 40,40A) The remains of three registers, depicting the funeral procession, ceremonies, mourners, and figures carrying offerings of food to Osiris and the Goddess of the West. XVIII. Funeral procession (see figure 40,40A) The funeral procession is evident in every tomb – the rites and ceremonies performed being similar. A complete series of these rites and ceremonies are seen in the tomb of Rekhmire. Usually the deceased is received by the Goddess of the West, and the mummy is depicted on a bed, with Isis and Nephthys as chief mourners. There are also other general public mourners, as well as a lector priest burning incense, reciting hymns, and pouring libations. The scene also shows several high-ranking officials, as well as servants carrying the funerary furniture that is to be buried with the deceased. Two sleds are always depicted – one bearing the ‘teknu’, and the other presumably for the four canopic jars.11 We see that the first boat in the scene to reach the shore is now destroyed, with only a fragment of its lower part and the hands of two mariners visible. A squeeze was added to complete the scene, and now it presents three sailors in the boat, holding three oars. Behind them two men stand together in a row, but only parts of the head and torso are seen, facing left. Next to the sailors there are men with offerings. The first holds three papyrus stems in his left hand and a piece of cloth in his right, resting on his right shoulder. Behind him another man brings offerings on a plate, in both hands, followed by a group carrying yokes with four jars suspended.12 All the appear the same, without wigs and wearing a kilt with a wide belt around the waist, knotted in front; barefoot, they face right. The second boat is also destroyed – except for a few, small sections showing the torsos of two sailors holding oars. Another fragment of a boat carrying the catafalque is also preserved. Several fragments of boats, human bodies, and part of a sled, can be seen on the wall. The scene on the extreme left shows the last boat, better preserved than the others. A huge oar can be seen, and there is a man standing in front of a pole, left hand raised towards his forehead and some unknown object in his right. Barefoot, he wears a kilt and a belt knotted in front. Before him are two rows of men at a larger scale. Each row depicts five men, with only their legs and feet now preserved. There are four seated sailors on the boat holding oars, but only their bodies are seen; the fourth man is now gone, but the oar in his hand is preserved.

11 12

N. Davies and A. Gardiner, The Tomb of Amenemhet (No 82), TTS 1, 1915, p. 49. Griffith Institute squeezes 1.12, 4.42, 4.42a and 4.42b; female mourners and part of boat scene in register III.

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tomb of kha-em-hat XIX. Osiris with western goddess (see figure 38) This scene is c. 2.50 m high and 5.50 m long. The wall is poorly preserved; large areas were destroyed and have been now consolidated with plaster.13 A fourth register occupies the length of the wall, divided into two sections at different scales. The wall is bordered from the left and the top, and the right side contains a long band of text. The right side of the scene contains the Shrine of Osiris and is very well preserved, whereas the left part of the wall is destroyed. The upper right register represents a sky sign surmounting 29 uraei from the top, and underneath this is the Shrine of Osiris.14 The scene, c. 1 m long and 1.60 m wide, depicts the Goddess of the West and necropolis (Jmntt) standing behind Osiris, on his throne in mummy form. The goddess embraces him with both hands, right hand around his shoulders, the left touching his waist. She is wearing a long, plain wig, fixed with a strap around her head and knotted at the back with a long ribbon. She is crowned with her traditional emblem – the sign of the West, the falcon Horus standing on it, and the feather of Maat. A wide collar is around her neck, and she has on a long, tight-fitting dress with one shoulder strap and breast exposed. Barefoot, she stands on the ground, not on the pedestal of Osiris. Behind her is a tall, thin pole. Osiris sits on a low-back chair, placed on a mat and a pedestal. He is represented in a mummy form wearing the Atef crown, with curved beard, and a collar around his neck fixed at the back with a counterbalance. He is holding the crook, the ‘WAs’ sign, the flail, and the sign of life with both hands. In front of Osiris is a (nmst) vase resting on a long, thin stand. Behind is a long, thin pillar fixed in a large vase, with a divine animal skin symbol tied to the middle part. On top of the uraei frieze is a band of inscriptions, horizontal and vertical, surrounding the Shrine from top and down the right side.15 According to Davies, the broken scene would have depicted the deceased giving offerings to Osiris (judgement), something rarely found until Ramesside times (i.e. TT 57, 63, and 69 at Thebes, dating to the time of Ramose).16 First register (middle scene) The majority of the register is destroyed, with only some fragments are still in place. The Goddess of the West (Jmntt) is represented in its distinctive form, with her emblem over her head and the tight-fitting dress, etc. She holds the ‘Was’ sceptre in her right hand and the ‘anx’ sign in her left. The figure of the goddess is less voluptuous here than in the scene on the right with Osiris; she is represented thin in form. It seems likely that there was a line of text, perhaps more than one, behind her and which is now destroyed. In front of her we see the obeisance of a kneeling priest (jmj-xnt) in front of a Photo of the wall before restoration, cf. E. Lüddeckens, Unterschungen Über Religiösen Gehalt, Sprache und Form der Ägyptischen Totenklagen, MDAIK 11, 1943, pl. 15. 14 A. Weigall, Ancient Egyptian Works of Art, London 1924, p.178. 15 Griffith Institute squeezes 4.43 and 4.43a, 4.43b, 4.43c, 4.43d, and 4.41, heads of Osiris and the Goddess of the West, royal insignia in the hand of Osiris. 16 N. Davies, The Tomb of the Vizier Ramose, London 1941, p. 21 footnote 1; the same scene was found in TT 181; cf. N. Davies, Two Sculptors, New York 1925, plate XIX. 13

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Passage long, tall shrine, with its corniced top and a central door, supposed to be the actual tomb of the deceased. The priest wears a plain, short wig, a short kilt with a belt around the waist; he is on his right knee, the left bent under his thigh. He grasps the divine foreleg in both hands, right hand holding the hoof, the left the thigh. His left hand and the foreleg touch the tomb. Next to the priest is a standing woman wearing a plain, short wig, fixed by a band knotted at the back. She wears a dress with two straps and holds a censer in both hands to release incense. The lower body of the woman is destroyed, together with the rest of the scene. The end of the register to the left shows a tall construction in stone divided into three rows and depicting some unknown fruit – the same motif appears in the tomb of Ramose among the offerings, perhaps figs. There are two papyrus umbels, between them an offering table on a stand full of different offerings (vegetables, duck, fruit, bread, and meat). Three small and three tall vases are seen. Four baskets are under the offering table, and at the very bottom there are another three. Another offering table is depicted on the wall next to the first, but this, unfortunately, is now destroyed, and only two baskets are represented. Second Register This second register is c. 3.60 m wide and 50 cm high. The majority of the scene is destroyed, and plaster casts were added to the left to complete the missing sections. The right side and middle section are lost, except for some fragments representing a head of a man wearing a short, plain wig, and in front of him a tall rectangular shape,17 perhaps a door. Other fragments remain of the heads and bodies of six men, with the heads of four cows behind them, and a further fragment shows a jar for libation. On the extreme left, ten men carry offerings, each holding different objects. The first has two shrine-shaped boxes; the second a small offering table topped with three jars in his right hand and a fan tied to a rectangular object in his left; the third holds two pitchers placed on a small offering table in his right hand, and in his left are a cane and a bag; the fourth man is carrying a chair on his head, supporting it by the legs with one hand, and holding a cane in the other; the fifth figure carries a square-shaped object, but this part of the scene is lost. Two of the men, the sixth and the tenth, carry a funerary bed with a headrest on top; the sixth man has a cane in his spare hand and one of them also holds a pair of sandals in his hand. The other three men are standing behind the bed, holding large jars in one hand, which rest on their left shoulders, while the other hands hang down in front of their bodies. The ten men are dressed the same, except that three have wigs, and wear kilts with wide belts around the waist knotted in front. They are all depicted barefoot. It seems from the fragments of the human legs that the men were carrying the funerary furniture of the deceased.18

Nina Davies writes that this is a similar temple to the one seen in TT 147 in Busiris and is related to the Abydos journey, which, in most cases, is represented on the same wall in some manner, or on another wall in the same room. The scene is also related to barges being towed by a boat; in TT 57 only fragments of barges and sleds are recognised, thus it might be similar to the other tombs; cf. N. Davies, Two Pictures of Temples, JEA 41, 1955, pp. 80–82. 18 Griffith Institute squeezes 4.60, 4.60a, 4.63, 4.63a, and 4.63b, men with funeral outfits, from register I or II. 17

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tomb of kha-em-hat Third register The scene in the third register, c. 50 cm high and 3.60 m wide, has only some fragments remaining. A head and one shoulder of a man in a short, plain wig can be made out; he is carrying three long stems of papyrus. There is possibly another man behind who is also carrying papyrus stems. In the background there is a small table piled with offerings. A fragment showing human legs has been inserted upside down during restoration work. There is also a fragment of part of a belt and kilt of a man; he is holding a cane in his hand. Further away there are fragments of human legs and the feet of a person represented facing the opposite side. Other fragments show the front part of a sled and a portion of the torsos of two men carrying something, but this unclear, also the front part of the (tknw) on a sled, with several human legs that seem to be pulling it. To the extreme left, five men in a row hold canes and follow the (tknw) sled; their heads are destroyed except at the very top. They wear straps around their chests, long kilts, and belts around their waists. They are depicted barefoot. The seven men following them all appear the same, but with no wigs; they carry canes in their hands. These figure groups are followed by another nine men, hands by their sides, wearing short, plain wigs, straps, and kilts with belts. Fourth register The scene in the fourth register is c. 50 cm high and 5.50 m wide. It is damaged and some white plaster fragments have been added to the right side of the wall to replace the broken parts. The right scene is divided into two registers, the smaller one contains five chapels with sloping roofs. Each chapel has three sides except for the first, which has only a roof and no sides. Inside the first chapel is a man carrying a duck in his left hand and something unrecognisable in his right. In front of him is a large incense burner with flames resting on a table next to a loaf of bread. The second chapel represents a man wearing a short kilt with a belt. His upper body is lost, but he is perhaps holding something in his left hand and his right is stretched out. An offering table in front of the man bears four round pieces of bread next to a long loaf; behind him there are two large jars with covers resting on a table. The third chapel is destroyed, and only the upper body of the man is preserved; there are fragments of tables behind and in front of him. In the fourth chapel a man can be seen holding a mirror, his other hand is raised in adoration, the offering table with bread in front of him. There is a table with jars at the back, but here the jars are different from the other chapel. The fifth chapel is similar to the second one. According to Lüddeckens, the vases are related to the ‘sDtdSrt’ ritual (smashing the red pots).19 The Egyptian ritual of ‘breaking the red pots’ is attested since the Old Kingdom in the Pyramid Texts (Spell 244, resp. Pyr. 249), and pots found in several tombs in the Theban necropolis differ in shape from vessels that are depicted on later tomb reliefs. The majority of the archaeological remains interpreted as evidence of breaking red pots can be dated to the New Kingdom. Its main functional aspect was embedded within a rite of passage and is closely linked to the funerary rite.20 E. Lüddeckens, Unterschungen über Religiösen Gehalt, Sprache und Form der Ägyptischen Totenklagen, Mitteilungen des Deutschen Archäologischen Instituts. MDAIK 11, 1943, p.13. 20 J. Budka, Egyptian Impact on Pot-Breaking Ceremonies at El-Kurru? A Re-examination, Paris 2014, pp. 645–647. 19

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Passage XIX.A Mourners (see figure 40, 40A) The lower register shows the mourners in three rows, each depicting three women in long wigs tied in the middle with a ribbon. They are dressed the same, in long, tight-fitting dresses that cover the whole body down to the feet; the dresses are a little shorter and rounder in front and straight at the back. The women are depicted lifting both hands above their heads, similar to the tomb TT 12 (Heri).21 Between each row there is a short woman standing in the same position. Three naked girls appear next to the women, one after the other. The first and the last girl have short hair, but the central one has hers long and with a side braid. The three girls each hold a baby in a cloth that covers their chests down to the waist.22 Their right hands are lifted towards their foreheads, the left falls down by their sides. They are all facing left and are barefoot. It is difficult to explain why the artist would represent the girls carrying the babies and not the adults.23 The central figure seems not to be a girl, confirming Werbrouck’s theory, and her size might be a deliberate attempt by the artist to provide further mobility and expressiveness to the scene. The function of these girls is unknown; they do not appear to be leading the scene, but in the second place dependant on the adults, and on the other hand they are mixed with the other figures. This seems to highlight the solidarity of the family group. Similar representations of the small figures of girls are found on the walls of TT 4, TT 49, TT 55, TT 247, and TT 259. They are differentiated from the others by their arms, which form a low angle at the elbow, and the hands seem to touch the face and not the head.24 Thus mourners were classified by hand gesture, i.e. those who cry differ from those who lament. The mourners are in one or other of the three attitudes already seen: the first group squat, picking up dust to shower over their heads; a second group stands, holding the left forearm with the right hand; the third group is the lamenting one, arms raised and hands touching the head.25

M. Werbrouck, Les pleureuses dans l’égypte ancienne, Bruxelles 1938, p. 40. The girls with the babies were also represented in TT 4 Ken, TT 49 (Neferhotep). It should be noted that they are also naked and reduced in size, as are the girls in the tomb of Ramose; M. Werbrouck, Les pleureuses dans l’égypte ancienne, Bruxelles 1938, p. 40. 23 There are two possible interpretations. The first is that they could be older sisters taking care of their younger brothers. This could be likely if the three girls were wearing the hair braid depicting youth, but this is not clear from the scene. They could also be maids carrying the family babies, which seems more likely as maids go naked and with short hair. This always represents the symbolic attendance of the whole family at the ceremony, according to the religious tradition of the time; cf. M. Seco Àlvarez, Niño en la Pinturas de las Tumbas Tebanas de la XVIII Dinastìa, Kolaios Asociación cultural para el estudio de la antigüedad, 1997, p. 69. 24 M. Seco Àlvarez, El Niño en la Pinturas de las Tumbas Tebanas de la XVIII Dinastìa, Kolaios Asociación cultural para el estudio de la antigüedad, 1997, p. 69. 25 From the Memphite tomb of Horemhab, there is a piece of limestone, now in the Museo Civico in Bologna, of male mourners with the same hand attitude. The work is very close to that done during the time of Amenophis III; cf. J. Capart, Documents pour servir à l’étude de l’art ègyptien, 1, Paris 1927, p. 41, plate 57. 21 22

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tomb of kha-em-hat Horizontal line beneath the ceiling (see figure 37) The band of inscription still exists until present and it lies above the Cryptographic text

Htp-dj-nsw Ra-@r-Axty bA anx wbn m nbw Xrt- hrw nt ra-nb Dd mdw mAA Ra sS-nsw jmj-rSnwtj nw ^ma-MHw ¢a-m-HAt mAa-xrw sjA RS sSt3 m pr-nfr ¢a-m…..wn wn aA Axt n pr …m …….aH pn prj .k jm .f hA .k msktt wD n wr-mA.w n hn Inpw ¢a-m-HAt mAa-xrw jr.k wD .f Dd n jpw .k hAw Ax .k mAA.w ……r ……. …[mHw] ¢a-m- HAt mAa-xrw xr .k Ra Dd.f n.k rn .k pw n gAb mw wr pr m wr.t n Sp sS-nsw ¢a-m-HAt mAa- xrw May the king give and, May Re -Hor-Akhty be kind and give, the living soul shines like gold during day time, lord Ra. Recitations by the seers of god Re, the royal scribe, the overseer of granaries of Upper and Lower Egypt, Kha-em-hat, the justified. Knowledgeable like Re bearer of secrets in the funerary workshop Kha-em-hat……… then the door of horizon open….may you come out in a procession and come down in your night bark, as the great seer of the box of Anubis command, Kha-em-hat the 180

Passage justified, as for you, he commended our stability for life time and see ………. [overseer of granaries of Upper and Lower Egypt], Kha-em-hat, the justified, before you O Re, he said to you, your name, the great river, come out not to be blind, the royal scribe Khaem-hat the justified.

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Figure 37. Horizontal line beneath the ceiling. Vertical line behind the shrine of Osiris (extreme right).

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Passage

di.k sw m kkw n jdn tm .f sDm xrw .k jTj .k n .k HfAw prj m pr Xrd jmj-r -Snwtj n nb-tAwj ¢a-m-HAt mAa-xrw Hna .k sp nf aw .n .k XA xsr ….Hna .k jgp sd n.k Snj jr n .k nTr xtm Hr sStA sS-nsw ¢a-m- HAt hnn sp-sn jr .f n .k jAw dj .k n .k Hb m st Ax.t sS nsw ¢a-m-HAt Dt pA m tA pA tA r Hwt nT ….. Hwt.t-n.t bjty n kA n sSm m Hb st jmj-r-Snwtj ¢a-m-HAt mAa-xrw if you put him in darkness, he will not be deaf, he will not hear your voice, you are protected yourself from snakes in the house of young (when you was child), overseer of granaries of the lord of the two lands Kha-em-hat, the justified, with you twice: corpse removed to you, the sky is clear,you removed the clouds you broke the storm, 183

tomb of kha-em-hat you are appointed as seizer of sacred seals, who is upon the secrets, the royal scribe Kha-em-hat, trust twice he made to you adoration twice,you give to (me) festival in the useful place, the royal scribe Kha-em-hat. There flies, the bread, there continues to fly the bread, to my mansions, the Mansion of the NT- crown (the states of Lower Egypt), to the ka of the leader in the feast, Osiris, overseer of granaries Kha-em-hat, the justified.26

Figure 38. Passage - south wall. Osiris with Western goddesses. By A.Damarany

PT, spell no. 312 Food spell, Unas, Ante-chamber, North wall ( west to east), see R.O. Faulkner, The Ancient Egyptian Pyramid texts, Oxford, 1969, p. 98; cf. E. Lüddeckens, Unterscuchung Über Religiösen Gehalt, Sprache Und Form der Ägyptischen Totenklagen, MDAIK 11, 1943, p. 13-16, plate 15. 26

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Passage XIX.B Cryptography 27 (no longer exists- see figure 39) Cryptographic texts were created during the Middle Kingdom and were used concurrently with the formal and official inscriptions. The oldest inscriptions in this form were found in the tombs of Beni Hassan, and the recent ones in Greco-Roman temples. These texts were relatively poorly studied, except for some of the latter group that were translated by Deveria but not finished and published until 1897. The difficulty of dealing with this type of text, and also their publication in a monograph not very well known, have meant that these hymns have not been studied in any depth, and that, so far, they have not been included in any of the anthologies or selections of Egyptian religious hymns.28 The tomb of Kha-em-hat is evidence of the usage of cryptography by individuals in the 18th Dynasty. These inscriptions were copied by Deveria29 when he visited the tomb in 1859, and the stamps he took (now in the Louvre, E 6165 and E 6166) were inscribed in the middle of the first register of the south wall and in the passage as mentioned by Drioton;30 part of the broken inscription band is visible and it is now possible to reconstruct it. It seems that Deveria made two attempts to stamp the text. The first was only partly successful and he tried a second time, but some signs were already gone. The illustration shown is the stamping of the second attempt, but he gives the place of the inscriptions as being from the south wall of the passage, describing the scene as that of Osiris and the Goddess of the West, adding that it lies between points 14 and 15 in the plan made by Porter and Moss. This is completely wrong, as this points lies in the first transverse hall and not in the passage. The proof is that he mentions Loret’s31 plan, saying that it lies on the south wall of the passage. The text is similar to that found in Djehoti’s tomb and published by Sethe.32 It is written in cryptography, with signs and even words, in plain text. These points of reference make it possible to recognise a review of Chapter LXXXV of The Book of the Dead and to establish with certainty the following concordance. Drioton mentions that it is easy to locate the place of the cryptographic text according to the conserved sections of the tomb of Kha-em-hat, and that it corresponds to the other groups of hieroglyphic inscriptions. Deveria copied 16 columns. The first eight are 26 cm high and were complete; the others were c. 44 cm high, but were destroyed at the bottom to a height of 6 cm – 11 cm. A big gap, 13 cm – 17 cm, is missing from the beginning of lines 11 cm to 14 cm. These texts are from Chapter LXXXV of The Book of the Dead, but written in different signs.

Cryptographic texts are part of a panel a fairly elaborate clause over a wide area of the south wall. In that space, divided in several different scenes, the texts are located in its upper part in the form more or less less symmetrical. Both are preceded by several tables of offerings and are followed by paths Djehuty figures and adoration poses (TT 11). 28 E. Andrés Diego, Los himnos criptográficos de la tumba de Djehuty (TT 11) posibles funciones y contextos, TdE 5/1, 2009. 29 T. Deveria, L´écriture secrète, Bib. Ég. 5, 1897, p. 53. 30 É.M. Drioton, Essai sur la cryptographie privée, RDE I, 1933, pp. 3–14. 31 V. Loret, La tombe de Khâ‐em‐hâ, MMAF 1, 1889, p. 125, plate I. 32 TT 11 (Djhouti), at Drac Abû el-Naga. 27

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Passage

(33)

XIX.C. Equivelant Text34

É.M. Drioton, Le tombeau de Roy (Tombeau No. 255), MIFAO 57,1932, p. 1-8; cf. B. Lüscher, Die Verwandlungssprüche (TB 76-88), Basel 2006, p. 327-357. 34 For further info about Cryptography text, cf. É.M. Drioton, Essai sur la cryptographie privée, RDE I, 1933,p. 9-14. 33

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(1) ir.t xpr.w m bA anx tm aq r xb.t n sk (y) - n (2) rx sw r nHH Dd - mdw jn sS-nswt jmj-rSnwtj (3) Hrj -SstA.w m hn Inpw Hrj- tp m a.t Sps .t ¢a-m-HAt mAa-xrw (4) ink bA n ra prj m nww bA.j pw nTr jnk (5) qm Hw bwt.j pw jsf n m-n.j sj nk.j m (6) m3at at anx.j jm.sjnk Hw jwtj sk.j-f m (7) rn-.j pw.j n bA xpr-n-j ds.j Hna nww m rn.j (8) pw.j n xprj xpr-n.j jm.f ra- nb (9) jnk nb Sp bwt.j pw mnj n aq.j r xb.t Dtjnk ddj……(10) sHtp.n.j jb n jmj.w xr.wt mr.t Dj.sn snj qm .sn ……(11) kwj Hr jt.j Hr st.j …(12) i isfwt jnk smsw pwtj.w bA.j pw bA (13)………….st.f m jmr.w Hr.t mrr.j ……..(14) rd.wj xrp.j m jt.j DAj bj.w jrj.w mH (15) fnt.w ……sHrj.w nmt.tj r nb awj bA.j pw bA.w nTr.w nHH Dt.j …..(16) xpr.j pw nHH nb rnpwt HqA Dt jnk qA nb tA bw Hwn.w (1) A living soul transformation; not to enter the place of execution, (2) one who knows, This will never be destroyed, words said by the royal scribe, overseer of granaries,(3) bearer of secrets of the box of Anubis, the superior of the secret room Kha-em-hat, the justified. (4) I am the soul of Re, came out from the primeval ocean, my soul is the god. (5) I am the creator of Hou, unjustice is my concern (6) I live; I am Hou, I will not annihilate and that (7) my name here is soul, I produced myself with the primeval ocean; and that my name (8) here is khepri; in which I performed every day (9) I am the lord of light; I am the lord of light; it is abomination that my death I am the lord of 188

Passage light; my death is abomination, I will not enter the site of the Duat. I am the one who grants………. (10) I make the heart of the rich and loyal ones happy, they give my fear ……….., they create……….., (11) …………I am up high on my throne on my platform…………, (12) evils. I am the eldest of souls of Re it is the soul.... (13) …………..his throne to the limits of the sky, when I want……… (14) my legs; I command with my scepter; I cross the celestial waters which fill up……… (15) the reptiles …….i walk my lord with two arms, my soul, the souls of the gods are eternal, this is my body ………… (16) this is my event; the eternal lord of years, prince of eternity, I'm high, lord of the earth Tabou.

Figure 39. Passage - south wall - Cryptography (no longer exists). T.Deveria, L’ècriture secrete, Tome V, Paris 1897, Plate I.

189

tomb of kha-em-hat Funeral procession (includes dragging coffin, bringing a funeral outfit, mourners, mummers, rites before mummy at the tomb, and reception by the western goddess. As the funeral procession occurs in almost every tomb, only more examples are given here.35 Squeezes – Griffith Institute Squeezes 4.48 - eight columns of cryptographic text. – Griffith Institute Squeezes 4.60, 4.60a, 4.63, 4.63a and 4.63b - men with funeral outfit, from register I or II. – Griffith Institute Squeezes 4.62 - 'nine friends' and male mourners in register II. – Griffith Institute Squeezes 1.12, 4.42, 4.42a and 4.42b - female mourners and part of boat scene, in register III. – Griffith Institute Squeezes 4.40 and 4.40a - western goddess with cryptographic text behind her, from register I. – Griffith Institute Squeezes 4.43 and 4.43a - heads of Osiris and Western goddess. – Griffith Institute Squeezes 4.43b - upper part of Osiris and western goddess. – Griffith Institute Squeezes 4.43c - insignia held by Osiris. – Griffith Institute Squeezes 4.43d - upper part of Western goddess. – Griffith Institute Squeezes 4.41- head of western goddess. – Griffith Institute Squeezes 4.64 and 4.64a - men in booths, offering bearers and rowers (below Osiris and western goddess).36 Similar scene in other tombs (funeral scenes and rites) TT 57 scene no. (18 -19) Tomb Number

Provence

Date

Scene Location

PM Reference

TT 10 Penbuy and Kasa

Deir el-Medîna

Ramsesses II

Chapel – East wall

p. 19, no. 4

TT 4 Ḳen37

TT 12 Ḥray(38)

TT 13 Shuroy39 TT 15 Tetiky

40

TT 17 Nebamūn41

Deir el-Medîna Drac Abû el-Naga Drac Abû el-Naga Dra Abû el-Naga c

Drac Abû el-Naga

Ramsesses II Amosis to Amenophis I Ramesside Early Dyn. XVIII

Amenophis II

Chapel- South wall Hall – Left wall Spiegelberg squeezes Hall – South wall

Chapel – South wall

p. 11, no. 3

p. 24, no. 1-2 p. 25, no. 9

p. 27, no. 2-3

Inner room – South wall p. 31, no. 11

Porter and Moss, Topographical bibliography of ancient Egyptian hieroglyphic texts, reliefs, and paintings, The Theban Necropolis I, Private Tombs, Oxford, 1994,p. 471. 36 Jaromir Malek and others, Griffith Institute, (January 22, 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391-1353 BC) viewed 12.August.2019. 37 E. Lüddeckens,. Unterschungen über Religiösen Gehalt, Sprache und Form der Ägyptischen Totenklagen,MDAIK 11, 1943, p.133 [64-66]. 38 Schott Photos 3785. 39 Schott Photos 4972-4982. 40 G. Legrain, The Paintings and Inscriptions of the Painted Vaulted Chamber of Teta-ky, Oxford 1912, p.17, plate VII-X. 41 S. Söderbergh, Four Eighteenth Dynasty Tombs, Oxford 1957, p.30-31, plate XXIV-XXV. 35

190

Passage Tomb Number

Provence

TT 20 Mentuḥirkhopshef43

Drac Abû el-Naga Tuthmosis III

TT 23 Thay

Sh. Abd el-Qurna

TT 19 Amenmosi42

Drac Abû el-Naga

TT 21 User44

45

c

TT 24 Nebamūn

TT 29 Amenemōpet

Ramesses I to Sethos I

Tuthmosis I Merenptah

Drac Abû el-Naga Tuthmosis III 46

TT 30 Khensmosi(47) TT 31 Khons

Sh. cAbd el-Qurna

Date

(48)

Sh. Abd el-Qurna

Amenophis II

Sh. Abd el-Qurna

Ramesses II

c

Sh. cAbd el-Qurna c

TT 34 Mentuemḥēt

Asâsif

Ramesside

Taharqa and Psammetikhos

PM Reference

Passage- West wall

p. 35, no. 4-5

Passage- South wall

p. 36, no. 8

Hall – West wall

p. 41, no. 3-4

Hall – No.3 South wall, p. 33, no. 3-4 No.4 west wall

Passage- South wall Passage – North wall Hall – South wall Hall - East wall

West Portico- North wall

TT 36 Ibi49

Asâsif

TT 39 Puimerēc50

Khôkha

Tuthmosis III

TT 41 Amenemōpet51

Sh. cAbd el-Qurna

Ramesses I to Sethos I

TT 42 Amenmosi52

Sh. cAbd el-Qurna

TT 44 Amenemḥab53

Sh. cAbd el-Qurna

Tuthmosis III to Passage- West wall Amenophis II

TT 45 Ḏḥout54

Sh. cAbd el-Qurna

Ramesses I

Sh. cAbd el-Qurna

Tuthmosis I

TT 49 Neferḥōtep

55

TT 51 Userḥēt56

TT 53 Amenemḥēt

57

Khôkha

Sh. Abd el-Qurna c

Psammetikos

Scene Location

Ramesside

Ay

Tuthmosis III

p. 40, no. 31-32 p. 46, no. 9

p. 46-47, no. 2 p. 47, no. 7. p. 58, no. 6

Court – North wall (17), East wall (21)

p. 67, no. 17, 21

Court – South wall (1), Hall – South wall (14), West wall (15)

p. 78, no. 1. p. 79, no. 14- 15

Hall – South wall (7), West wall (11)

p. 84, no. 7, 11

Hall – East wall (4)

p. 91, no. 4; p. 92, no. 8.

North Chapel- North entrance(17), West wall (19)

p. 73, no.17,19

p. 83, no. 14.

Hall – South wall

p. 85, no. 2.

Hall – West wall

p. 97, no. 3.

Inner room- West wall

p. 103-104 no. 11-12

G. Foucart, Tombes Thebaines, MIFAO 57, 1932, p. 25, 37, 83, plate II- XVI. N. Davies, Five Theban Tombs, London 1913, plate II-X. 44 N. Davies, Five Theban Tombs, London 1913, plate XX, XXI, p. 24-5; B. Grdseloff, Das Ägyptische Reinigungszelt, Le Caire 1941, p. 32-36. 45 Schott Photos 2157, 3611, 12. 46 N. Davies, Five Theban Tombs, London 1913, plate XLIII. 47 W. Wresz., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, plate 127. 48 W. Wresz., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, plate 131. 49 E. Graefe, Das Grab des Ibi, Bruxelles 1990, p. 19-20; Schott Photos8690. 50 N. Davies, The Tomb of Puyemré at Thebes, 2, New York, 1923, plate XLIV XLVI. 51 W. Wresz., Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig 1923, plate 166-167. 52 N. Davies, The Tombs of Menkheperrasonb, Amenmose and Another (no. 86), 112, 42, 226, TTS 5,1933, plate XXXVIII. 53 N. Davies, Some representations of Tombs from the Theban Necropolis, JEA 24, 1938, p. 39, fig. 22; L. Borchardt, Bilder des Zerbrechens der krüge, ZÄS 64, 1929, p. 12-13, plate I. 54 A. Mekhitarian, Ägyptische Malerei, New York, 1954, p.144. 55 N. Davies, The Tomb of Nefer-Hotep at Thebes, New York, 1933, plate XX- XXI, XXII-XXVII, LXI. 56 N. Davies, Two Ramesside Tombs at Thebes, NewYork, 1927, plate IV, XIII, XIX. 57 M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, fig. 21, 127-8. 42 43

191

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 55 Rac mosi59

Sh. cAbd el-Qurna

Amenophis IV

Court – South wall

p. 108, no. 5

Passage – South wall

TT 54 Ḥuy58

TT 56 Userḥēt

Sh. cAbd el-Qurna

60

Sh. Abd el-Qurna c

Tuthmosis IV to Hall – South wall (2), Amenophis III East wall (6) Amenophis II

Inner room – West wall

p. 104, no. 2, 105, no. 6 p. 113, no. 16-18

TT 60 Antefoḳer61

Sh. cAbd el-Qurna

Sesostris I

TT 69 Menna63

Sh. cAbd el-Qurna

Tuthmosis IV

TT 78 Ḥaremḥab64

Sh. cAbd el-Qurna

p. 154, no. 9

TT 80 Ḏḥutnūfer

Sh. cAbd el-Qurna

Tuthmosis III to Passage – West wall Amenophis III Amenophis I to Passage – West wall Tuthmosis III

p. 162, no. 17

TT 63 Sebkḥotp62

TT 81 Ineni

65

Sh. cAbd el-Qurna

TT 84 Amunezeḥ67 TT 85 Amenemḥab68 TT 92 Suemnut69 TT 96 Sennūfer

70

Passage – South wall Inner room – South wall

p. 121, no. 5-6 p. 127, no. 11-12

p. 138, no. 9

Amenophis II

Inner room – East wall p. 159, no.10

Tuthmosis III

Passage – West wall

p. 165, no. 10

Sh. cAbd elQurna

Tuthmosis III

Passage – West wall

p. 169, no. 13

Sh. cAbd el-Qurna

Amenophis II

Sh. Abd el-Qurna c

TT 82 Amenemḥēt66

Tuthmosis IV

Sh. cAbd elQurna

Sh. cAbd el-Qurna

Sh. Abd el-Qurna c

TT 100 Rekhmirēc71

Sh. cAbd el-Qurna

TT 104 Ḏḥutnūfer

Sh. cAbd el-Qurna

TT 112 Menkheperracsonb72

Sh. cAbd el-Qurna

Tuthmosis III to Passage – South wall Amenophis II

p. 174, no, 22.

Amenophis II

p. 201, no. 33-34

Passage – West wall

p. 189, no. 14

Thutmosis III Passage – West wall to Amenophis II

p. 212, no. 15

Amenophis II Tuthmosis III

Ante - Chamber- West wall

Inner room – South wall

p. 218, no. 8

Hall – East wall (6), p. 230, no. 6-8. Passage – South wall (8)

Schott Photos3743-7, 7501-4; M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, plate VII. N. Davies, The Tomb of the Vizier Ramose, London 1941, plate XXIII-XXVII, R. Hamann, Ägyptische Kunst, Berlin 1944, fig. 245-6. 60 Schott Photos 3529; 3978-9; 7572-7;8918-27; K. Lange, Lebensbilder aus der Pharaonenzeit, Berlin 1952, plate 27. 61 N. Davies, The Tomb of Antefoker, London 1920, p. 20-3, plate XVIII, XIX-XXIV. 62 Schott Photos 4338-4340. 63 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo, 2013, p. 78-79. 64 U. Bouriant, Tombeau de Harmhabi, MMAF 5, 1889, p. 430, plate V. 65 E. Dziobek, Des Grab des Ineni, Theben Nr.81, AV 68, 1992, plate 24-25. 66 N. Davies, and A. Gardiner, The Tomb of Amenemhet (No 82), TTS 1, 1915, plate X-XIII. 67 Ph. Virey, Tombeau de d’Amn-N-T’eh, MMAF 2, 1891, fig. 2-4, p. 337-361. 68 Schott Photos 4123-7; 6991-6; Ph. Virey, Tombeau de d’Amn-N-T’eh, MMAF 2, 1891, p. 265-7. 69 Schott Photos 3503-6; 5158-64; 6862-5. 70 Ph. Virey, La tombe des vignes a thèbes, Rec. de Trav 21, 1899, p.128, fig. 9; p.132, fig. 12 (this looks exactly the same as the scene of TT 57 in the Passage - South wall Osiris shrine), fig. 13. 71 N. Davies, Paintings from the Tomb of Rekh-mi-Rēʿ at Thebes, New York, 1935, plate XXIV-XXV, LXXVI - XC. 72 N. Davies, The Tombs of Menkheperrasonb, Amenmosĕ, and another, London, 1933, p. 24. plate XXVIII-XXIX. 58 59

192

Passage Tomb Number TT 113 Kynebu

Provence

Date

Scene Location

PM Reference

Sh. cAbd el-Qurna

Tuthmosis III

Passage – West wall

p. 236, no. 8

Ḥatshepsut

Passage – South wall

p. 240, no. 10

Sh. cAbd el-Qurna

TT 122 [Amen]ḥotp

TT 123 Amenemḥēt

73

TT 125 Duauneḥeḥ74 TT 127 Senemi oḥ c

(75)

TT 135 Bekenamūn76 TT 138 Nezemger

77

Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

TT 139 Pairi78

TT 141 Bekenkhons

79

Sh. cAbd el-Qurna

Tuthmosis IV – Hall – South wall (3), Ramesses VIII West Wall (4) Tuthmosis III Tuthmosis III Dyn. XIX

Ramesses II Amenophis III

Dra Abû el-Naga Ramesside c

TT 147 Head of Drac Abû el-Naga Tuthmosis IV masters of ceremonies ….80 TT 151 Ḥety81

Drac Abû el-Naga Tuthmosis IV

TT 161 Nakht82

Drac Abû el-Naga Amenophis III

TT 172 Mentiywy83

Khôkha

TT 175 no name84

Khôkha

TT 179 Nebamūn86

Khôkha

TT 178 Neferronpet85

TT 181 Nebamūn

87

Khôkha

Khôkha

Passage – South wall Passage – West wall Hall – East wall

Hall – East wall (1) South wall (2) - West wall (3)

p. 231, no. 3-4

p. 236-7, no. 9 p. 242, no. 13 p. 250, no. 5

p. 252, no. 1-3.

Hall – North wall

p. 253, no. 4.

Inner room – West wall

p. 259, no. 14

Hall – South -East wall

p. 255, no. 6-7

Inner room- South wall

p. 261-2, no. 8

Tuthmosis III to Amenophis II

Passage – West wall

p. 280, no. 5-6

Ramesses II

Hall – (5) North-(6) West- (7) South wall

Hall – North wall

p. 274-275, no. 5

Tuthmosis IV

Hall – East wall

p. 281, no. 2

Ḥatshepsut

Hall – West wall

p. 285, no. 2

Amenophis III-IV

Hall – West wall

p. 284, 5-7

p. 287, no. 4-5

Schott Photos 8209-10. Schott Photos 8257, 3925. 75 Schott Photos 4434-4437. 76 Schott Photos 8248. 77 F. Cailliaud, Recherches sur les arts et mètiers, les usages de la vie civile et domestique, Paris 1931, plate 5; Schott Photos 7636- 44; Schott Photos 8101-14; N. Davies, Some representations of Tombs from the Theban Necropolis, JEA 24, 1938, fig 12. 78 A. l’hote, and Hassia, Les chefs-d’oeuvre de la peinture égyptienne, Paris 1954, plate 14. 79 M. Baud, Les dessins ébauchés de la nécropole thébaine, MIFAO 63, 1935, plate XXVI. 80 Schott Photos 4092, 8713-14. 81 M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, fig.30-32; M. Baud, Les dessins ébauchés de la nécropole Thébaine, Tombes Thébaines, nécropole de Dirâ Abû’N- Naga, le tombeau de Panehsy, MIFAO 63,1935, fig.81. 82 L. Manniche, The Tomb of Nakht the Gardener at Thebes, JEA 72, 1986, fig.11-12. 83 Schott Photos 5798-99;8597. 84 Schott Photos 7328-7332; M. Werbrouck, Les pleureuses dans l‘Égypte ancienne, Bruxelles 1938, pl. VI, fig. 34, 66, 120-121. 85 Schott Photos 3460-2; N. Davies, Some Representations of Tombs from the Theban Necropolis, JEA 24, 1938, fig. 8, p. 37; L.Borchardt, Friesziegelin Grabbauten, ZÄS 70, 1934, abb. 3; M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles, 1938, plate XXX-XXXI, figs, 70, 147-8, 169. 86 Schott Photos, 4843- 4846. 87 N. Davies, The Tomb of Two Sculptors at Thebes, New York, 1925, plate XIX, XXVI. 73 74

193

tomb of kha-em-hat Tomb Number

TT 215 Amenemōpet88 TT 216 Neferḥōtep

89

Provence

Date

Scene Location

PM Reference

Deir el-Medîna

Ramesses II to Sethos II

Inner Room – North wall

p. 314, no. 18

Deir el-Medîna

TT 217 Ipuy90

Deir el-Medîna

TT 219 Nebenmacet92

Deir el-Medîna

TT 224 cAhmose93

Sh. cAbd el-Qurna

TT 233 Saroy94

TT 218 Amennakht91

TT 250 Ra mosi c

96

TT 255 Roy97

Chapel – (2)South wall - (3) West wall- (11) East wall

p. 320, no. 2-3; p. 321-322, no. 11

Drac Abû el-Naga Ramesside

Hall – West wall

p. 329, no. 1

Deir el Medîna

Central Chapel – West wall

p. 336, no. 2-3

Sh. cAbd el-Qurna

TT 260 User99

TT 273 Sayemiotf

Ramesside Period Ramesside Period

Tuthmosis III or Ḥatshepsut Dynasty XVIII Ramesses II

Drac Abû el-Naga Ḥaremḥab

TT 259 Ḥor98

Ramesside

Drac Abû el-Naga Tuthmosis III

Chapel – South wall

Vestibule - East wall

Hall – West wall

p. 343, no. 2

Tuthmosis IV

TT 279 Pabasa103

Asâsif

TT 284 Paḥemneter104

Psammetikhos I Vestibule- (3-4) East wall, (5-6)West wall

Drac Abû el-Nagac Ramesside

TT 277 Amenemōnet

Qurnet Muraci

Amenophis III

P. 333,No. 3

Hall - South wall

Qurnet Murac i

102

p. 325, no. 5

p. 339, no. 2

Hall – East wall (1), West wall (2)

Ramesside

TT 276 Amenemōpe101

p. 317, no. 1

Hall – West wall

Qurnet Muraci

100

p. 312, no. 2.

p. 315, no. 2

Khôkha

Ramesses II

Chapel – South wall

Hall – East wall

Deir el-Medîna

TT 247 Simut95

Dynasty XIX

Hall – North wall (1), East wall (2), South wall (3)

p. 343, no. 1-2

p. 351, no. 1-3

Inner room – South wall p. 353, no. 10 Hall – West wall (2), North wall (3)

p. 354, no. 2-3.

Hall – (2) South wall (3-4) West wall

p. 366, no. 2-4

p. 357, no. 3-6

G. Jourdain, Deux tombes de Deir el-Médineh, MIFAO 73, 1939, plate XXIII-XXV. M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, fig. 137. 90 N. Davies, Two Ramesside Tombs at Thebes, 5, New York 1927, plate XXVIII. 91 B. Bruyère, Rapport sur les Fouilles de Deir el Médineh, FIFAO 5,1928, p. 61, fig. 44. 92 B. Bruyère, Rapport sur les Fouilles de Deir el Médineh, FIFAO 5,1928, p. 77, fig. 52; Ch. Maystre, Tombe de Nebenmât (No. 219), MIFAO 71, 1935, p. 11-13, pl. II,VII. 93 Schott Photos 9004-9. 94 N. Davies, Two Ramesside Tombs at Thebes, 5, New York 1927,fig. 18. 95 M. Wegner, Stilentwickelung der Thebanischen Beamtengräber, MDAIK 4, 1933, plate 17. 96 B. Bruyère, Rapport sur les fouilles de Deir El Mèdineh (1926), FIFAO 5, 1927, plate V. 97 A. Bednarski, The Lost Manuscript of Frédéeric Cailliaud, Cairo 2014, pl. 65(4). 98 Schott Photos5983-9; M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, p.60-1, plate. XL, XLI fig. 38. 99 Schott Photos4205 (same scene in TT 57 in the passage South wall), 4206-9, 8649; E. Lüddeckens, MDAIK 11, 1943, plate 13. 100 M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles, 1938, fig. 39, 119, plate XLIV; Schott Photos4668. 101 Schott Photos 4312-16. 102 J. Vandier, Deux tombes Ramessides à Gournet –Mourraȉ, MIFAO 87, 1954, plate VI- XVII. 103 M. Werbrouck, Les pleureuses dans l‘Égypte ancienne, Bruxelles 1938, plate XLVIII; Schott Photos 5518-19. 104 Schott Photos 6682-9. 88 89

194

Passage Tomb Number

Provence

Date

Scene Location

PM Reference

TT 338 May106

Deir el-Medîna

Dynasty XVIII

Chapel – South wall

p. 406, no. 2

A.4 Siuser

North Valley Khâwi el-Âlamât

Dynasty XVIII

Passage

p. 448

Passage

p.458

TT 296 Nefersekheru 105

Khôkha

TT 341 Nekhtamūn107

Sh. cAbd el-Qurna

C.4 Merymacet

Sh. cAbd elQurna- on NorthEast Slope

Ramesside Ramesses II

Dynasty XVIII

Hall – East wall

Hall - (2) South wall(3) West wall – (4) North wall

p. 378, no.5

p. 408, no. 2-4

Conclusion The scene is the most popular found so far as it is attested in eighty tombs, fourty-nine dates back to the Eighteenth Dynasty while twenty-seven tombs dates to the Ramesside period while the rest dates back to different periods. Thirty-nine tombs are located in Qurna, fifteen tombs in Drac Abû el-Nagac, nine tombs in Deir el-Medina, nine tombs in Khôkha, and three tombs only in Asâsif while the rest dates back to different periods. Similar scene in other tombs (Booth with offerings and servants) TT 57 scene no. (18-19) Tomb Number

Provence

TT 13 Shuroy108

TT 19 Amenmosi

Date

Drac Abû el-Naga Ramesside 109

TT 49 Neferḥōtep110 TT 56 Userḥēt111

Dra Abû el-Naga Ramesses I to Sethos I c

Khôkha

Ay

Sh. cAbd el-Qurna Amenophis II

Scene Location

PM Reference

Hall – West wall

p. 34, no. 7

Hall – South wall

Hall – East wall

Inner room – West wall

TT 85 Amenemḥab112 Sh. cAbd el-Qurna Tuthmosis III to Inner room – (22) South Amenophis II wall, (29) West wall TT 87 Minnakht113 TT 113 Kynebu

114

TT 138 Nezemger

Sh. cAbd el-Qurna Tuthmosis III

Sh. Abd el-Qurna Ramesses XVIII c

Sh. cAbd el-Qurna Ramesses II

106

195

p. 91, no. 4 p. 113, no. 16-18

p. 174, no. 22, p. 175, no. 29

Inner room – South wall p. 179, no. 8 Hall – South wall

Hall- (1) East wall, (2) South wall, (3) West wall

Schott Photos 3655-6. M. Werbrouck, Les pleureuses dans l‘Égypte ancienne, Bruxelles 1938, plate XVIII. 107 N. Davies, Seven Private Tombs at Ḳurnah, plate XXV- XXVII. 108 Schott Photos 4072-4982. 109 G. Foucart, Le tombeau d’Amonmos (Tombeau No.19), MIFAO 57, 1932, plate XXVII, XXXII. 110 N. Davies, Nefer-ḥotep, 1, New York, 1933, plate XX- XXI. 111 Schott Photos, 3090; 3592; 3978-9; 757 -7; 8918-27. 112 Schott Photos, 4123-7; 6991-6; 4129-30; 6997-7007. 113 Schott Photos 4100-13; 7051-65. 114 R. Wilkinson, The Manners and Customs of the Ancient Egyptians 1, London, 1878, plate 86. 105

p. 23, no.9

p. 231, no. 3

p. 252, no. 1-3

tomb of kha-em-hat Tomb Number

Provence

Scene Location

PM Reference

TT 159 Racya116

Drac Abû el-Naga Dynasty XIX Khôkha

Ramesses II

Hall – East wall

p. 273, no. 5

TT 181 Nebamūn118

Khôkha

Amenophis III

Hall – North wall

TT 187 Pakhiḥēt

Khôkha

Dynasty XIX

Hall – North wall

p. 287-288, no. 5

Ramesside

Hall – (2) North wall, (3) West wall

TT 148 Amenemōpet115 TT 178 Neferronpet117

TT 217 Ipuy119

TT 273 Sayemitof

Date

Drac Abû el-Naga Ramesses III to V

Deir el-Medìna 120

Qurne Mura i c

TT 291 Nu121

Deir el-Medìna

TT 341 Nekhtamūn122

Sh. cAbd elQurna

Ramesses II

Late Dynasty XVIII Ramesses II

Passage – South wall

Hall – (5) North wall, (6) West wall, (7) South wall

Hall – East wall

p. 260, no. 10

p. 284, p. no. 5-7

p. 293, no. 2 p. 315, no. 2

p. 351, no. 2-3

Chapel- South wall

p. 374, no. 1

Hall – (2) South wall, (3) West wall, (4) North wall

p. 408, no. 2-4

Conclusion The scene was attested in seventeen tombs, six tombs dates back to the Eighteenth Dynasty while was attested eleven times in the tombs that dates back to the Ramasside period. This indicates that the scene became highly represented in the Ramasside tombs more than during the Eighteenth Dynasty which is opposite the previous mentioned scenes. Similar scene in different tombs (in funeral procession) TT 57 scene no. (18-19)-(21-22) Tomb Number TT 14 Ḥuy

123

TT 36 Ibi124

Provence

Dra Abû el Naga c

Asâsif

TT 44 Amenemḥab125 Sh. cAbd el-Qurna

Date

Scene Location

PM Reference

Psmmetikhos I

Court- (17) North wall, (21) East wall

p. 67, no. 17, 2

Ramesside

Ramesside

Hall – East wall

p. 26, no. 3

Inner room – West wall p. 84, no. 11

G. Boyo Ockinga, The Tomb of Amenemope (TT 148)1, ACE 27, 2009 plate 91-2. Schott Photos 6001. 117 H. Nelson, Three Decrees of Ramesses III from Karnak, JAOS 56, June 1936, pl. 2; E. Hoffman, Das Grab des Neferrenpet gen. Kenro (TT 178), Mainz, 1995, plate III, VI, VII. 118 A. Mekhitarian, La tombe de Nebamon et Ipouky (TT 181), MonAeg. 7, 1997, p. 23; N. Davies, The Tomb of Two Sculpters, New York 1925, plate XIX, XX. 119 N. Davies, Two Ramesside Tombs, New York 1927, plate XXVIII; cf. Cherpion, Nadine, Survivances amarniennes dans la tombe d’Ipouy (TT 217), BIFAO 95 1995, p. 125-139. 120 Schott Photos 4668. 121 Schott Photos 3598. 122 N. Davies, Seven Private Tombs, London, 1948, plate XXVII. 123 M. Baud, Les dessins ébauchés de la nécropole thébaine, MIFAO 63, 1935, plate III. 124 V. Scheil, Le tombeau d’Aba, MMAF 5,1891, plate IX; Schott Photos 8690. 125 L. Borchardt, Bilder des Zerbrechens der Krüge, ZÄS 64, 1929, plate I. 115 116

196

Passage Tomb Number

Provence

Date

TT 54 Ḥuy

Sh. Abd el-Qurna

Tuthmosis IV to Hall – East wall Amenophis III

TT 49 Neferḥōtep126 127

Khôkha c

TT 56 Userḥēt128

Sh. cAbd el-Qurna

TT 59 Ḳen129

Sh. cAbd el-Qurna

TT 69 Menna130

Sh. cAbd el-Qurna

TT 85 Amenemḥab131

Sh. Abd el-Qurna c

Scene Location

Ay

Hall – East wall

Amenophis II

Passage – South wall

p. 120, no. 2

Tuthmosis IV

Hall – South wall

p. 138, no. 9

Tuthmosis III

Passage – South wall

p. 230, no. 8

Hall – East wall –South side

p. 249, no. 1

Hall – (1) South wall, (2) West wall, (3) North wall

p. 252, no. 1-3

Early Dynasty XVIII

Tuthmosis II to Inner room – South Amenophis III wall

TT133Neferronpet 133 Sh. cAbd el-Qurna

Ramesses II

TT 135 Bekenamūn

Sh. cAbd el-Qurna

Dynasty XIX

TT 138 Nezemger TT 141 Bekenkhons135

TT 159 Racya136

TT 165 Neḥem away c

TT 176 [Amen] userḥēt137

Sh. Abd el-Qurna

Ramesside

Drac Abû el-Naga

Dynasty XIX

Dra Abû el-Naga Khôkha

TT 181 Nebamūn138

Khôkha

TT 222 Ḥeḳmacetrēc(139)

Qurnet Muracì

TT 254 Mosi 140

Ramesses II

Drac Abû el-Naga

c

Khôkha

p. 105, no. 6 p. 113, no. 16-18

Sh. cAbd el-Qurna

c

p. 92, no. 8

Inner room – (16) North wall, (17-18) West wall

TT 112 Menkheperracsonb132

134

PM Reference

Tuthmosis IV

Hall – East wall

p. 250, no. 1-2

Hall – East wall

p. 254, no. 6-7

Hall – South wall

p. 271, no. 1

Hall – West wall

Amenophis II to Hall – (2) North wall, Tuthmosis IV (7) Shrine- East wall Amenophis III Ramesses III to IV

Late Dynasty XVIII

p. 174, no. 22

p. 277, no. 2

p. 283, no. 2, 7

Hall – (4) West wall, (5) North wall

p. 287, no. 4-5

Hall – South wall

p. 338, no. 2

Passage – East wall

p. 323-324, no. 7

N. Davies, The Tomb of Nefer-ḥotep at Thebes, New York 1933, plate XXII-XXVII. Schott Photos 3753-4. 128 M. Wegner, Stilentwickelung der Thebanischen Beamtengräber, , MDAIK 4, 1933, plate XI, a. 129 Schott Photos 8463-4. 130 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo 2013, p. 68, fig. 2.14a. 131 Schott Photos 4123-7, 6991-6; cf S. Eisermann, Die Gräber des Imenemhet und des Pehsucher-Vorbild und Kopie, Saga 12, 1995, p. 65-80. 132 N. Davies, The Tombs of Menkheperrasonb, London, 1933, p. 24. 133 N. Davies, Seven Private Tombs At Ḳurnah, London, 1948, plate XXXV. 134 Schott Photos 7638-40; E. Feucht, Die Gräber des Nedjemger (TT 138) und des Hori (TT 259), Theben, 15, 2006, plate I -XVIII. 135 M. Baud, Tombeau no. 141 Dira Abou N Neggah, MIFAO 63, 1935, plate XXVI. 136 M. Baud, Tombeau no. 141 Dira Abou N Neggah, MIFAO 63, 1935, fig. 83. 137 Schott Photos 4258-60, 4265-6. 138 N. Davies, The Tomb of Two Sculptors at Thebes, New York 1925, plate XIX-XXV. 139 N. Davies, An Unusual Depiction of Ramesside Funerary Rites, JEA 32,1946, p. 69-70, plate XVIII. 140 Schott Photos 7411-14 126

127

197

tomb of kha-em-hat Tomb Number

Provence

TT 275 Sebkmosi

Qurnet Mura ì

TT 259 Ḥori141

Sh. cAbd el-Qurna c

TT 276 Amenemōpet142

Qurnet Muracì

TT 279 Pabasa143 TT 319 Nofru TT 347 Ḥori

TT 397 Nakht

Scene Location

PM Reference

Ramesside

Hall – West wall

p. 352, no. 4

Ramesside Tuthmosis IV

Hall – North wall Inner room – South wall

p. 343, no, 1

p. 353, no.10

Asâsif

Psammetikhos I Vestibule

p. 357, no. 3-4

Sh. cAbd el-Qurna

Ramesside

p. 415, no. 2

Deir el-Baḥri

144

Date

Sh. cAbd el-Qurna

Dynasty XI

Dynasty XVIII

Upper Corridor and Chapel Hall – North wall

p. 392, Blocks

Inner room – West wall p. 443, no. 2

Conclusion The scene was attested in twenty-seven tombs, twelve tombs dates back to the Eighteenth Dynasty while fifteen tombs dates back to the Ramesside period. Thirteen tombs were located in Qurna, four tombs in Drac Abû el-Nagac, four tombs in Qurnet Muracì, three tombs in Khôkha and two tombs in Asâsif the other tombs located in different locations. Similar scenes in different tombs (Nine friends) TT 57 scene no. 18-19 Tomb Number TT 15 Tetiky

Provence

Dra Abû el-Naga

(145)

c

TT 19 Amenmosi146

Drac Abû el-Naga

TT 20 Mentuḥirkhopshef147 Drac Abû el-Naga TT 36 Ibi148

Asâsif

TT 39 Puimerēc149

TT 49 Neferḥōtep

150

TT 54 Ḥuy151

Khôkha Khôkha

Sh. cAbd el-Qurna

Date

Scene Location

PM Reference

Ramesses I to Sethos I

Hall – East wall

p. 33, no. 3

Early Dynasty XVIII

Chapel- South wall

p. 27, no. 2-3

Tuthmosis III

Passage – West wall p. 35, no. 4-5

Tuthmosis III

North Chapel

Psammetikhos I Court - (17) North wall, (21) East wall

p. 67, no. 17, 21

Ay

p. 91, no. 4

Hall – East wall

Tuthmosis IV to Hall – South wall Amenophis III

p. 73, no. 17 P. 104, No.2

Schott Photos 5983-9. Schott Photos 4312-16. 143 M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles, 1938, plate XLVIII. 144 William S. Smith, The Art and Architecture of Ancient Egypt, London, 1958, plate 60 [B]. 145 N. Davies, The Tomb of Tetaky at Thebes (No. 15), JEA 11, 1925, p. 16-17, plate V; G. Le grain, The Paintings and Inscriptions of the Painted Vaulted Chamber of Teta-ky, in Carnarvon and Carter, Five years’ explorations at Thebes, London, 1912, plate VII-IX. 146 M. Lichtheim, Oriental Institute Museum Notes, JNES 6, 1947, plate VII B. 147 N. Davies, Five Theban Tombs, London 1913, plate II, VI, VIII. 148 V. Scheil, Le Tombeau d’Aba, MMAF 5, 1894, p. 649, fig. IX. 149 N. Davies, The Tomb of Puyemrê at Thebes, New York, 1923, plate XLVI. 150 N. Davies, The Tomb of Nefer-Hotep at Thebes, New York, 1933, plate XX. 151 N. Davies, The Tomb of Two Sculptors at Thebes, New York, 1925, plate XXXI. 141 142

198

Passage Tomb Number

Provence

Date

Scene Location

TT 69 Menna

Sh. Abd el-Qurna

Tuthmosis IV

Inner room – South p. 138, no. 9 wall

TT 55 Racmosi152 153

Sh. cAbd el-Qurna c

Amenophis IV

TT 78 Ḥaremḥab154

Sh. cAbd el-Qurna

Tuthmosis III

TT 92 Suemnut

Sh. Abd el-Qurna

Amenophis II

TT 82 Amenemḥēt(155) 156

TT 100 Rekhmirēc 157 TT 121 cAḥmose158 TT 147 No name

Sh. cAbd el-Qurna c

Sh. cAbd el-Qurna Sh. cAbd el-Qurna Dra Abû el-Naga c

Tuthmosis III

Hall – North wall

p. 235, no. 8

Hall – North wall

p. 274 no. 5

Hall – West wall

p. 285, no. 2

Hall – South wall

p. 339 no. 2

Tuthmosis IV

Khôkha

Ḥatshepsut

TT 255 Roy

Dra Abû el-Naga

Ḥaremḥab

162

TT 276 Amenemōpet163 A.4 Siuser

C.4 Meryma et c

c

Qurnet Muraci on main hill

On north east slope

Passage – South wall p. 165, no. 10

Tuthmosis III

TT 179 Nebamūn

Khôkha

Passage – South wall p. 154, No. 9

p. 189, no. 14

Amenophis III

TT 181 Nebamūn161

p. 108, no. 5

Passage - South wall

Drac Abû el-Naga Khôkha

PM Reference

Tuthmosis III to Passage – South wall p. 212, no. 15 Amenophis II

TT 161 Nakht159

TT 178 Neferronpet160

Hall – South wall

Ramesses II

Amenophis III Tuthmosis IV Dynasty XVIII Dynasty XVIII

Inner room – South p. 259, no. 14 wall Hall – (4) North wall, (6) West wall, (7) South wall Hall – West wall

p. 284, no. 5-7

p. 287, No. 4

Inner room – South p. 353, no. 10 wall Passage Passage

p. 448 p. 458

Conclusion The scene was attested in twenty tombs that date back to the Eighteenth Dynasty. Eight tombs are located in Qurna, six tombs in Drac Abû el-Nagac, five tombs in Khôkha and only one in Asâsif.

N. Davies, The Tomb of the Vizier Ramose, London 1941, plate XXV, XXVII. M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo2013, p. 68, plate 2.14a. 154 U. Bouriant, Tombeau de Haremhabi, MMAF 5, 1894, p. 430, plate V. 155 E. Lüddeckens, UntersuchungenÜber Riligiösen Gehalt, Sprache Und Form Der Ägyptischen Totenklagen, MDAIK 11, 2, 1943, p.55, fig, 18; p. 60[20]; p. 65[22-3]. 156 Schott Photos 6863. 157 N. Davies, The Tomb of Rekh-Mi-Re at Thebes, NewYork 1943, plate LXXXIV, LXXXVII, LXXXIX, XC. 158 E. Lüddeckens, UntersuchungenÜber Riligiösen Gehalt, Sprache Und Form Der Ägyptischen Totenklagen, MDAIK 11, 2, 1943, p. 63-8[23-4]; 69-72[26]. 159 G. Capiau, La tombe de Nakht, in Musées Royaux d’art et d’histoire, Bruxelles, 1972, p. 18. 160 Schott Photos 2460-61; L’hote and Hassia, Les chefs d’oeuvre de la peinture égyptienne, Paris 1954, plate 18. 161 N. Davies, The Tomb of Two Sculptors at Thebes, New York, 1925, plate XXII. 162 E. Lüddeckens, UntersuchungenÜber Riligiösen Gehalt, Sprache Und Form Der Ägyptischen Totenklagen, MDAIK 11, 2, 1943, p. 121[44], 123[45]. 163 Schott Photos 4312- 13. 152 153

199

tomb of kha-em-hat

Figure 40. Passage - south wall. Funeral processions and ceremonies. By A.Damarany.

200

Figure 40A. Passage - south wall – full view. Funeral processions and ceremonies. By A.Halim.

Passage

By A.Halim

201

tomb of kha-em-hat Passage - east wall - north side XX. Deceased purified and acclaimed by priests (see figure 41) The remaining scene, c. 40 cm high and 40 cm wide, is almost a counterpart of the previous one, except that there are no inscriptions and the area behind the deceased is divided into five registers. The scene is poorly preserved. The scene represents a giant (Dw) mountain sign, only half of it seen, the other half being damaged. The deceased is represented life-size, but the upper part is entirely damaged to the waist, and only one shoulder and arm remain. He is turning his hand balm outwards, his wrist with a bracelet, and he has a cloth around his chest, a fringed cloth visible also at his back; a kilt is covered by another long, transparent one, knotted around his waist and with a ribbon hanging down from the wide, fringed belt. He is depicted barefoot. The scene behind the deceased is divided into five small registers: the first shows a man standing, underneath the visible part of the (Dw) sign, wearing a short kilt with a wide belt knotted around his waist; only part of his chest can be seen. It seems he is the one pouring water on the deceased. The next three registers each depict a kneeling man performing the (sAx.w)164 ritual; they all look similar, i.e. plain, short wigs, straps across the chest, short kilts and wide belts, left hands is crossed over the chest and the right raised; they all kneel on the right knee. There is an empty gap of c. 20 cm between the second and third man, insufficient for another kneeling figure, who would require 28 cm.165 The last register is divided into two sections depicting 11 offering jars – four in a line, four on a table, and three ‘Djer’ jars under the table. In front of the feet of the deceased we see two human arms and a line of water, the rest is damaged. It seems that this all represents a purification scene, symbolised by a line of water behind the deceased from the top to the ground. According to Assman, the (sAx.w) ritual was supposed to be accompanied by glorification spells, in which the deceased is spoken about rather than being addressed, more in common with the Pyramids Texts.166 These rituals have a significant relation with the mummification and resurrection of Osiris, the most important being the one performed during the mysteries of the god in the month of Khoiak. The spells would be recited during the monthly festival, the second day of the lunar month, the fifteenth-day festivals, and the festivals of the West.167 They were mainly four spells – the first being ‘words for recitation’, the second, third, and fourth being ‘glorification’ (the second was the longest of them all, part of a longer work, the so-called First Book of Glorification.

The ritual consists of two main categories – funerary texts and recitation texts, the latter recited by a funerary priest that seeks to transform the deceased into ‘Osiris N’, thus turning him into a glorified spirit (Ax); M. Bommas, The unpublished Stela of Hunefer, OLA 265, 2017, p. 31. 165 M. El Tanbouly, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 59. 166 M. Smith, Traversing Eternity, Oxford 2009, p. 170. 167 M. Smith, Traversing Eternity, Oxford 2009, p. 169. 164

202

Passage Squeezes – Griffith Institute Squeezes 4.57 - priest pouring libation, from top row. – Griffith Institute squeeze 4.47 - 2nd priest from bottom. 168 Similar scene in different tombs (purification of deceased) TT 57 scene no. 20 Tomb Number

Provence

Date

Scene Location

PM Reference

Sh. Abd el-Qurna

Tuthmosis III to Amenophis II

Hall – West wall

p. 82, no. 3

Sh. cAbd el-Qurna

Amenophis IV

Hall – East wall

p. 109, no .9

TT 85 Amenemḥab171 Sh. cAbd el-Qurna

Tuthmosis III to Amenophis II

Pillar B

p. 173

TT 96 Sennūfer172

Sh. cAbd el-Qurna

Amenophis II

Pillar G

p. 202-203

TT 125 Duauneḥeḥ

Sh. cAbd el-Qurna

Tuthmosis I

Inner room – North p. 241, no. 20 wall

TT 42 Amenmosi

169

TT 55 Racmosi170

c

Conclusion The scene was attested in five tombs, they are all located in Qurna and dates back to the 18th Dynasty.

Jaromir Malek and others, Griffith Institute, (January 22, 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391-1353 BC) viewed 12.August.2019. 169 N. Davies, The Tombs of Menkheperresonb, Amenmosĕ, and another (nos 86, 112, 42, 226), London 1933, plate XXXVII, XLVI. 170 N. Davies, The Tomb of the Vizier Ramose, London, 1941, plate XXI. 171 K. Pieh, Inscriptions hiéroglyphiques en europe et en égypte, Stockholm 1884, plate CXII. 172 S. Hodel-Hoenes, Leben und Tod im Alten Ägypten: Thebanische Privatgräber des Neuen Reiches, Darmstadt, 1991, p. 116, abb. 47. 168

203

tomb of kha-em-hat

Figure 41. Passage - east wall - north side. Kha-em-hat standing on horizon sign. By A.Damarany.

204

Passage XXI-XXII Passage - north wall (see figure 42, 42A) Dimensions: The wall is about 2.50m in height and 5.50m in width. The scene is bordered from the top and the right-hand side only while the left-hand side bears a long line of inscriptions but unfortunately is destroyed except for a small part at the bottom. The wall is divided into two registers; the upper register is much taller and is divided into three vertical scenes. It is not very well preserved, large parts are destroyed but were consolidated with plaster during the restoration work of the tomb, and casts replaced three parts. The bottom register is one scene along the wall, which represents the pilgrimage of Abydos both ways. It is almost intact except for very slight broken parts that do not make much influence in the interpretation of the scene. No traces of colors are left on the wall.

205

tomb of kha-em-hat

Figure 42. Passage - north wall. By A.Damarany.

206

Figure 42A. Passage - north wall with squeeze.By A.Halim.

Passage

207

tomb of kha-em-hat Horizontal line beneath the ceiling (see figure 43)

mAA Itn (in) sS nsw jmj-r ^mA- MHw ¢a-m-HAt…….. ¢a-m-HAt mAa-xrw DwA.f m dwAwt sHtp .f

m tw dj …. grH dj .k pr bA n sS nsw jmj-r Snwty ¢a-m-HAt mAa-xrw pn Hna .k r pt wD .f m tw

Msktt mnj .f m tw manDt Abx .f ixmw wrD imyw pt jj jaH jmj

208

Passage

Figure 43. Horizontal line beneath the ceiling.

seeing Aten (by) the royal scribe, overseer of granaries of Upper and Lower Egypt Khaem-hat…………Kha-em-hat the justified, he worships in the Netherworld, he satisfy, may you allow the soul of the royal scribe, overseer of granaries, Kha-em-hat the justified to go out with you to the sky so that he may guide the night bark and the morning bark and unite with the impershable stars in the sky. O moon who is in …….. XXI. Kha-em-hat on the mountain (see figure 44) The scene is about 1.60m in height and 1m in width. In this scene, c. 1.60 m high and 1 m wide, the deceased is represented standing on the mountain sign (Dw), but only the lower part is preserved and a cast replaces the upper part, together with the text. The deceased, facing left, wears a designed wig, wide, plain collar, short-sleeved shirt, a wide belt knotted in front around his waist, and a short kilt topped with a double, long transparent kilt of two different lengths. He is holding a sceptre in his right hand and his left reaches out. He is barefoot. There were c. 11 vertical lines of inscriptions but these were unfortunately destroyed and replaced with a cast. The text represents Chapter CX of The Book of the Dead, which was of high religious importance for ancient Egyptians and considered an essential element of tomb equipment. It was not randomly placed in the tomb, like many of the funerary provisions for the deceased, and, from the beginning of the 18th Dynasty, vignettes were added to the spell and several colours featured; it passed through several other developments during the Ramesside period.173 Beginning with the sacrifice, there were proclamations relating to ‘going out in the day’, ‘going out in the dead city’, ‘entering the rushes’, ‘staying in the fields of the sacrifice’, ‘in the great city’, ‘the Mistress of the Wind’, ‘to be so powerful there’, ‘to be transfigured there’, ‘to plough, reap, eat, drink, and copulate there’, and ‘do all that is done on earth’. The text is divided into two parts: The salutation of the dead to the Ennead, who dwells in the rush-fields; Praise to the Ennead and kiss the earth before the great god; An offering formula for Osiris and the Ennead, located in the offering field area. The original text begins with the heading mentioned above. The tableau is surrounded by water and shows the various regions or islands of the Elysian landscape, where the individual who is released from sin can be found. 173

P. Rourke, An Ancient Egyptian Book of the Dead, Brooklyn Museum, New York 2016, p. 36.

209

tomb of kha-em-hat The scenes are divided as follows (Vignette - Nebseni Papyrus- Eighteenth Dynasty) – – – – – –

The dead enter the Elysian Fields. He sacrifices the incense of the great Ennead, three squatting deities. He drives in the bark to the sites. He stands before a mummified figure. Three islands or areas are depicted in a closed room. Grain harvesting.

The deceased stands behind the benu and the kas of the blessed. – He sits at an offering table. – Four islands or areas are shown in a closed frame. – A field order scene. On the left, the gods of the great Ennead are sitting in the sacrificial pasture, behind them is a staircase. On the left is an island with the inscription of the god’s birth and scene of battle. On the right we see the dD tft bark with eight oars, shown on water. The bow and stern of the bark end in the heads of snakes. There is a staircase in the barge and two islands are depicted above. To the left of the table, the deceased stands worshiping in the direction of the field. On the right he is standing in front of two figures. One individual pours water on the dead man, and the other brings him clothes. The accompanying text of this is noted in two tombs from the 18th Dynasty. In TT 57 the text is more or less destroyed. Often only the representation of the Elysian Field suffices, elsewhere the scenes are explained through inscriptions. Below the horizontal line are some 12 vertical lines of inscriptions, unfortunately destroyed. The original text begins with the heading mentioned above.

210

Passage

211

tomb of kha-em-hat (1) Sd n.j nfrw jw ……. (2)……… Hrt swAD (w). j Xr.w j [Aw.t]-jb n kA …..mfkA ……jj .n .j [jm.t] fAi nxt .j Smsw m tp hrw …….nb.t ……n…… Hr.y …… (3)………. f jw.j skA.j jw j Asx @sA.t . jj n .j jm xsf ……n TAw psDt …. Ts n .j tp jwr xsbd jr n jb .f Wsr.t …..n.j ……ms n.j Hw %mA.t jj m .j wSn (4). ……. ……[n.j jm.t ]….. n.j S .f r Wsjr js.k [HwAA] wAx wr js gm jnk HAm jmj .n.j …….. mA .n Wsjr jt .j jp n.j mw.t nhp .j HAm .j HfA.w n Hm n jw.j r rx kw jr .f n.t jab Ra nb Dsr.t sSn jpd (5)…….wAx.j jj n.j jm.t jmj S bw .j sxm .j m stp.t jH.w Apdw .j rdi n j wSnw ………. n .j jm.t wnx .j mnx.t Ts dj .j sjA.t Hbs Ra js Xnw pt Smsw nTrw jmj.w pt jnk Sms Ra jmj pt wn m Htp nb.t tAwj (6) ……….n.j jm.t wn n wn n .j tp j aXn Ra rs r rs n.j psD n.j @sA.t(174) sDr ra pt m …… jw m njw.t wr.t jj .n .j jm .t jp(w) .j bAH swDA (w).j wAx r jnk kA pw skA m xsbd nb %x.ty kA NTr mdw . n.j (7). (Dd mdw) ……. HAt mAa- xrw jj n .j jm bA .j m xt .j Hw.j tp awy nb.t &A.wy(175) smn.t .s HkA(w) nn .j jmw jw .j ……..sSm.n .i Aw.t jb Htp .k n.j Ts mtw.t .j sSp n.j T3w (8)………… jp ^w n rx sw Xn (w) .j m S(w) .s spr r njw.t .s xns .j m %x.ty @tp-Ra js pw @tp @tp js pw Htp.w .s nhm n.j r tA sHtp Ss .j pr n.j rdj n .j jr Aw.t jb iT n .j wsr .j @tp wn n @tp sxt.y (9). ……….. nw %x.ty @tp nty wj jm wsr j jm s3x j jm .s wnm (w) j jm .s……. nhp .j jm .s Htp .j jm .s @tp jstw jm .s m S .w .s spr .j r njw .wt .s @tp js.t rA .j spd Hnw ab.wy spd (10). …………Ssm.w kA .w nb x.t sDA pr.n.(i) in.t sw sxm j jm sSp …….@tp sxm …….HkA .j pn wr aA n Xnw Xt.i tn s.t .j pw jnk sxA n .f smx n.f …. wDA.s (11). ……….. x.t nb.t Dw.t jm .s m aq .f pr .f xtxt sx.t tAy smA.f r x.t nb.t nTr niwt ii m Htp…….. jrr.f x.t nb.t jm .s mj jrrw.t m Jw Nsrsr nn nhm nb jm .s nn x.t nb.t Dw.t …… anx @tp aA (1) I make those below flourish. (I give) gladness to the …………, (2) I have come into thee. When I approach raise for me a following (breeze at day), mistress of purity. (dAs) the morning pin for me in the upper……176 (3) I plow and reap. (Thou of) the @sAt – cow,177 I have come into thee. (Ye) Lapis Lazuli- colored, I have followed the breath of the Ennead. It is the eldest who has given me my head; I have attached (the) head (head of Horus the blue)-eyed, (who does as he pleases) Powerful one I have come into thee ……. Authority was born, Uniter, I have come into thee … (4) I have come into thee, I have plunged into the (lakes) like Osiris, Lord of decay, lord of all verdure, like the eldest therein, I am a fisher;…………., I have come into thee, I have seen my father Osiris, I have recognized my mother, I copulate, I fish (I know the bonds for) snakes and I am protected.178 (5) I have come into thee, I eat my viands; I control my meat offerings of oxen and of fowl. I have given necked fowl ………I dress in six thread linen, I have put on fringed linen, like Re within the sky, whom the gods in the sky follow, I am a follower of Re in the sky. Existing in (@tp) lady of the two lands.179 (6) (I have come into) thee, open for me my head when Re closes his eyes. I have waked, I have shone, O @sAt cow180, after i have slept by night, I have regained my life, while I am in my settlement, great settlement, I have come into thee, I allot the overflow, I bring verdure. I am this one Cow Goddess appeared in the New Kingdom, cf. Ch.Leitz, Lexikon der ägyptischen Götter und Götterbezeichnungen, 8, LGG 5, OLA 129, 2003, p. 482. 175 Nb.t - tAwy: Goddess of offerings, appeared in the New Kingdom, was mentioned in BD. Chapter 110 (see above) and in Chapter 169 as follows: four loaves of bread are delivered to thee from Heliopolis from the offering table of the Lady of the two lands, cf A. Thomas George, The Book of the Dead, Chicago, 1974, p. 88, 177. 176 A. Thomas George, The Book of the Dead, Chicago, 1974, p. 89, a7; C. Carriere, BM EA 9900, 3, p. 243, 43-45, cf. E. Hornung, Das Totenbuch der Ägypter, Zürich, 1990, p . 214- 218. 177 cf Leitz, Ch. Lexikon der ägyptischen Götter und Götterbezeichnungen, 8, OLA129. LGG 5, 2003, p. 482. 178 A. Thomas George, The Book of the Dead, Chicago 1974, p. 89, a6; C. Carriere, BM EA 9900, 3, p. 242, 37-39. 179 A. Thomas George, The Book of the Dead, Chicago 1974, p. 88, a5; C. Carriere, BM EA 9900, 3, p. 241, 34-35. 180 One of the many names of Hathor or Isis, was called divine mother or Mistress of heaven and sovereign of gods, while others calls her divine mother and fair nurse, cf P. Renouf, The Egyptian Book of the Dead, London, 1904, p. 201. 174

212

Passage bull of Lapis Lazuli, lord of the field, bull of gods; Sothis speaks to me 181…… (7) (Words are said): …….. true of voice, I have come into thee, my soul behind me, my food is upon my hands, Lady of the Two lands, establish my magic, (so that I remember) what I have forgotten of it, I am alive; and there is none who can harm me, given to me gladness of heart for thou (Hotep) art gracious to me, fashioner of my seed, I have received breath182 (8) I give the overflow to the spirits of the blessed and assign Shu to one who knows him, so that I arrive at her settlements and paddle in her lakes, I go about in the fields of Hotep at their settings. I have descended to the earth, I have settled my affairs, I have ascended given to me is what I have given, my heart has been gladdened, I have seized my power that Hotep promises to me. 183 (9) (I proceed, I plow), I am Hotep in the god’s settlement, I become powerful therein and blessed therein, I eat therein and move about therein. I plow therein and reap therein, I copulate therein, I go to rest therein like Hotep, I have inseminated therein. I paddle in her lakes, I arrive at her settlements like Hotep, my dictum, sharp are my horns. (10) Leader of spirits (to) the Lords of possessions, may (I) proceed ascending to him who brought him. May I prevail over (him), and may he receive (me who am) provided for as Hotep. I control this magic of mine great and powerful, that is within (this) belly of mine; this is my deputy. I am one who remembers what I had forgotten of it. 184 (11) all the bad property therin, who goes and comes throughout this field. He associates above all (with) the Abode of the god. As for him who sets in life in the fayence (of the sky), he does everything therein just as is done in the Isle of flame. There is no jubilation at all therein or there anything evil therein.185 The central scene is an extensive scene, representing the vignette of Chapter CX of The Book of the Dead. The spell is illustrated by a kind of topographical plan of the Elysian Field and the primary places of interest and activity. According to Munro, who mentions that Chapter CX of The Book of the Dead contains two vignettes, or sometimes even three different ones, the worship scene representing the deceased in worship before the Elysian Fields, a purification scene, portraying the deceased standing, holding a long stick in front of him, in two registers, above which are two figures, the upper one, above the deceased, pours a libation, while the other, in the lower register, presents clothes.186

A. Thomas George, The Book of the Dead, Chicago, 1974, p. 88, a5, C. Carriere, BM EA 9900, 3, p. 241, 31- 33. A. Thomas George The Book of the Dead, Chicago, 1974, C. Carriere, BM EA 9900, 3, p. 241, 28-30. A. Thomas George, The Book of the Dead, Chicago, 1974,p.88 a3; C. Carrier, BM EA 9900, Vol. III, p. 240, 26-28. 184 A. Thomas George, The Book of the Dead, Chicago, 1974,p. 88, a3, C. Carrier, BM EA 9900, Vol. III, p. 239, 20-22. 185 A. Thomas George, The Book of the Dead, Chicago, 1974,p. 88, a2, C. Carrier, BM EA 9900, Vol. III, p. 238, 18-19. 186 I. Munro, Untersuchung Zu den Totenbuch- Papyri der 18. Dynastie, London 1988, pp. 100-101. 181 182

183

213

tomb of kha-em-hat The wall is divided horizontally into three registers. The main deities are enthroned above, where they are paid homage by the deceased. The fields are represented in the centre, depicting various related activities, such as ploughing and threshing. The bottom register represents the canals, boats, and cities along the bank. The central scene is divided into three registers, now partially destroyed. Upper register Three names of cities are inscribed in ovals: Qnqnt, @tpt and the City of the Great One; a statement follows: ‘Existing as Hotep, Lord of the Fields, with breath in his nose’. This whole part is destroyed, apart from a falcon on a shrine and three enthroned deities whose figures overlapped. The falcon is Hotep, Great God, Lord of the Sky, in mummy form; behind is a large NTr sign, a small falcon and an arm can be seen, but the rest is lost. Above the mummy form is a broken hieroglyphic inscription:

……jtrw xA pw This river measures (1000) A second scene shows the deceased paddling in Hotep’s lake, only the lower part of a seated figure holding a paddle in a boat is seen. The wall extends, and a broken hieroglyphic inscription can be read as follows:

wnn Htp m nb sxt Hotep exists as lord of field lord of the field. The Third scene features three seated gods representing the Ennead in-front of an offering table. The word ‘Ntr.w psDt ‘ ’(Ennead of gods) is inscribed above their heads. The deceased is represented holding an incense burner in his right hand while the left hand is straight down next to his body; he is wearing a short simple wig and a short kilt topped with a long transparent one and is followed by another man who is lifting his hand in front of his waist, holding the sign ‘ n’ in each hand. The original scene is destroyed. It is replaced by a cast. Below the scene, a man is wearing a simple wig and a short kilt topped with a long transparent one, attached to his waist by a belt. He is holding a sickle in both hands which are stretched in front of his body.

214

Passage Central Register The central register is divided into three horizontal registers, two oval cartouche-like shapes with inscriptions. These are much damaged and only the outer lines of the oval shape remain, with the upper lines of the hieroglyphic signs; these were the names of two islets (there are supposed to be four), and standing for ‘The peaceful WAD-Wr’, the Verdant. The area is described as the ‘lake of the hippopotamus’ (a waterway), a thousand leagues in length and of unknown breadth, containing no fish, no snakes, and no plants. On the left there remains a scene of a seated human figure in front of an offering table. The rest of the scene is broken, but further there is an ibis bird, a human head, and two raised hands in adoration behind the bird figure. The scene beneath shows agricultural activities – ploughing, sowing, reaping, and threshing. A line of inscription is seen as follows:

r n HDt itrw xA m Aw .f nn nn Ddw wsx.t nn .n wn.t rm.w im .f Aw HfAw nb im.f Recitation: the white hippo of the river it is 1000 long, there is no telling its width, there are no fish in it, no plant, there is no snake in it. Behind the inscription band, there is a cow, but only the lower part of her body remains, moving forward, followed by two men, one of whom holds a rope attached to the plough; the other man has a long cane in his right hand and a little basket in his left. There is damage to the central parts of these figures. Lower register The same scene, with the cow and the men, is repeated but it is intact. Both the men and the cow are placed inside a half oval, and in front of the cow is the following hieroglyphic inscription:

Aw pt Aw.f The length of the sky is its length. Above the cow’s head ( “

) skA that means ‘plow’ is inscribed.187

A. Thomas George, G., BD, p. 184, the rest of the scene was supposed to be ‘The scene is showing the deceased plowing in a region ‘the length of which is the (length of the sky)’, then follow sowing reaping, threshing and two heaps of grains’ but here the rest of the scene is broken 187

215

tomb of kha-em-hat The rest of the scene is broken. Below the cow scene, there following inscriptions were inscribed from right to left:

wAx Sb jj .n .j jm ... Sb……. j rdj .n .j wSn.w ^w Sms.w kA.w.j O Uach, I arrive in thee, and I eat (my cakes and take possession of my) joints of flesh, meat and fowl. The winged things poultry (birds) of Shu are given to me, and my kas follow me. Another island at the bottom is ‘The birthplace of gods’, the city of ‘Qnqnt’. In another area a staircase shape is surrounded by water, behind it four gods squat.188 Two have beards; in front of them is the inscription ‘ ’ of the stairs-like shape and a short hieroglyphic inscription:

msxn pA njw.t qnqn(189) tA nbt The birthplace of every city of QnQn and island (in the Netherworld). On the left-hand side of the bottom scene is a boat in its canal. The stern ends with in the shape of a snake; there are three paddles, beside which is word ( spA) which means district or nome. On the top of the boat is an oval shape that supposedly bears an inscription with the name of the city, but it is destroyed with the rest of the boat. On the other side of the boat there is sign ‘ ’ and below it from the left side is a ‘ the name of the place, but it is destroyed.190

’ which seems to be

In Turin Papyrus illustration, the gods are Shu, Tefnut and Geb, and here we see four gods and not three and with no names topping their heads like the previous one, cf. Lepsius, plate XLI; A. Thomas George, BD, p. 90, he said that these four gods are the four sons of Horus. 189 Qnqnt is determined by a land sign which means pools more than regions; cf. P. Dorman, The Tombs of Senenmut, NewYork1991, p.118 (a). 190 In the illustration from Turin papyrus represents two boats and not one, cf Lepsius, Todtenbuch der Ägypter nach dem Hieroglyphischen Papyrus in Turin, Heidelberg 2009, plate XLI; cf. E. Dondelinger, Das Totenbuch des Schreibers Ani, Graz: Akad. Druck- u. Verlagsanstalt, 1987, p.119, pl. 35. 188

216

Passage Broken text in the north wall of the passage

k Hbs jm NTr njw.t

jb .f pt DbA iw.f Tt Dt

jw gr qdh

(1) …………. (2) sn…….Dba………..(3)………(4) jnk rx sy Xnw (.j)…….. (5) … f n.k sSm Axw (6) .... dr.f Xnj (7) …sn bHn.f … (8) …anx qmA .n.f … (9) …smsw .f sHtp.f … (10)…Htp m spw .f sX….. (1) …….. (2) …….. (3) ……… (4) may I know it, (I) have sailed … (5)…he …to you useful leading (6) …. He drives away the storm (7) … them … he cut off … (8) the living whom he created (9) who are his first born, he satisfied (10) …. Peace with his fragment. After the eleventh column, there are around four destroyed columns, another two columns are also destroyed, but some of the inscriptions are as follows:

217

tomb of kha-em-hat

(11) …… r Hryw srt….. (12) ……. (13) ……… (14) …….(15) ……. (16) …A…. (17) jn sS mAA n.j (11) ....upon.... (12)…… (13)…….. (14)……. (15)…….(16)….then.... (17) by the scribe I saw. Vignette Comparison The oldest version of chapter 110 of the Book of the dead 191 from the 18th Dynasty was found in tomb TT 57 Kha-em-hat, according to Renouf,192 who noted that the hieroglyphic inscriptions divided into columns were inscribed in retrogrades. In order to be read correctly, the text should be read from the end to the beginning, meaning starting from column eleven to column one. Unfortunately, the vignette is in a bad condition; the inscriptions are destroyed. The comparison of the vignette of Chapter 110 of the Book of the Dead will be analysed through Tomb TT 57, Papyrus BM9900, Turin Papyrus, Leyden Papyrus and Ryerson, OIM 9787,193 Hor Papyrus194. The Vignette in Tomb TT 57 is destroyed, but the scene could be traced by comparing it with other vignettes found in tombs and Papyri. In Tomb TT 57, Papyrus BM9900 and Leyden Papyrus, the vignette is divided into four registers, but in Turin Papyrus and Ryerson, there are only three registers. The first register Papyrus Nebseni (BM 9900) As pictured in Naville,195 the first register is divided into five vertical sections. Chapter 110 of the Book of the Dead was found in the following tombs: TT 1, 32, 39, 41, 111, 120, 158, 215, 218, 305, 324, 326, 353, B.2, C.4; cf. Universtätbonn, Das AltägyptischeTotenbuch, Ein Digitales Textzeugenarchiv, viewed 05 August 2019,< http://totenbuch.awk.nrw.de/objekt/tm134999>. 192 P. Renouf, The Egyptian Book of the Dead, London 1904, p. 196. 193 A. George Thomas, The Book of the Dead, Chicago 1974, p. 184-185, plate XXXI. 194 Jr. Mosher Malcolm, The Papyrus of Hor BM EA 10479, British Museum 2001, p.102-103, plate 6. 195 E. Naville, Ägyptische Todtenbuch der XVIII. bis XX Dynastie, Berlin, 1886, plate CXXIII. 191

218

Passage Tomb TT 57 Despite the broken scene, a separation line could be seen on the left. On Leyden, Turin and Ryerson Papyri, the register is not separated by any lines. Leyden and BM9900 Papyri The oval cartouche is inscribed on the right-hand side Tomb 57, Turin and Ryerson Papyri The oval shape is inscribed on the left-hand side, with the names of the cities inscribed inside; The inscription is destroyed in Kha-em-hat tomb, it is destroyed apart from one readable sign so it should look like this, . Inscribed underneath these oval shapes an inscription follows:

wnn Htp m nb sxt Hotep exists as lord of the field. Leyden Papyrus The oval shapes contain no inscriptions. BM 9900 Nebseni 196 The names are:

Qnqnt, @tpt, Wrt (the Great one). Turin and Ryerson Papyri The first and the last names are the same; the one in the middle was inscribed like this nnt-tnt Hor Papyrus There are no oval shapes and no names of any cities.

196

Cf. G. Lapp, The Papyrus of Nebseni (BM EA 9900)3, British Museum, 2004, plate 52-53.

219

tomb of kha-em-hat Tomb TT 57 The offering scene to the Ennead is on the right and represents the deceased in a standing position wearing a plain wig and short kilt, topped with a long transparent one. He extends his hand with a jar of incense and behind him is a human figure wearing the same wig and same style of kilt, and holding the ( sign), one in each hand. This is the nenni welcome ritual. In front of the deceased is a table covered with offerings, followed by three squatting gods with human heads. The inscription on top of their heads reads: BM9900 Papyri The scene is on the left and the gods are shown squatting on the ground and with human heads on top of them, inscribed PsD.t aA.tThe deceased stands alone, offering incense directly to the gods with no offering table; he is wearing a wig and short kilt, topped with a long transparent garment. In front of him is the following inscription:

rdj snTr sS Hb .sn rnpwy Doing incense by the scribe of the festival (sn rnpwy) Turin and Ryerson Papyri The scene is also on the right, but the deceased has two figures behind him. The one directly behind is shown raising both hands in a gesture of adoration, the one who follows has his hand extended in front. These figures in turn are followed by the god Thot, with a human body and an Ibis head, holding his scribal palette and recording the events. The squatting gods are on a pedestal that looks like a shrine: they have animal heads (the central one a snake head, the first and last cow heads with horns) with a feather inscriptions are deceased reads:

on top of their heads, the

psD.t aA.t – the Great Ennead. A further inscription above the

Wsjr jw.f anx mAa xrw Osiris the honoured the living the justified. Ryerson Papyrus The deceased is giving offerings to three squatting gods with animal heads; they have feathers on top of their heads. Behind the deceased are two standing men – one raises his hands in adoration, the other extending his hands in front, but downwards. Above the deceased’s head are the following inscriptions: 220

Passage

Wsjr rwty mAa xrw The honoured before Djhouti and the double lions god the justified. Thot here is standing above the heads of the two men at the end who are standing behind the deceased. It seems that there was insufficient room and thus the free space above the heads was used. The three gods here are sitting on a rectangular pedestal. The inscription to the Great Gods is above their heads. Leyden Papyrus This contains the same scene, but on the left side of the first register we see three squatting gods. They each have a different animal head (rabbit, serpent, cow with two horns) and the ‘ psD.ty’. The deceased stands directly in front of them with no offering table in between, giving them incense with one hand and raising the other. He is wearing a black wig and a full garment in two pieces but covering all his body; only half of his arms and feet are shown. He is followed by another figure wearing almost the same style of garment, but his upper body is bent forward; he has a front hair lock extending on his face. Both are followed by the god Thot, depicted recording the events. Hor Papyrus The offering scene is on the right, showing the deceased raising his hands in adoration in front of an offering table and three squatting gods with different animal heads, as mentioned above. Behind the deceased, the god Thot is standing, recording the events. Tomb TT 57 In the middle of the first register, the deceased is represented facing right, sitting paddling in a boat. The scene is broken except for the lower part, showing the deceased’s lower body and fragments of the boat and paddle. Leyden Papyrus The same scene and in the same area, showing the deceased facing right, wearing a full garment covering all his body except the arms, paddling in a boat with food offerings in front of him. The stern and prow of the boat end with a lotus flower. BMEA 9900 Papyrus The same scene, with the deceased facing right, in a short kilt, paddling in a boat that ends with a lotus flower; there is no offering table. The inscriptions are as follows:

niwt 221

tomb of kha-em-hat

sS rs Hb snn-rnpwy the scribe, the watchful of the festival sn-rnbwy

Hb Aw spr nTr aA Duration of the festival of the great god. Turin Papyrus The deceased is facing left, sitting in a boat paddling, wearing a kilt with pleated straps on his knees, food offerings in front of him with two stands on each side of the offering table perhaps containing incense? The stern and the prow of the boat end in a lotus flower. The following inscriptions are on top of the scene: Three huge signs of niwt

Wsjr jw .f anx mAa xrw Xnj.t m S Htp Osiris the living the justified, navigating in pool Htp. Ryerson Papyrus The deceased is in a boat paddling; he is facing to the left; both the stern and the prow end in a lotus flower; a table of offerings is in front of the decased in the boat. On top are the following inscriptions:

Wsir Hm nTr rwty mAa- Xrw The blessed one the priest +jhwty and rwty or the double lion deity.

Xnw m S Htp Navigating in the lake of Hotep. 222

Passage Hor Papyrus The deceased is seated in a boat paddling, but his head is turned backwards. Tomb TT 57 A standing mummy with a sign of behind it, in front of it a human arm is extended towards the mummy, and a small tiny bird underneath the human hand, the rest of the scene is broken but on top are the following inscriptions:

jtrw xA pw the river measures 1000 Leyden Papyrus The deceased is standing wearing the full garment; one hand is by his side while the other is extended forward as if trying to reach the huge falcon in front. The falcon is standing on a pedestal. In front of the falcon is a stand bearing a large lotus flower that is barely touching the nose of a standing mummy. Above the mummy is an empty oval shape; behind it are two empty oval shapes, which supposedly should bear names of some nomes. The inscriptions are as follows:

Wn m Htp m rnp.wt nfw r …….. To be exist in the field of offering through the years, the breath to ….. BM 9900 Papyrus The deceased is standing; his hand is stretching down by his side while the other one is extending forward, reaching for the mummy in front of him, inscriptions as follows:

sS Hb sn rnp.ty

m sx.f Above the mummy’s head:

sDA to be in a good state.

223

tomb of kha-em-hat Turin Papyrus The scene is different; the deceased is burning incense in front of a huge bird with a human head, with inscriptions above his head:

Wsjr jw .f anx mAa-xrw The blessed one, the living, justified Behind the scene stands a huge falcon on a pedestal, in front of him an offering table and three standing mummies. Inscriptions as follows:

@tp NTr- aA nbt pt

Htp the great god, lord of heaven On the other side, above the mummy’s head are inscriptions:

NTr.w Ax.tj Gods of the two horizon. Behind the mummies, three oval shapes contain names of three nomes

Wnn.n m Htp sxA.t qnqnt. Being in peace in the fields of Kant.

224

Passage Ryerson Papyrus The deceased is giving incense offering to a bird with human head standing on a pedestal; he is facing left; behind the bird, a falcon is standing on a higher pedestal with inscription:

@tp nTr- aA nbt pt @tp the great god, lord of the sky

Behind the falcon, three gods are sitting on a low back throne, above their heads inscriptions as follows:

Wnn Hr sXty T3w Tpw nqt …. to be exist Hor, the farmer the wind upon the figs. The three nomes in the oval shape are precisely the same as the ones in Turin papyrus. Hor Papyrus There is a huge falcon standing on a pedestal and in front of him a standing mummy. The whole register contains no inscriptions. Second Register Tomb TT 57 he majority of the scene is destroyed but some details remain. On the right the deceased, holding a sickle, reaps and harvests grain. There are many individuals behind the deceased in this gift-offering scene to the great gods (Ennead); the head of an ibis bird is seen from the broken wall, and a human head with two arms that are trying to reach the bird to touch him. Another figure is kneeling figure in front of an offering table, and to the very left there are three oval shapes containing broken names of nomes – only the sign for ‘mHw’ is legible. Turin Papyrus Two figures stand behind the deceased, with the god Ibis and his writing palette recording events. There only figure in the tomb, holding the Nebseni papyrus, is the deceased, standing alone. The central scene, with the deceased in a boat, is broken except for the lower squatting figure of the deceased and part of the boat, which therefore cannot be compared to other examples.

225

tomb of kha-em-hat The next scene shows the deceased burning incense in front of a bird with a human head (ka); in the Turin example the bird is huge, but it does not exist at all in the Nebseni variant. The next scene in the same register represents the deceased making offerings to a god in mummy form; in front of him is a tiny bird, behind which is the hieroglyphic sign of the god ( ); the Turin copy has a huge bird on a pedestal giving food offerings; there are three lotus flowers on top of an offering table and three mummy-form gods behind them, as well as three oval shapes containing the names of three cities. In the Nebseni example the names of the three cities are: Qnqnt, Htpt and the great one, in the tomb the wall is broken and traces of an oval cartouchelike shape can be seen; in the Turin papyri this part is destroyed, but the name of one city is different, showing only a small part. As for the hieroglyphic inscriptions in the scene, the word for ‘great gods’ are similar in the two papyri, while the rest are very different. In the tomb itself it is now lost. BM EA9900 Papyrus In this papyrus from the British Museum the scene is very similar, except that the figures are all oriented from left to right; it starts with four ovaloid shapes containing the names of four nomes as follows:

The scene is divided into four sections vertically, the first contains the names of the nomes in the four oval shapes, the second depicts an offering table full of offerings and the deceased sitting in front sniffing a lotus flower. The inscriptions are as follows:

 xA m xt nb.(t) nfr.t wab.t n kA n sS Nbsnj Thousands of.....every beautiful and purified things to the ka of the scribe. Nebseni Papyrus In the third section can be seen a huge bird with an ibis head on a stand; in front of him are three ‘Ax’ birds and three ‘kA’ signs, and behind we have the deceased, stretching his hands forward trying to touch the bird. The last section represents the deceased with a sickle in his right hand, harvesting. There are then inscriptions behind him.

Wsx m sxt Htp jn sS Nbsnj Stay in the fields of Hotep by the scribe Nebseni. 226

Passage Leyden Papyrus The scene is almost similar to BM EA 9900, except that there are three names of nomes in the ovals rather than four. Behind them are three vertical ‘Ax’ birds, three horizontal ‘kA’ signs on one line, and two large ‘Axt’ signs on top of each other. The deceased is represented seated on the ground wearing a full garment and holding a sceptre in his left hand. Behind him is a very large ibis bird on a stand, and the deceased, in his full attire, raises his hands in adoration. The second half of the wall represents ploughing and harvesting, i.e. the deceased driving three cows with a whip, and then harvesting wheat with a sickle. There are inscriptions behind him.

Wsx a Wsjr Extend the hands of the blessed one. Ryerson and Turin Papyri The scene is similar in these, with the register running left to right. It starts with a seated god on a low-back throne on a pedestal; the deceased is standing in front of the god, raising his hands in adoration. Between them there is a table laden with offerings, and above the deceased’s head, in the free space, an ibis bird stands on a perch with the sign ‘ ’. Behind the deceased is a seated human figure, and above his head an ibis bird; behind the seated figure can be seen two sacks of grain and depictions of ploughing, reaping, and threshing. The harvesting scene shows cows and large ears of wheat. Above the cow scene are the inscriptions: The harvesting scene with cows and huge ears of wheat. Above the cow scene, there are inscriptions:

skA pt Aw.f plowing the fields of the sky during his long time Above the figures on the left, four oval like shapes with names of nomes as follows:

The inscriptions are similar to Kha-em-hat: ‘The pool of the white Hippopotamus, it is 1000 long, there is no telling its width, there are no fish in it, no plant, there is no snake in it’. Hor Papyrus Here the second register represents a human figure holding long ears of wheat; another human figure has a cane in his left hand and lifts it; his right hand is extended in front of him, below which there is a cow. In front of the cow is a female figure with long, dark hair and a tight-fitting dress. She is raising her right hand as if to touch the ibis bird on a perch in front 227

tomb of kha-em-hat of her. A further human figure is seated, wearing a long, white kilt; his right hand is bent towards his chest and the left rests on his knee. In front of him are two large horizon signs, below which are three cartouche-like ovals bearing names of nomes as follows:

Third register Tomb TT 57 The scene runs from left to right, but the right side is now lost. The deceased is represented ploughing with two cows; another figure stands behind him carrying a basket or a bag in his left hand and holding a long cane in the other. The scene is inside an oval shape which represents the waterway; the inscriptions are:

(see translation above) skA means plough,

Aw pt Aw.f

– The length of the sky is its length. – Below this scene there is a long inscription:

(see translation above) Although the scene is directed from left to right, this long inscription is written from right to left. There is a waterway below the inscription that extends all the way down to the right. On it is a boat that ends with a snake, and it has three paddles on one side. The other side of the scene is broken and thus the full shape of the boat cannot be seen, however it is supposed that both sides were identical. Above the boat is an ovaloid shape that most probably contains the name of a city, but it is broken.

228

Passage Underneath the boat there is an inscription on each side, just one word; on the right is the word ‘ remaining.

’ spA, the name of a city; the other nscription is destroyed only ‘

’

At the bottom, squat four human gods, two males and two females; in front of them is inscription ‘

’ ,behind them is a staircase with the inscription above: (See translation above).

BM EA 9900 Papyrus The scene is similar except that it runs from right to left, i.e. we have the ploughing scene with two cows and the boat with the snake ends. The only difference is that the boat has four paddles on each side and inside the boat there is the stair-like shape; above the boat there are two oval cartouche-like shapes, most probably originally with the names of two cities but here too they are broken. There were inscriptions on both sides of the boat.

, Dd tft, jAt njwt At the bottom there are the four squatted gods, they are all males with beards, the same inscriptions as Kha-em-hat.197 Leyden Papyrus Two boats on the right-hand side can be seen both in water, one is down, the other is up, the one down has a normal end while the one is up the stern and the prow ends with snake-head, both boats carry the staircase shape like but the inscriptions are different from Kha-em-hat.

DfA.w NTrw Offerings of the gods

jdb Dsr The sacred edge. E. Naville, Ägyptische Todtenbuch der XVIII. bis XX Dynastie, Berlin, 1886, plate CXXIII, G. Lapp, The Papyrus of Nebseni (BM EA 9900), 3, London: British Museum, 2002, plate 53. 197

229

tomb of kha-em-hat

– nTr jmj Wn-nfr The god who is in Wn-Nfr

– ish.t mw Chambers of water Another staircase shape is seen inside a square surrounded with water and an inscription,on the left:

– ^w Dba. f w His fingers are empty At the end to the left of the register, inscriptions are as follows:

– st Axw Aw .sn mH 7 bdtj.w mH 3…isaH jkr.w Asx sn The place of the spirits, their length is seven cubits, the ears of their corn 3 cubits for the wise dead to mow them. Turin Papyrus The scene runs from left to right, four oval cartouche shapes are seen on top left of the scene as follows: Dft Corn Wsrt the powerful Hst Sma wr gst n mw Hest the great south, course of water

230

Passage

smA Smiter At the bottom of the names of the cities there is a cartouche shape that bears the inscription of the letter “A” in the upper quarter of it; the rest is filled up with water, then again inscriptions as follows: Two boats in the water, both ends with snake-head, one have the staircase shape like while the other boat has a throne. Inscriptions of the first boat are:

wjA Ra- @r Axt .f DA r sxt iAr.w …. The boat of Re- Horakhty, when he goes to the fields of Iaru. Between the two boats:

Dd.w sA.w wr.w The great sons said. On top of the second boat:

– bAi Dsri nTr imy.f wn DHwty The sacred character of the god who is in him is DHwty The second boat has four oars on either side. Another inscription read from right to left:

– ish mw pt The chambers of water of heaven Behind the inscription, are two branches of water, one up and one down; they both lead to a single waterway. 231

tomb of kha-em-hat The water chamber has inscriptions as follows:

– NTr jmj s Ra The god in it is the sun god

– st Ax Aw sn mH 7 bdtj.w mH 3…isaH jkr.w Asx s.n The place of the spirits, their length is seven cubits, the ears of their corn 3 cubits for the wise dead to mow them. Below the main water way there are inscriptions:

– msx n m n xr Ntr.w fq jmj n tA n xt mnx.t The birthplace of the gods, created things At the very bottom three sitting gods ‘Shu, Tefnut, Geb ‘their names are inscribed before them,

Hor Papyrus The scene is from left to right, the third register is the plowing and harvesting scene, on the right-hand side, a huge horizon sign, below, there are two nomes in an oval shape as follows:

A tree, the deceased is sowing and plowing with a cow.

232

Passage Fourth register Hor Papyrus The scene is from right to left. Two mounds are depicted: the upper contains inscription: . The scene goes from right to leftthe bottom mound.198 A seated god is depicted with his back towards the staircase. The inscriptions are in a semi-circle on top. A boat with snake heads is depicted with a central staircase. Another boat with a lotus flower ending on a pedestal is also depicted. There are inscriptions on top giving the names of four cities.199 A number of individuals stand behind the deceased in his offering scene to the great gods (Ennead). In the Turin Papyrus there are two behind the deceased and the god Ibis with his writing palette recording the events, and in the tomb there is only one person holding the Nebseni papyrus; the deceased is shown standing by himself. The central scene, the deceased in a boat, is broken in the tomb except for the lower squatting figure of the deceased and part of the boat., consequently comparisons cannot be made as most of it is now lost. The next scene shows the deceased burning incense in front of a bird with a human head (ka). In Turin the bird is very large, while in Nebseni it does not exist. The next scene in the same register represents the deceased giving offerings to a god in mummy form. In front is a very small bird, and behind him is the hieroglyphic sign of the god ( ). In Turin a very large bird on a pedestal gives offering of food and there are three lotus flowers on top of an offering table; the gifts are being offered to three mummy- form gods. Behind the gods there are three ovaloid shapes containing the names of three cities. In the Nebseni version the names of the three cities are: Qnqnt, Htpt and the great one, in the tomb itself the wall is broken, but traces of the ovaloid cartouche-like shapes can be seen. In the Turin papyri this part showing the tomb is lost, and the name of one city is different. As for the hieroglyphic inscriptions, in the scene the words for the ‘great gods’ are similar in the two papyri, but the rest are very different. In the tomb itself the corresponding part is now lost.

198 199

There is only one mound in M. Mosher, Papyrus of Hor, London 2001, p. 103, plate 6. Cf. E. Naville, Le papyrus hiératique de Katseshni au musée du Caire, Paris 1914, pl. LXIV.

233

tomb of kha-em-hat

Figure 44. Khaemhat standing on a mountain- chapter 110 BD with Vignette. By A.Damarany.

234

Passage

Figure 44A. Khaemhat standing on a mountain- chapter 110 BD with Vignette.

235

tomb of kha-em-hat Purification of Kha-em-hat (middle of north wall- see figure 45, 45A) This scene, c. 1.60 m high and 1.10 m wide, is partly preserved, with Kha-em-hat represented life-size figure on a pedestal, although his head is now lost. He is depicted with his left leg stepping forwards and he wears a double-row beaded necklace, a wide, three-row collar, armlets, bracelets on both hands, a transparent shirt with short sleeves, and a wide belt knotted in front. His short kilt is topped with two other long ones of different lengths. He holds a long staff horizontally in both hands; there is also a key in each hand. According to Davies, the staff is supposed to stand for the sign of natron, the liquid with cleansing qualities even more potent than water. This means that the deceased after purification is now ready to walk through the Judgment Hall. He is purified by the two priests standing above each other: a Sem priest, represented higher than the head of the deceased, lifting both hands and pouring water from ‘Hst’ vase, while the lower priest gives the sign for clothes. He is represented with a short, plain wig, a shoulder-strap across his chest, a wide belt knotted in front and a short kilt. We see him in the act of pouring water from the vase he holds in both hands, so as to have full control of the water he pours. Both priests are dressed alike and are barefoot. The artist has represented the purifying water via two zigzag lines around the deceased to form a large ovoid surrounding Kha-em-hat, who is facing right and is barefoot. This rite is called ‘Purifying Osiris in his dwelling in the West’, as it was crucial to purify the deceased as well as the food and the utensils. XXII. Kha-em-hat in a worshipping attitude (see figure 45, 45A) Dimensions: The scene is about 1.60m in height and 2m in width. This scene, c. 1.60 m high and 2 m wide, is not well preserved, with most of it now destroyed. The deceased, facing left, is represented life-size, stepping forwards with his right foot, and raising both hands in adoration. His head is almost destroyed except for a part of his hair and the lower face. He is wearing the same as in the previous register, but there are different bracelets around his wrists. In front is a high standard that ends with the figure of Anubis on a base and ending with two uraei and a feather; in the middle two ribbons tied around the pole hang down. The standard is resting on a high pedestal. On each side there is a human figure. On the right is a small figure of a standing king, wearing the nemes with the cobra on his forehead and the royal short kilt. The king faces left, holding the standard in both hands and stepping forwards with his right foot. He is barefoot. In front of him is a kneeling figure, but here the scene is destroyed except for the lower part of the body that shows his kneeling position. On the extreme left of the scene there is part of a shrine, topped with part of the sign of the sky and decorated with uraei, each surmounted with a sun-disk. An animal skin is fixed to the front of the pole of the shrine. The rest of the scene is destroyed and was consolidated with plaster.

236

Passage

Figure 45. Passage - north wall. Purification of Kha-em-hat. Khaem-hat in a worshipping attitude. By A-Damarany.

237

Figure 45A. Passage - north wall. Purification of Kha-em-hat. Kha-em-hat in a worshipping attitude. By A.Halim.

tomb of kha-em-hat

238

Passage Similar scene in different tombs (fields of Iaru) TT 57 scene no. 21-22 Tomb Number

Provence

Date

Scene Location

PM Reference

TT 6 Neferḥotep

Deir el Medîna

Ramesses II

p. 15, no. 19

TT 23 Thay

Sh. cAbd el-Qurna

Merneptaḥ

Burial chamberNorth wall

Sh. Abd el-Qurna

Ramesses I to Sethos I

Blocks from walls

p. 55

TT 1 Sennezem

Deir el Medîna

200

TT 33 Pedamenōpet TT 41 Amenemōpet

201

TT 111 Amenwaḥsu TT 120 Anen c

TT 158 Thonūfer

Asâsif c

Sh. cAbd el-Qurna Sh. cAbd el-Qurna Drac Abû el –Naga

TT 215 Amenemōpet202 Deir el Medîna TT 218 Amennakht

203

Deir el Medîna

TT 222 ḤeḳmacetrēcNakht204

Qurnet Muraci

TT 324 Ḥatiay205

Sh. cAbd el-Qurna

TT 305 Paser

Drac Abû el –Naga

Tomb Number

Provence

TT 326 Peshedu206 TT 353 Senenmut TT 399 No Name C.4 Merymacet

207

Deir el Medîna Deir el Baḥri

Sh. cAbd el-Qurna

Dynasty XIX

Saite

Burial chamberNorth wall

p. 3, no. 9

Court- South wall

p. 38, no. 5

Hall - West wall

p. 79, no.15

Ramesses II

Hall - West wall

p. 229, no. 6

Ramesses III

Passage -East wall

p. 271, no. 20-21

Innermost chamberNorth wall

p. 320, no. 14

Amenophis III

Dynasty XIX Ramesside

Ramesses III to IV

Inner room - West wall Ceiling

Passage- East wall

p. 234, no. 5 p. 312

p. 323, no.7

Dyn. XX-XXI Hall – South wall

p. 383, no. 1

Date

PM Reference

Ramesside

Hall – North wall

Ramesside

Chapel

Hatshepsut Ramesside

Scene Location

Hall – South wall

p. 395, no.7 p. 396

p. 418, no. 4

B South adjoining tomb p. 444, no. B. 2.

Behind Yanni’s house Dynasty XVIII Passage – Right wall

p. 458

Conclusion Fields of Iaru, the scene was attested in seventeen tombs, three of them dates back to the Eighteenth Dynasty while twelve tombs dates back to the Ramesside period which indicates that the scene withdrew during the Eighteenth Dynasty and became prevalent during the Rammeside period two tombs dates back to differant periods. Six tombs are located at Qurna, two tombs at Drac Abû el -Naga, one tomb at Asâsif, one at Deir el-Bahari and four in Qurnet Muraci two tombs at Deir el Medina , while the other toms are located in deferrant locations. C. Campbell, The Miraculous Birth of King Amenhotep III, London, 1912, p. 160. J. Assman, Das Grab des Amenemope (TT 41), Mainz, 1991, p. 180. 202 J. Vandier & J. Jourdain, Deux tombes de Deir el-Médineh, Le Caire, 1939, plate XIX-XXII. 203 Schott Photos 8999. 204 N. Davies, An Unusual Depiction of Ramesside Funerary Rites, JEA 32, 1964, p. 70. 205 N. Davies, Seven Private Tombs at Ḳurnah, London 1948, p. 46-7, plate XXXIV. 206 B. Bruyère, Fouilles de Deir El Médineh, FIFAO 1, 1922- 1923, p. 42, fig. 10. 207 H.E. Winlock, The Egyptian Expedition 1925-1927, p. 38, fig. 37. 200 201

239

tomb of kha-em-hat Similar scene in other tombs (Purification scene) TT 57 scene no. 21-22 Tomb Number

Provence

TT 35 Bekenkhons

Dra Abû el-Naga c

TT 40 Amenḥotep208

Qurnet Muraci

TT54 Ḥuy209

Sh. cAbd el-Qurna

TT 56 Userḥēt210

Sh. cAbd el-Qurna

TT 79 Menkheper

Sh. Abd el-Qurna c

TT 89 Amenmosi211

Sh. cAbd el-Qurna

TT 90 Nebamūn

Sh. cAbd el-Qurna

212

TT 96 Sennūfer213

TT 100 Rekhmirēc(214

Sh. cAbd el-Qurna Sh. cAbd el-Qurna

TT 107 Nefersekheru 215 Sh. cAbd el-Qurna TT 111 Amenwaḥsu

Sh. Abd el-Qurna

TT 176 [Amen]userḥēt

Khôkha

c

TT 122 [Amen]Ḥotep Sh. cAbd el-Qurna 216

TT 178 Neferonpet217 Khôkha

Date

Scene Location

PM Reference

Amenophis IV to Tutcankhamūn

Hall – East wall

p. 76, no. 9

Ramesses II

Hall – East wall

p. 62, no.6

Tuthmosis IV to Amenophis III

Hall – West wall

p. 104, no. 3

Amenophis II

Tuthmosis III to Amenophis III

Hall - East wall

Hall – West wall

p. 111, no. 4

Amenophis III

Hall – North wall

p. 182, no. 12

Amenophis II

Anti-chamber – East wall p. 201, no. 36 Passage – East wall

p. 214, no. 19

Amenophis III

Portico – North wall

p. 225, no. 2

Tutmosis III

Chapel B – East wall

P. 236, No. 7

Tuthmosis IV to Amenophis III Tuthmosis III to Amenophis II Ramesses II

Amenophis II to Tuthmosis IV Ramesses II

Hall – East wall

Hall – North wall Hall – East wall

p. 156, no. 2 p. 184, no.7

p. 229, no. 9 p. 283, no.3

Inner room – (9) North wall – (10) East wall

p. 284, no.9-10

Annex at north end of court – Hall – West wall

p. 297, no. 16

TT 183 Nebsumenu218 Khôkha

Ramesses II

Court – East wall

p. 289, no. 3

TT 222 Ḥeḳmacetrēc219 Qurnet Muraci

Ramesses III to IV Hall – North wall

p. 323, No.7

Dynasty XVIII

p. 333, no. 4

TT 189 Nekht - Ḏḥout Asâsif TT 241 Aḥmosi c

TT 247 Simut

220

Khôkha Khôkha

Ramsesses II Tuthmosis III

Hall - South wall

Hall – South wall

P. 331, no. 4

N. Davies & A. Gardiner, The Tomb of Ḥuy, London 1926, plate 35. Schott Photos 3751, 7505-7; M. Baud, MIFAO 63, 1935, fig. 40-41. 210 Schott Photos 8130; A. Hermann, Die Stelen der Thebanischen Felsgräber der 18. Dynastie, Glückstadt 1940, plate 9 (e). 211 N. Davies, The Tomb of Amenomsē (No.89) at Thebes, JEA 26, 1940, p. 132 (e). 212 N. Davies, The Tombs of Two Officials, TTS 3, London, 1923, plateXXXV. 213 G. Steindorf &W. Wolf, Die Thebanische Gräberwelt, Hamburg 1936, plate 9. 214 N. Davies, The Tomb of Rekh-mi-rē’ at Thebes, New York, 1973, plate CVII. 215 M. Wegner, Gräber mit Reliefschmuck aus den Regerungszeiten Amenophis III, MDAIK 4, Wien 1933, plate XX. 216 Schott Photos 4267. 217 L’hote & Hassia, Les chefs- d’ouvre, Paris, 1954, plate 35. 218 J. Assmann, The Ramesside Tomb of Nebsumenu (TT 183) and the ritual of opening the mouth, Nigel Strudwick and John H. Taylor (eds.), The Theban Necropolis: Past, Present, and Future, London, British Museum, 2003. 219 The burial scenes of the north wall of the passage are in the style of the Eighteenth Dynasty; cf. N. Davies, An unusual Depiction of Ramesside Funerary Rites, JEA 32, 1946, p. 70. 220 A. Shorter, The Tomb of Aḥmose, Supervisorof the Mysteries in the House of the Morning, JEA 16, 1930, p.58. 208 209

240

Passage Tomb Number

Provence

Date

Scene Location

PM Reference

TT 335 Nekhtamūn221

Deir el Medîna

Dynasty XIX

p. 402, no. 5, 17

TT 353 Senenmut222

Deir el Baḥri

Chamber A (5)-South wall Chamber B (17) – East wall Hall

p. 452

TT 295 Ḏḥutmosi

A.18 Amenemōpet

Khôkha

In Plain, Behind Piccinini’s house ( near tomb 161)

Tuthmosis IV to Amenophis III

Ḥatchepsut Ramesside

Hall – North wall

Hall – South wall

p. 377, no. 6

p. 418, no. 4

Conclusion The scene was attested in 23 tombs, 15 of them date back to the 18th Dynasty while eight tombs dates back to the Ramasside period. Ten tombs are located at Qurna, two at Qurnet Muraci, three in Khôkha, one at Drac Abû el -Naga and one at Asâsif. The rest are at various locations. Lower register XXII.A Abydos Pilgrimage (see figure 42,42A) The scene is c. 50 cm high and 5.5 m wide. It is well-preserved, except for certain small sections, but with no traces of colour. The pilgrimage to Abydos was necessary for the deceased to attend the festivals of Osiris; it was considered the holiest spot in Egypt and all should visit it.223 Traditionally the scene features two statues – the deceased and his wife – in a procession referred to as the ‘Pilgrimage to Abydos’. Both sit on a separate low-back chair in a shrine depicted in the middle of a barge which is being towed by another in front. Before the shrine is an offering table, in front of which a man is trying to tie a rope around the stern of the first barge. By the other vessel a figure holds a section of rope stretched between both hands. The barge is represented twice – for the outward and return journeys. On the way to Abydos the sail was unnecessary, as they were navigating with the stream against the north wind. The ‘Pilgrimage to Abydos’ rite is understood as metaphorical, or a souvenir of the journey the deceased made when alive. The boat puts up a flight of birds as it passes down the river. The birds, especially if taking the same course as the boat, were considered a good omen and were welcomed as the ‘bird souls’ of the deceased. They can be seen on the masts of boats in tombs TT 40, 78, and 90, and they also once flew over them in TT 57. Occasionally they were tied to the burial shrine, as in TT 82.224

B. Bruyère, Rapport Sur les Fouilles de Deir El Médineh ( 1924-1925)3, FIFAO 5,1926, p.119, fig. 81, p.133,fig. 90. H.E. Winlock, The Egyptian Expedition 1925-1927: The Museum’s Excavations at Thebes, MMA 2, 1928, plate II, Feb.1928, p. 34, fig. 37. 223 In TT 147 both journeys were depicted - to Busiris and Abydos; see N. Davies, The Tomb of Amenemhet (No 82), TTS 1, 1915, p. 48. 224 N. Davies, The Tomb of Antefoḳer, London 1920, pp. 19–20. 221 222

241

tomb of kha-em-hat The Louvre museum had stampings from the tomb of Kha-em-hat representing a group of mourners; the silhouettes of them still exist in the tomb. In these there is a procession of several other women, arms lifted forwards. There are very clear differences, when descending the Nile and when returning upstream, between the costume of the officiating woman playing the role of the ‘divine sister’ on the boat of the catafalque and that of the mourners. Also seen are four groups of mourners, a priest standing with the censer and the libation vessel, stacks of offerings, and two bunches of flowers on the seat of a decorated shrine that seems to suggest royal canopies.225 In the lower register there is a curious representation of the voyage to Abydos and back – the latter combining with some transportation of funeral furniture.226 The two boats are shown navigating in opposite directions, each towed by another craft in front, carrying the funerary equipment of the deceased. Between the two boats there is a shrine, in the centre of the scene, featuring a chair for a special religious ceremony. The shrine has a sloping roof with five lotus flowers and five buds hanging down from the ceiling; the shrine has a column in front, topped with a papyrus plant form. Inside is the high-back chair and two bunches of flowers - the smaller of lotus blooms, placed on the chair, and the other of long papyrus that stands on the ground, leaning on the chair and forming an angle from top. Such shrines, according to Davies, were erected to contain the necessary food and drink for the trip to Abydos and are very rarely represented in pre-Ramesside tombs. The deceased was never shown in them. The scenes differ from one tomb to another: in TT 57 and TT 75 the chair is empty chair, the flowers placed across it only, symbolizing something too mysterious to be shown in human form. The water pots were to be broken afterwards. According to Davies, the shrines and offerings were connected with the ferrying of the dead, with those containing a chair appearing between the outward and homeward voyage to Abydos.227 Some rare scenes have been found in certain Theban tombs (i.e. the adoration of the flowers on the chair on the north wall of TT 57 north wall, and TT 75 (Amenhotep SiSi), on west wall). The feast involving the erection of the Djed pillar preceded the celebration of the jubilee festival. The Djed pillar was a symbol of stability and renewal associated, among other meanings, with the victory of Osiris over his enemy. It is composed of a pillar with some floral elements attached.228 In front of the shrine is an offering table, piled with assortments of food, meat, bread, and fruits, followed by a standing priest. He is wearing a panther skin and holds a libation vase in his right hand and a censer in his left. He is barefoot. Behind the priest is a group of women mourners, represented in two rows, four standing in each row and holding their left hand with their right. To the right of the first group a standing woman lifts both open hands on top of her head. Behind her is another woman with a different hand gesture – she lifts both hands together and places them on her forehead. To the left is another group of mourners, this time squatting on the ground in two rows, three in each row; they have their right hand lifted to the forehead and the left rests on the ground. As before, the procession involves two boats, M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, p. 40. M. Werbrouck, Les pleureuses dans l’Égypte ancienne, Bruxelles 1938, p. 40. 227 N. Davies, The Tombs of two officials of Thutmosis the Fourth, London 1948, p.17, footnotes 3 and 6. 228 K. Myśliwiec, Eighteenth Dynasty before the Amarna Period, Leiden 1985, p. 14. 225 226

242

Passage moving in opposite directions. The procession on the right consisted of two boats – one has a cabin, where the deceased and his wife are depicted sitting on low-back chairs. The deceased was depicted in advance ofadvancing his wife. They are both wrapped in a long, white gown that covers their bodies except for the hands. The deceased is holding a flail by his right side, and his left hand is placed flat over his thigh, but somewhat in the air. His wife makes a fist of her right hand, and her left touches her husband’s back. In front of the cabin is an offering table with assortments of food and a bunch of lotus flowers. Two vases, each with a lotus flower and bud, flank the offering table. A man stands at the stern holding a long pole in one hand and raising the other. He is wearing a short-sleeved shirt and a short kilt fixed by a belt around his waist, over which is another long, transparent kilt. At the back of the boat, behind the cabin, two men stand, carrying a load. Both the stern and prow end in a lotus flower. There are only two oars to keep the boat balanced while it is being towed by the other boat in front. This second boat carries the funerary equipment of the deceased: a bed with a neck rest and a chariot and two horses. Seven sailors, facing left, do the paddling, and two further men are shown, one in front and one at the back. The man in front holds the rudder in his left hand; his right arm is extended as if pointing the way. The figure at the back is sitting on a high, wooden box and holds a rope over his shoulder. The boat has no sail, indicating that they are moving with the current. The procession is navigating towards a shrine on the extreme right of the wall. This shrine contains assortments of offerings and vases placed on a high mat. The boat procession opposite is depicted similarly to the first, with one or two differences. The number of sailors in the first boat has increased to eleven: eight paddling, one at the front and the other at the back, and another one on top of the cabin of the funerary equipment, he is bending over and holding a flail in his hand. A bed, chair, and stool are represented on the boat. The sail is stretched up high on a long mast with many ropes. The party is navigating towards the temple of Osiris at Abydos, and it is depicted on the left side of the wall, preceded by a tall standard with the god Horus on top. On the left-hand side of the wall, remains of a broken vertical text: ….. snkt… jr.t .n.k wrd jb …darkness. ….which done to you a tired heart

243

tomb of kha-em-hat Similar scene in other tombs (Abydos pilgrimage) TT 57 scene no. 21-22 Tomb Number

TT 2 Kha bekhnet c

TT 3 Peshedu229 TT 4 Ḳen

Provence

Date

Scene Location

Deir el-Medîna

Ramesside

Burial Chamber- (8) p. 10, no.8-9 South wall, (9) North wall

Deir el-Medîna

Ramesses II

Deir el-Medîna Deir el-Medîna

Ramesses II

c

TT 9 Amenmosi

Deir el-Medîna

Ramesside

TT 11 Ḏḥout

Dra Abû el –Naga

Hatchepsut to Tuthmosis III

TT 7 Ra mosi

TT 10 Penbuy

Deir el-Medîna

230

c

TT 17 Nebamūn231

Drac Abû el –Naga

TT 21 User 232

Sh. cAbd el-Qurna

TT 24 Nebamūn

TT 34 Mentuemḥēt TT 36 Ibi233

TT 39 Puimrē

Dra Abû el - Naga c

Asâsif Asâsif

c 234

TT 50 Neferḥotēp235

Khôkha

Sh. cAbd el-Qurna

Ramesses II

Ramesses II

Amenophis II Tuthmosis I

Tuthmosis III

TaharqaPsammetikhos

TT 63 Sebkḥotep TT 69 Menna240

Sh. Abd el-Qurna Sh. cAbd el-Qurna

Passage – West wall

p. 23, no.15

p. 19, no. 2

Inner room – South wall

p. 31, no. 11

Hall – West wall

P. 41, no. 3-4

Passage – South wall

p. 36, No.8

West Portico – North wall

p. 58, no. 6.

p. 96, no.9-10

Hall – East wall

p. 99, no. 7

Hall – South wall

p. 104, no. 2

Tuthmosis IV to Amenophis III

c

p. 19, no. 4

Chapel – West wall

P. 16, No.5-6

North Chapel

Sh. cAbd el-Qurna Sh. cAbd el-Qurna

Chapel – South wall

Chapel- (5) East wall, (6) South wall

Ḥaremḥab

TT 54 Ḥuy237

239

p. 11, no. 4.

Tuthmosis III

Sethos I

TT 60 Antefoḳer238

Chapel – South wall

p. 67, no.17

Sh. cAbd el-Qurna Sh. cAbd el-Qurna

p. 6, no.5

Psammetikhos I Court – North wall

TT 51 Userḥēt236

TT 53 Amenemḥēt

Hall – South wall

PM Reference

Tuthmosis III

Passage – (9) South wall- (10) Wesr wall Hall – West wall

p. 73, no.17

p. 103, no.1 1-12

Sesostris I

Passage – South wall

Tuthmosis IV

Inner room – North wall p. 138, no. 11

Tuthmosis IV

Passage – South wall

p. 121, no. 4

p. 127, no. 11-12

L’hote & Hassia, Les Chefs –d’oeuvre, Paris, 1954, p. 45, plate XVI. S. Söderbergh, Eine Gastmahlsszene im Grabe des Schatzhausvorstehers Djehuti, MDAIK 16, 1958, p. 188, fig. 6; Schott Photos3779-82, 6589. 231 S. Söderbergh, The Tomb of the Chief Physician Nebamūn, Four Eighteenth Dynasty Tombs, Oxford, 1957, p. 31, plate XXIV. 232 N. Davies, Five Theban Tombs, London, 1913, plate XX( top left) 233 V. Scheil, Le tombeau d’Aba, MMAF 5, 1894, p. 651, fig. 9. 234 N. Davies, The Tomb of Puyemrē at Thebes 2, MMA 2, 1923, p.8, plate XLVI. 235 G. Bénédite, Tombeau de Neferhotpou, fils d’Amenemanit, MMAF 5, 1894, plate III. 236 N. Davies, Two Ramesside Tombs, MMA 1927, p. 19, plate IX. 237 N. Davies, The Tomb of Two Sculptors at Thebes, MMA 1925, plate XXXI. 238 N. Davies, The Tomb of Antefoker, vizier of Sesostris I, and of his wife, Sennet, London 1920, plate XVII. 239 Dziobek & Abdel Raziq, Das Grab des Sobekhotep, Mainz, 1989, plate 39. 240 M. Hartwig, The Tomb Chapel of Menna (TT 69), The Art, Culture, and Science of Painting in an Egyptian Tomb, Cairo 2013, p. 78-9, fig. 2.15a. 229 230

244

Passage Tomb Number

TT 75 Amenḥotep – Si-Se241 TT 77 Ptaḥemḥēt242 TT 78 Ḥaremḥab

243

Provence

Date

Scene Location

PM Reference

Sh. cAbd el-Qurna

Tuthmosis IV

Passage – West wall

p. 152, no. 9

Amenophis I to Tuthmosis III

Passage – South wall

p. 162, no. 17

Tuthmosis III

Amenophis III

Passage – South wall

Hall – (5) South wall – (6) West wall

p. 165, no. 10

Passage - South wall

p. 189, no. 14

Sh. cAbd el-Qurna

Sh. Abd el-Qurna c

TT 81 Ineni244

Sh. cAbd el-Qurna

TT 82 Amenemḥēt245

Sh. cAbd el-Qurna

TT 89 Amenemosi

246

Sh. Abd el-Qurna c

Tuthmosis IV

Tuthmosis III to Passage – West wall Amenophis III

TT 92 Suemnut247

Sh. cAbd el-Qurna

Amenophis II

TT 100 Rekhmirēc249

Sh. cAbd el-Qurna

TT 103 Dagi250

Sh. cAbd el-Qurna

Tuthmosis III to Amenophis II

TT 104 Ḏḥutnūfer

Sh. cAbd el-Qurna

TT 96 Sennūfer248

Sh. cAbd el-Qurna

TT 112 Menkheperrac sonb

TT 123 Amenemḥēt251 TT 125 Duauneḥeḥ

252

TT 127 Senemicoḥ253 TT 130 May

TT 139 Pairi 254

Sh. cAbd el-Qurna

Amenophis II

End of Dynasty XI Amenophis II Ramesside

Passage - (19) North wall – Hall – (40) East wall Passage – South wall (West Half)

p. 154, no. 9

p. 181, no. 5-6

p. 198, no.19; p. 202, no. 40 p. 212, no. 15

Portico – (7) East side (8) West side

p. 216, no. 7-8

Passage – South wall

p. 230, no. 8

Inner room – South wall p. 218, no. 8

Sh. cAbd el-Qurna

Tuthmosis III

Passage – South wall

p. 236, no. 9

Sh. cAbd el-Qurna

Tuthmosis III

Passage – South wall

p. 242, no. 13

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

Sh. cAbd el-Qurna

TT 147 Head of Masters Drac Abû el –Naga of ceremonies 255 TT 161 Nakht 256

Inner room – West wall p. 149, no. 8

Drac Abû el –Naga

Ḥatshepsut

Tuthmosis III

Amenophis III

Passage – South wall Hall – East wall

Hall – North wall

p. 240, no. 10 p. 244, no. 9

p. 253, no. 4.

Tuthmosis IV

Inner room – West wall p. 259, no. 14

Amenophis III

Hall – North wall

p. 274, no. 5

N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London, Egypt Exploration Society, 1923, plate XVII. Schott Photos 8283. 243 U. Bouriant, Tombeau de Haremhabi, MMAF 5, 1894, plate V. 244 E. Dziobek, Das Grab des Ineni, Theben Nr.81, AV 68, 1992, plate 24-5. 245 N. Davies, & A. Gardiner, The Tomb of Amenemhet (No 82), TTS 1, 1915, plate XVII. 246 Schott Photos 8439. 247 Schott Photos 5162-5. 248 Chr. Noblecourt, Sen-nefer die Grabkammer des Bürgermeisters von Theben, Mainz am Rhein 1986, p .64. 249 N. Davies, The Tomb of Rekh-Mi-Re at Thebes, MMA 1973, plate XCIV. 250 N. Davies, Five Theban Tombs, London 1913, plate XXXVI. 251 Schott Photos 8209-10. 252 Schott Photos 8256-7. 253 Schott Photos 4434-8. 254 Schott Photos 3087; 2222-3; 3067-72. 255 Schott Photos 4092; 8713-14; N. Davies, Two Pictures of Temples, JEA 41, 1955, p.80-82, fig.1; cf. B. Ockinga, TT 147: Observations on its Owners and Erasures, BACE 15, 004, 121-129. 256 Schott Photos 6013; L. Manniche, The Tomb of Nakht the Gardener, at Thebes, no. 161, as copied by Robert Hay, JEA 72, 1986, p. 63, fig. 12. 241 242

245

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 165 Neḥem away

Dra Abû el –Naga

Tuthmosis IV

Hall – North wall

p. 277, no. 2.

TT 162 Ḳenamūn257 c

TT 175 No name258 TT 176 [Amen] Userḥēt259

Drac Abû el –Naga c

Khôkha Khôkha

TT 207 Ḥaremḥab

Khôkha

TT 216 Neferḥotep

Deir el-Medîna

TT 208 Roma

Khôkha

TT 260 User260

Drac Abû el –Naga

TT 278 Amenemḥab261 Qurnet Mura’i TT 279 Pabasa

Asâsif

262

TT 292 Peshedu

Deir el-Medîna

TT 306 Irzanen

Drac Abû el –Naga

TT 312 Espeḳashuti TT 324 Ḥatiay264

263

TT 335 Nekhtamūn265 TT 338 May

TT 339 Ḥuy 266 TT 343 Benia267 TT 360 Ḳaha

268

TT 361 Huy269

Dynasty XVIII Tuthmosis IV

Passage – North wall Hall – East wall

Amenophis II to Hall – North wall Tuthmosis IV

p. 276, no. 7. p. 282, No.2 p.283, no. 2

Ramesside

Hall

p. 306

Ramesses II to Sethos II

Inner room – East wall

p. 313, no. 16

Hall – South wall

p. 343, no. 2

Ramesside

Tuthmosis III Ramesside

Inner room – North wall p. 306, no.1

Hall – North wall

Psammetikhos I Vestibule – (3) North wall, (4) East wall Sethos I to Ramesses II

Chapel – West wall

p.355, no. 7

p. 357, no. 3-4 p. 375, no. 6

Dynasty XIX-XXI Hall – East wall Saite

Hall – West wall

p. 384, no. 6

Sh. cAbd el-Qurna

Ramesside

Hall – West wall

p. 396, no. 8

Deir el-Medîna

Dynasty XVIII

Chapel – South wall

p. 406, no. 2

In court of a Dyn. XI tomb Deir el-Medîna Deir el-Medîna

Dyn. XIX

Ramesses II

Sh. cAbd el-Qurna

Dynasty XVIII

Deir el-Medîna

Sethos I

Deir el-Medîna

Ramesses II

Chamber B - East wall Chapel – (1) North wall, (2) East wall

p. 388, no. 2

p. 402, no. 15 p. 407, no. 1-2

Inner room – West wall p. 412, no. 10 Chapel (4) East wall, (7) p. 424-5, no. South wall – (8) North 4, 7-8 wall Chapel – South wall

p. 426, no. 2

N. Davies, Scenes from Some Theban Tombs, Oxford1963, p. 16-7, plate XVIII. L. Manniche, The Wall Decoration of Three Theban Tombs (TT 75, 175 and 249), CNIANES 4, 1988, p. 40-1. 259 Schott Photos 4258-60. 260 Schott Photos 4209. 261 J. Vandier, Deux tombes Ramessides à Gournet-Mourraï, MIFAO 87, 1954, p. 48, plate XXIV. 262 M. Nasr, A. Report on the Restoration of the Tomb of Pabasa (TT 279), MDAIK 41 1985, p. 193. 263 E. Pischikova, Reliefs from the Tomb of the Vizier Nespakashuty: Reconstruction, Iconography, and Style, MMAJ 33, 1998, p.79, fig, 34-5. 264 N. Davies, Seven Private Tombs at Ḳurnah, London, 1948, plate XXXII, XXXIII. 265 B. Bruyère, Rapport (1924-1925)2, FIFAO 3, 1925, fig. 92. 266 B. Bruyère, Rapport (1927), FIFAO 5, 1928, p. 122, fig, 82. 267 Schott Photos 8056, 8058; Mond & Emery, Excavations at Sheikh Abd el Gurneh 1925 – 26, Liverpool, 1927, plate XXVIII. 268 B. Bruyère, Rapport Deir El Médineh (1926)3, FIFAO 8, 1930, fig. XXVI – VII. 269 B. Bruyère, Rapport Deir El Médineh (1926)3, FIFAO5, 1927, p. 83. 257 258

246

Passage Conclusion The scene was found in 59 tombs, 34 date back to the 18th Dynasty, while 18 tombs date to the Ramesside period; five tombs are from the late period. 27 tombs are located at Qurna, 13 at Deir el-Medina, five at Khôkha, two at Asâsif and one tomb at Qurnet Muraci. Eight tombs were located in Dra Abu el -Naga. Similar scene in different tombs (rites before empty chair - rare scene) TT 57 scene no. 21-22 Tomb Number

TT 75 Amenḥotp- Si-Se

Provence

Date

Scene Location

Ramesside

Outer Burial p. 321, 322, no. 11 chamber – West wall

Sh. Abd el-Qurna Tuthmosis IV Inner room – West wall

270

c

TT 219 Nebenmacet271

Deir el-Medîna

PM Reference p. 149, no. 8

Conclusion One of the rare scenes were attested in only two tombs: one from the 18th Dynasty, the other from the Ramesside period. One tomb is located at Qurna while the other is located at Deir el-Medina. Similar scene in different tombs (chariots in funeral scenes) TT 57 scene no. 21-22 Tomb Number

Provence

Date

Scene Location

PM Reference

TT 36 Ibi272

Asâsif

Psammetikhos I

Court – East wall

p. 67, no. 21

Passage - South wall

p. 127, no. 11-12

Tuthmosis IIIAmenophis II

Inner room – South wall

p. 174, no. 22

Tuthmosis IV

Hall – South wall

p. 261, no. 8

TT 34 Mentuemḥēt

TT 56 Userḥēt

273

Asâsif

TaharqaPsammetikhos I

Sh. Abdel – Qurna c

TT 63 Sebkḥotp274 TT 78 Ḥaremḥab

Sh.cAbdel – Qurna

275

Sh. Abdel – Qurna

TT 85 Amenemḥab

Sh.cAbdel – Qurna

TT 121 [Amen]ḥotp

Sh.cAbdel – Qurna

TT 151 Ḥety

c

Dra Abu el-Naga c

c

Amenophis II

Tuthmosis IV

Tuthmosis IIIAmenophis III

Tuthmosis III

West Portico- North wall

p. 58, no. 6

Inner room- West wall p. 113, no. 16-18 Passage – South wall

Chapel B – North wall

p. 154, no. 9

p. 236, no. 8

N. Davies, The Tombs of Two Officials of Thutmosis the Fourth, London 1923, plate XVII. Ch. Maystre, La tombe de Neb-Enmât (No. 219), MIFAO 71, 1935, plate VII. 272 V. Scheil, Le tombeau d’Aba, MMAF 5, 1889, p. 650, fig. 2. 273 Beinlich-Seeber & Abdel Ghaffar Shedid, Das Grab des Userhat (TT 56), AV 50, 1987, p. 95, plate 27; Schott Photos 7573. 274 Dziobek & Abdel Raziq, Das Grab des Sobekhotep, Theban Nr 63, AV 71, 1990, plate 39. 275 U. Bouriant, Tombeau de Harmhabi, in: Virey, Sept tombeaux thébaines MMAF 5, 2, Cairo 1889, pl. V; A. Brack, & A. Brack, Das Grab des Haremhab, Theben Nr. 78 AV 35, 1980, plate 61. 270 271

247

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

PM Reference

TT 324 Ḥatiay277

Sh.cAbdel – Qurna

Ramesside

Hall – West wall

p. 396, no. 8

TT 172 Mentiywy276

Khôkha

Tuthmosis IIIAmenophis II

Passage – West wall

p. 280, no. 5-6

Conclusion The scene was attested in ten tombs, seven tombs dates back to the Eighteenth Dynasty, one tomb dates back to Ramasside period while two tombs dates back to late period. Six tombs are located at Qurna, two at Asâsif, one at Khôkha and one at Drac Abu el-Naga. Squeezes – Griffith Institute Squeezes 1.15, 4.58 and 4.58a - upper part of Kha-em-hat. – Griffith Institute Squeezes 4.61, 4.61a and 4.61b - man plowing with oxen, and another sowing, from Fields of Iaru. – Griffith Institute Squeezes 4.65, 4.65a and 4.65b - two men before squatting deities. – Griffith Institute Squeeze 4.53-part of text of Book of the dead, columns 3-11. – Griffith Institute Squeeze 4.68C - priest with female mourners, from sub-scene. – Griffith Institute Squeezes 4.45 and 4.45a - upper part of priest libating. – Griffith Institute Squeezes 4.46, 4.46a and 4.46b – Kha-em-hat and wife (?) in 2nd boat from right in sub-scene. – Griffith Institute Squeezes 4.44, 4.44a and 4.44b -empty chair with bouquets, from centre of sub-scene. 278 XXIII. Passage - west wall This scene is from c. 40 cm – 70 cm high and 1.30 cm wide. In the top scene on the left, the deceased is depicted in a kneeling position, lifting both his hands in adoration; he is worshipping in front of three seated gods on a low-back throne in mummified form and with falcon heads, each holding the ‘WAs’ sceptre with both hands. Opposite the seated Horuses there is another symmetrical scene with the same three gods sitting on a low-back throne, and also holding the ‘WAs’ sceptre, but the heads are of Anubis. The gods are all represented in mummy form. The Horus gods are facing Chapter CXII of The Book of the Dead, whereas the Anubis gods face Chapter CXIII: they represent the Souls of Pe and Nekhen. The deceased, with a short, small beard, wears a designed wig, a wide collar, and a necklace with three rows of beads on each side with a hanging amulet representing the Isis Knot, a heart, and a Djed sign. On his right arm is a single armlet and two bracelets; his upper body is wrapped in a garment, of which only a section of it can be seen at the back, as well as a short kilt and a belt around his waist. The bas-relief in front of him is a copy of Chapter CXII of The Book of the Dead, which continues at the top of the door and ends in the centre of the wall. 20 vertical columns of text are inscribed in the middle between the deceased and the gods as follows: Schott Photos 5800. N. Davies & A. Gardiner, Seven Private Tombs at Kurnah, London 1948, p. 45-6, plate XXXII-XXXIII. 278 Jaromir Malek and others, Griffith Institute, (January 22, 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391-1353 BC) viewed 12.August.2019 . 276 277

248

Passage Chapter 112 of the Book of the Dead

249

tomb of kha-em-hat

(1) Dd mdw jn sS nsw jmj-r Snwty #a-m-HAt mAa-xrw XAty -nw jmj (2) XAt anpty.w(279) XAty sxty-wt Swty jw xmw dwAw (3) jAwt pw pA swrw Hnq.t pw nty T jn jw tn rx (4) Any rAyj.t rdj.t P n @r Hr .s jw .j rx .kwj (5) st rx tn st jn Ra rdi n.f sw r jsw n iAtyw (6) m ir.t .f m nw Dd n @r rdj .k mAA .j nn xpr m jr.t .k (7) mj mAA .f st Dd jn Ra n @r dgA mj r pf rrj (8) km Dd jn.f Hr dgA.t .f aHa n kAy.w n jr.t .f (9) nSn nw wrt Dd jn @r n Ra mk jr.t j mj sqr (10) pf jr n Swty r jr.t j aHa n am n jb .f Dd jn Ra n (11) nn n nTr.w ddj sw Hr Hnky.t .f snb .f Swty pw (12) ir.n.f xpr.w .f m SA km aHa n pf st .f sqr jmj (13) ir.t @r Dd jn Ra n nn n nTr.w bw.t SA n @r jx snb .f xpr (14) bw.t n @r jn nTr.w jmj.w xt .f m xt wnn @r (15) m nxn .f xpr xry.wt .f m kA .f m aw.wt .f m SA.w .f jr (16) Msty @py dwA-mw.t.f qbH-sn.w .f jt. sn @r mw.t sn As.t Dd jn (17) @r n Ra rdj .k sn.wy m P sn.wy m Nxn m Xt j tn Hna wnn Hna .j m sjpw nHH wAD (18)…… Xnnw xpr rn .f pw n @r Hry jb wAD .f jw rx.kwi BA.w P (19) @r pw m Jmsty pw (20) @py pw 279

Old name of Mendes, see Adolf, E. and Hermann, G., Wörterbuch der Ägyptischen Sprache, Berlin, 1971, 192.6-7.

250

Passage (1) Words said by the royal scribe, overseer of granaries Kha-em-hat, the justified, (O) swamp dwellers (2) in the swamps, women of Mendes, Ye of the Mendesian Nome. Trappers of (IApw), shadowy ones who cannot return. (3) Brewers of Beer who knead loaves (4) know ye why Pe was given to Horus? I know (5) but ye know not. It was Re who gave to him as a recompense for the injury (6) in his eye. (It came about) thus. Re had said to Horus: ‘let me see this that has happened to thy eye today’. (7) When he had examined it, then Re said to Horus ‘Pray (8) look at that black boar ‘so he looked. Then the sensation in his eye (9) was very violent. So Horus said to Re ‘Behold my eye (feels) as (it did at) (10) that blow which Seth struck at my eye ,then he lost consciousness. So Re said (11) to the gods ‘Put him in his bed so he may recover’. It was Seth, (12) who had assumed his form of black boar. Then he had struck him in the eye, (13) so Re said to the gods: ’Abominate the pig for Horus ’sake so that he may recover’. (14) Thus came about the pig –abomination for Horus’ sake by (the gods), his Train. (But) when Horus was. (15) (in) his childhood his sacrifices used to consist of his beef cattle and his pigs. (Now) his Train abominates (them). (16) (As for) Imset, Hapi, Duamutef, and Qebehsnuef, (Horus) is their father and Isis is their mother. (17) So Horus said to Re: ’Pray give me two brothers in Pe and two in Heiraconpolis of this (company) and let (them) be with me by perpetual assignment,that the earth may grow green. (18) and turmoil cease. So originated his name of Horus on his Papyrus.I know the souls of Pe. (19) They are Horus, Imset. (20) and Hapi.280 Same text was found in Nounou Papyrus, BM EA 10477.281 Second bottom register (left-hand side) In this scene, c. 1.70 cm high and 60 cm wide, the deceased is represented in a standing position, wearing a wig and semi-circular collar with a protection necklace ending in the Isis Knot, heart, and Djed pillar. He has on a short kilt under another long transparent one, and a wide belt around his waist. His right hand extends along his body, holding a cloth, and the left is raised, but, the rest of the arm being broken, we cannot tell whether he was originally holding anything. He is barefoot. There are traces of fire visible despite the conservation of the tomb.

G.Thomas Allen, The Book of the Dead, Chicago, 1974, p. 91. C. Carrier, Le livre de morts de l’égypte ancienne, Paris, 2009, p. 397-399, cf. E. Hornung, Das Totenbuch der Ägypter, Zürich, 1990, p. 219-20. 280 281

251

tomb of kha-em-hat Chapter 117 of the Book of the Dead Beginning of the proclamations of the sacrificial field, the proclamations of going out on the day, of entering and going out again in the necropolis, to enter the rush field and to remain in the fields of the sacrifice, in the great city, mistress of the wind, to be powerful there, to be transfigured there, to plow there and to reap, to eat there and to drink there, to communicate there and to do everything that is done on earth, to do everything that is done on earth. BD 117 in TT 183 resembles TT 57 the dead is standing carrying a long stick and a Kherep scepter.282 There are eight columns of inscriptions on top of the deceased‘s head as follows:

(1) Ssp wA.t m r stA.w (2) #a-m-HAt mAa-xrw Dd.f wA.t Hr .j r r stAw.k (3) ….. wr.t wr.t jj.n.j xy smn-tj (4) xt m AbDw wp.t n.j wA.wt (5) snDm n.j xt m wsir jnk (6) sxpr mw wda ns.t .f m (jn.t (283)) (7) m S wr jr.n .j wAt twt (8) sw.t jnk (1) Assume the way to the necropolis (2) Kha-em-hat, the justified, he said: I am belonging to the way of the necropolis. (3) the great of the great, I go what I can establish. (4) offerings in Abydos, to open the way for me. (5) to make Osiris happy with offerings.(6) to bring water for the judge on the seat in the valley. (7) by means of the great lake I made the entire way. (8) that belongs to him.284 M. Saleh, Das Totenbuch in den thebanischen Beamtengräbern des Neuen Reiches, Heidelberg 1974/75, p.49, cf. I. Munro, Untersuchung Zu den Totenbuch- Papyri der 18 Dynastie, London 1988, p. 103-4. 283 V. Loret, La tombe de Khâ‐em‐hâ, MMAF1, 1889, p. 128, L. 6. 284 G. Thomas Allen, The Book of the Dead, Chicago, 1974, p. 94. 282

252

Passage The top scene to the left represents the deceased in a kneeling position, lifting both hands in adoration, and worshipping in front of three seated gods on a low-back throne in mummified form with falcon heads, each holding the ‘WAs’ sceptre with both hands. The seated gods are in the centre of the arch of the door. The bas-relief begins with a copy of Chapter CXII of The Book of the Dead, which continues at the top of the door and ends at the centre of the wall. 20 vertical columns of text were inscribed in the middle between the deceased and the gods. West wall - right-hand side This scene, c. 30 cm high and 1.10 cm wide, is poorly preserved, the majority of it now destroyed and restored with plaster. 18 columns of text are preserved but they are partially destroyed. The scene was supposed to be symmetrical to the one on the left, representing the deceased kneeling in adoration, except that the text represents Chapter CXIII of The Book of the Dead. Chapter 113 Book of the Dead – Formula to know the bas of Nekhen. – Formula recited by the deceased Kha-em-hat 285

285

C. Carrier, Le papyrus de Nounou, Cybele, 2010, p. 313-315.

253

tomb of kha-em-hat

(1) Dd mdw jn sS-nsw jmj-r Snwty n nb tAwy #a-m-HAt (2) iw.j rx kw .j sStA.w Nxn (3) nw .n mw.t .f r .f Dd.s Hwy jn (4) tw mw HAmw(5) mw.t .f r st jry Dd jn (6) btktk .sn Xr Dbay .j Hr(7) Had.t pw Dd jn (8) %bk Hna gm.t Aa.wy (9) Pdty x3st Hr Had(10) ..15 nt Hb m srm.w (11) a.wy .fy wn.w (12) Iryw ….jmj.w (13) QbH-snw.f Hna .j (14) ist Nxn n pr nTr Dd (15) n .sn jrr.w.t n jmj.w (16) Ra jw .sn (17) pw dwA (18) QbH (1) words said by the royal scribe, overseer of granaries of the lord of the two lands Kha-em- hat. (2) I know the mystery of Nekhen. (3) …….. his mother look after (cure) towards him she says would bring……… (4) waters, (he) and wine ……….. (5) his mother to her place recitation by ………. (6) they escape under my fingers ………. (7) It is words by … ……. (8) hand of Sobek, with finding, arms ……. (9) the bowmen of the foreign lands are on fish net……… (10) the feast of mid-month with the food stuff …… (11) may his hands be open ……… (12) The keepers who is in ………. (13) Qebeh-snw-ef is with me …….. (14) the temple of (Hieraconpolis ) Nekhen, the god said………286 (15) for they see them there 287. (16) Re they ….. (17) its worship ……. (18) Qebeh………..

286 287

G. Thomas Allen, BD, Chicago, 1974, p. 92. E. Hornung, Das Totenbuch der Ägypter, Zürich, 1990, p. 221- 23.

254

Passage Similar scene in other tombs (leaving the tomb to see Amun- going forth)288 TT 57 scene no. 23 Tomb Number

TT 33 Pedamenōpet

289

TT 46 Racmosi

TT 49 Neferḥōtep TT 55 Racmosi290

Provence

Date

Scene Location

PM Reference

Sh. cAbd el-Qurna

Amenophis III

Pillar D - North

p. 86-7

Asâsif

Khôkha

Sh. cAbd el-Qurna

Saite Ay

Amenophis IV

TT 64 Ḥeḳerneḥneḥ291

Sh. cAbd el-Qurna

Tuthmosis IV

TT 69 Menna292

Sh. cAbd el-Qurna

Tuthmosis IV

TT 74 Thanuny293

Sh. cAbd el-Qurna

Tuthmosis IV

TT 75 Amenḥotep – Si-Se294 TT 76 Thenuna 295

TT 82 Amenemḥēt296 TT 84 Amunezeḥ297 TT Amenemḥab

298

TT 93 Kenamūn TT 95 Mery

TT 96 Sennūfer299 TT 103 Dagi300

Sh. Abd el-Qurna c

Tuthmosis IV

Sh. cAbd el-Qurna Tuthmosis IV Tuthmosis IV Sh. cAbd el-Qurna

Tuthmosis III

Sh. cAbd el-Qurna

Tuthmosis III

Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

Sh. cAbd el-Qurna Sh. cAbd el-Qurna

Amenophis II Amenophis II Amenophis II Amenophis II End of Dynasty XI

Hall II – West wall Pillar C – North

Hall - (2)Exterior doorway – East wall, (14) Entrance to inner room Entrance to the inner room

Entrance to inner room

p. 51, no. 7

p. 94, no. C

p. 107, no. 2; p. 110, no. 14 p. 129, no. 9

p. 137-8, no. 8

Hall – door thickness p. 144, no.1 Inner room – Door thickness

p. 149, no. 7

Pillars- North

p. 150, no. C-D

Passage – Outer lintel – right jamb

p. 164, no. 9

Pillars – A-C-D

p. 172

North Chapel

p. 169, no. 11

Pillar – E

p. 193

Pillar – A

Ante- Chamber Portico

p. 197

p. 200, no. 27-28; p. 201, no. 32 p. 216, no. 2

It is referring to the Feast of the Valley, the feast is referred to in a number of the Eighteenth Dynasty tombs, only the part that concerned the blessed dead are represented, in the temples the statue of the chief divinity was exposed to the rays of the sun to be rejuvenated, cf. L. Manniche , JEA 72, p. 56. 289 J. Dümichen, Der Grabpalast des Patuamenap in der Thebanischen Nekropolis 1, Leipzig 1884, p.7 (d), plate II. 290 N. Davies, The Tomb of the Vizier Ramose, London, 1941, plate II, XVIII. 291 Schott, Das Schöne Fest, Mainz, 1952, p. 873 [70]. 292 Schott, Das Schöne Fest, Mainz, 1952 ,[71]. 293 V. Scheil, Le tombeau de Djanni, MMAF 5, p. 592. 294 N. Davies, The Tombs of Two Officials of Tuthmosis the Fourth, London, 1923, p. 18, the text says: going out from Dat… the world of the dead (jmH.t) to see Amun when he rises, cf. K. Sethe, URK 4, 1961: 1216. 295 K. Piehl, Inscriptions hiéroglyphiques recueillies en Europe et en Égypte, Stockholm 1895, plate CXIII; U. Bouriant, Notes de voyage, Rec.de Trav. 11, Paris 1889, p. 158 [e]. 296 N. Davies & A. Gardiner, The Tomb of Amenemhēt (No.82), London, 1915, plate XXXI. 297 Ph. Virey, Tombeau d’Am-n-tceh, MMAF 5, 1894, p. 357. 298 Pillar A, Schott Photos8307, 8310, Pillar C; Schott Photos 8309, Pillar D; Schott 8311. 299 Schott Photos 3816; 3911:5302. 300 N. Davies, Five Theban Tombs, London, 1913,plate XXXI [3] 288

255

tomb of kha-em-hat Tomb Number

Provence

Date

Scene Location

TT 109 Min301

Sh. cAbd el-Qurna

Tuthmosis III

TT 125 Duaneḥeḥ302

Sh. cAbd el-Qurna

Ḥatshepsut

Hall – (2)Door thickness, p. 226, no. 2 – 8 Hall West wall

TT 127 Senemicoḥ303

Sh. cAbd el-Qurna

Tuthmosis III

TT 128 Pathenfy

Sh. cAbd el-Qurna

Saite

TT 106 Paser

TT 130 May

Sh. cAbd el-Qurna

Sh. Abd el-Qurna

304

c

Sethos I to Ramesses II

Tuthmosis III

TT 161 Nakht305

Drac Abû el Naga

Amenophis III

TT 181 Nebamūn306

Khôkha

Amenophis III

TT 189 Nekhet- Ḏḥout(307) Asâsif

Ramesses II

TT 306 Irzanen

Dyn. XIX-XXI

TT 341 Nekhtamūn

(308)

TT 359 Inḥerkhac309

Drac Abû el Naga

Sh. Abd el-Qurna c

Deir el-Medîna

Ramesses II

Hall – (7) south wall, (11) west wall, Pillars A-G-H

PM Reference

p. 221, no. 7; p. 222, no. 11; p. 222 (A); p. 224 (g)-(H)

Hall – (3) south wall, (6) North wall

p. 239, no. 3, 6

Hall – North wall

p. 243, no. 1

Hall – on the right side of the entrance door

p. 274, no. 4

Hall – Right outer thickness

p. 295, no. 3

Inner room – South wall

p. 243, no. 20.

Inner room – door thickness

p. 245, no. 6

Hall – on the right thickness of the entrance door

Hall – East wall

p. 286, no. 1

p. 384, no. 5

Inner room – East wall p. 409, no. 9

Ramesses III – IV Inner chamber – West wall

p. 423, no. 11

Conclusion The text was found in 16 tombs, of which 14 were located at Qurna. It dates to the 18th Dynasty while the other two date 11th Dynasty. Others belong to the late period. One tomb only was located in Asâsif. Squeezes – Griffith Institute squeeze 4.54 - upper part of Kha-em-het adoring, and text above him.310 Ph. Virey, .Sept tombeaux Thébains de la XVIIIe dynastie, MMAF 5, 1891, p. 364 [AB], 369 [DE]. Schott Photos 6023; N. Davies, Research in the Theban Necropolis: 1938-1939, MMA 34, p. 284, fig. 4. 303 Schott Photos 4431. 304 V. Scheil, Le tombeau de Mâi, in Virey, Sept Tombeau Thébains, MMAF 5, 2, 1891, p 549-550, no. A-B. 305 L. Manniche, The Tomb of Nakht the Gardener, at Thebes, no. 161, as copied by Robert Hay, JEA 72 , 1986, p. 56, fig.1. 306 N. Davies, Two sculptors, New York, 1925, p. 27-8, plate XVIII. 307 Schott, Das Schön Fest, Mainz, 1952, p. 860, no. 11, text inscribed ‘to go out to the city in Thebes, to see Amon when he appears on the road of his city’. 308 N. Davies, Seven Private Tombs, London 1948, p. 40, plate XXX. 309 Cherpion & Corteggiani, La tombe d’Inherkhaouwy (TT 359) à Deir el-Medina, MIFAO, 128, 2010, Vol. II, p. 49, pl. 76. 310 Jaromir Malek and others, Griffith Institute, (January 22, 2007), Griffith Institute Squeezes made in Theban tomb TT 57, of the Overseer of Granaries of Upper and Lower Egypt, Khaemhet, of the reign of Amenophis III (1391-1353 BC) viewed 12.August.2019 301 302

256

Passage

Figure 46. Passage - west wall. Upper register chapter 112 BD. Lower register left – chapter 117 BD. Upper register right – chapter 113 BD. By A. Damarany.

− 257

tomb of kha-em-hat

Figure 46A. Passage - west wall. Upper register chapter 112 BD. Second register left – chapter 117 BD. Upper register right – chapter 113 BD. By A. Damarany.

258

Passage XXIII.A Passage - Ceiling: (see figure 47,47A) The ceiling of the room had three parallel lines inscribed with texts. Left line

– Htp-dj-nsw Imn-Ra nb ns.wt tA.wj nb qrs dd jAwt Wsjr xntj-jmntj.w(311)hrw Hr mAat mkH jsf. wt jrj .sn s.t n sS-nsw jmj-r Snwty n nb tAwy m ^ma-MHw #a-m-HAt mAa-xrw m Xrt-nTr r-gs wnn nfr sAx .f m aHA.t . f m sAH n nTr -aA nn Tnj . f r Hsjj.w mj jrrw.t n mAa tj tp tA sAx ..sn sA.w mk.t .f sfx DA am …w.f S .f n D.t .f Hr qbH .n .f mw nH.wt .f Xr Htp.wt DfA.w snm .tw .n .f m t.w jmj.sn HAp .sn aAwy .sn Hr.f Dd.sn n.f jj. Tj m Htp xnm n .k wr.w n.w DA.t aq.k prj.k r mrr.k m xpr.w nb.w… t jj.k r pt DAj .k bjA snsn .k m m sbA.w smA.k xt Hna wrw wstn .tj m DADA .t aA.t n kA n jmj-r Snwty n nb-tAwy m ^ma-MHw #a-m-HAt mAa-xrw xr nTr aA – A sacrifice prayer to Amon-Re, lord of the throne of the two lands, lord of the funeral who grants the age, and Osiris, the foremost of the westerns, who satisfy Maat, and turns away from the wrong. He who belongs to the throne, the royal scribe, the overseer of granaries of the lord of the two lands of Upper and Lower Egypt, Kha-em311

Foremost of Westerners, Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut 1982, p. 208.

259

tomb of kha-em-hat hat, the justified. Would you like to manage a place in the realm of the dead aside to ‘Wnn-nfr’. May he be glorified in a chapel in the district of the great God without being distinguished from the promised, as it is done on a righteous ground. May they glorify the amulets for his protection and ….replace in its environment. May you be offered water from the ponds of the dead, contributed by his sycamores offerings and food. You supply the bread for them. You put your hands over him, you like when they cheer to welcome you, cause you are great in the underworld when you unite. May you come out according to your will, in all forms you wish to be. May you ascend to heaven, cross the sky and join you under the stars, may you receive the offerings along with the great free striding in large panel of judges for the soul of the overseer of granaries of the lord of the two lands of Upper and Lower Egypt, Kha-em-hat, the justified from the great god.312 Middle Line

(313)

312 313

J. Assmann, Altägyptische Totenliturgien, Heidelberg, 2005, was skipped in translation by Assmann, see p. 360. Ḥwt-bnw House of the Phoenix, temple of Heliopolis, cf. W. Kosack, Ägyptische Zeichenliste II, Berlin 2013, p. 113.

260

Passage

Htp-dj-nsw Imn-Ra-&m-@r-Axtj-PtH- %kr Wsjr Hwt-@r Hrj- tp smy.t Inpw Xntj sH-nTr dj .sn prt-xrw kA.w Abd jrp.w snTr mnxt mrH.t w jbr twAw.t n kA n sS-nsw jmj-r -Snwtj #a-m-HAt wTs–tw wTs-tw kA.k Ss-nsw #a-m-HAt mAA .k Ra tp dwAyt m Xa.w .f jmj skt.t Xnj .k Ra m wjA n HH.w sDm .k hA m Xnw kAr .f wn .n.k st Dsr.t mwt .k m sbj n kA.f Ssp .k Aw.t .k m Hwt-aA.t Htp bA .k m Hwt-bnw jrj .k abw m S n mAa.t sAH tw Inpw Ds.f n kA n sS-nsw jmj-r Snwtj n nb-tAwy #a-m-HAt mAa-xrw A sacrifice prayer to Amon-Re, Atum, Hor-akhty, Ptah- Sokar, Osiris, Hathor, in the mildest of desert and Anubis who is in front of the god’s chapel, who is given the invocation offerings consisting of bread, beer, oxen, birds wine, incense, clothes and oil in vases, to be given to the ka of the royal scribe, the overseer of granaries Kha-emhat, arise, lift up your ka of the royal scribe Kha-em-hat, may he see Ra who appears in his sacred bark in the early morning when he row, O Re in the bark of million years, you hear him coming inside the shrine of his sacred bark to open for you the way to the splendid dead, may the holy place be opened to you may you die as one who goes to his ka, may you receive your offerings in the eternity of ‘@wt-aA’ may your ba rest in the house of Phonix, may you purify in Maat Lake, may Anubis himself bind you with bandages, for the ka of the royal scribe of the lord of the two lands Kha-em-hat, the justified.314 Right Line

314

J. Assmann, Altägyptische Totenliturgien, Heidelberg, 2005, p. 358.

261

tomb of kha-em-hat

Htp-dj-nsw.t As.t [Nb.t-Hw.t n kA n sS-nsw jmj-r Snwtj n nb- tAwy] m ^ma-MHw #a-m-HAt mAaxrw swab .sn hnw.f dr.sn sbA.w .f mj nw jrj .n .sn [n sn .sn Wsjr][Ts.sn n] .k [tp] nTr r qs.w .k Ts .sn awj .sn HA .k jw Hw.t .k n.k mH.tj Xr antj.w js .k Xr jhm.wt snTr.t iw wtj .k m sSD.w %A.w sx.tj j n xnd . wt n.t Nj.t wbn grt nn nTr.w m p.t tn xft sbA jw SS- nsw jmj-r n nb tAwy #a-m-HAt mAa-xrw xaj m sbA wa.tj jw ms.wt.k xft sAH Hna @r.w jmj %pd.t m Sms n nTr aA jmj TmA.t wsx.t mAa.tj tkn .k m bAH m s.t Dsr.t sar.w r rd Spsj n kA n sS-nsw jmj-r Snwty n nb-tAwy #a-m-HAt mAa-xrw xr nTr aA(315) A sacrifice prayer to Isis and Nephthys for the ka of the overseer of granaries of the lord of the two lands of Upper and Lower Egypt, Kha-em-hat, the justified, let them purify his box and remove his (bad), like what they did for his brother Osiris. If you like they will attach your head to your bones and wrap their arms around you. Your house is filled with Myrrh, your grave is full with myrrh and frankincense, your mummy wrappings are brought from Sais that has been promoted by the weavers of Neith. It goes to the gods in the sky simultaneously with the stars. The royal scribe, overseer of granaries of the lord of the two lands, Kha-em-hat, the justified, appear as a single star, your birth take place coincidentaly with Orion, together with Horus located in the Sothis as a follower of the great gods that is located on the mat in the hall of the Two Truths. May you before (the god) arrive in the Holy Place as one who has been brought up to the lofty stairs, for the ka of the royal scribe, overseer of granaries of the lord of the two lands, Kha-em-hat, the justified, before the great god.316

J. Assmann, Altägyptische Totenliturgien, Heidelberg, 2005, p. 361-2. According to Assmann, the text deals with embalming and the judgement of the dead, Since the coffin represents the goddess Nut from heaven, the coffin can be interpreted as becoming a star on the body of the Nut, at the same time, these verses establish the reference to the place where the text was placed, so the ceiling lines were also inscribed on the coffins, J. Assmann, Altägyptische Totenliturgien, Heidelberg, 2005, p.362. 315 316

262

Passage Similar text in different tombs (Book of the dead - text with vignette) TT 57 scene no. 21-22 Tomb Number TT 1 Sennezem317

Provence Deir el Medîna

Date Dynasty XIX

TT 3 Peshedu TT 6 Neferḥōtep

Deir el Medîna Deir el Medîna

TT 33 Pedamenōpet318

Asâsif

Ramesside Ḥaremḥab to Ramesses II Saite

TT 71 Senemmut TT 82 Amenemḥēt319 TT 87 Minnakht320 TT 96 Sennūfer321 TT 106 Paser322 TT 123 Amenemḥēt TT 284 Paḥemneter323 TT 290 Irinūfer324 TT 353 Senenmut325 A.16 Ḏḥutiḥotep C.1 Amenḥotep326

Scene Location Innermost chamber- West wall Innermost chamber Burial chamber – East wall

Hall I – Hall III (15) South wall, (16) North wall- door thickness, Room X (34) North wall, (36) North room Sh. cAbd el-Qurna Hatshepsut Inner room – West wall Sh. cAbd el-Qurna Tuthmosis III Burial chamber – (21) South wall – (22) North wall Sh. cAbd el-Qurna Tuthmosis III Burial chamber Sh. cAbd el-Qurna Amenophis II Ante-chamber – East wall Sh. cAbd el-Qurna Sethos I to Pillars - F Ramesses II Sh. cAbd el-Qurna Tuthmosis III Hall – West wall Drac Abû el Naga Ramesside Ceiling Deir el Medîna Ramesside Burial chamber Deir el Baḥri Ḥatshepsut Hall Tomb near Ramesside Piccini’s house Sh. cAbd el-Qurna Amenophis III Hall – door thickness

PM Reference p. 4, no. 10 p. 10 p. 15, no. 18 p. 5, no. 1516; p. 53, no. 20, 34; p. 54, no. 36 p. 141, no. 11 p.166, no. 21; p.167, no. 22 p. 179 p. 202, no. 37 p. 223 p. 236, no. 4 p. 367 p. 372, no. 5 p. 418, no. 2-7 p. 452 p. 456, no. 5

Sennezem had different chapters of the book of the dead, cf. C. Campbell, The Miraculous Birth of King Amenhotep III, London 1912, p. 136- 9; 141- 6. 318 J. Dümichen, Der Grabpalast des Patuamenap in den Thebansichen Nekropolis, Leipzig, 1885, p. 51-6. 319 Davies & Gardiner, The Tomb of Amenemhet (No 82), TTTS 1, 1915, plate XXXVII- XLVI. 320 R. Mond, Report of Work in the Necropolis of Thebes during the winter of 1903-1904, ANNS 6, 1905, p. 76. 321 Ph. Virey, Le tombe des Vignes à Thèbes, Rec. de Trav.21, 1899, p. 146, fig. 18. 322 F. Cailliaud, Les arts et métiers, Paris 1831, plate 65 [3]. 323 N. Davies, & N.M. Davies, Harvest Rites in a Theban Tomb, JEA 25, 1939, p. 156. 324 B. Bruyère & Kuentz, La tombe de Nakht-Min et la tombe d’Ari-Nefer, MIFAO LIV, 1926, p. 116. 325 H.E.Winlock, The Egyptian Expedition 1925-1927, MMA 23, 1928, p, 38, fig. 37. 326 V. Loret, Le tombeau d’ Amen-hotep, MMAF, 1, 1889, p. 24. 317

263

tomb of kha-em-hat Conclusion The text was attested in fifteen tombs, seven tombs dates back to the Eighteenth Dynasty and located at Qurna, while the rest dates back to the Ramasside period. Four tombs are located at Deir el-Medina. Similar scene in different tombs (funeral procession) TT 57 scene no. 17-18-19 – 21-22 Tomb Number

Provence

Date

TT 35 Bekenkhons

Dra Abû el Naga

Ramesses II

TT 14 Ḥuy

TT 41 Amenemōpet TT 54 Ḥuy

327

Drac Abû el Naga c

Sh. cAbd el-Qurna Sh. Abd el-Qurna c

Ramesside

Scene Location

PM Reference

Hall - North wall

p. 62, no. 7

Hall- East wall

Ramesses I to Sethos I

Court – South wall

Amenophis IV

Court – South wall

Tuthmosis IV to Amenophis III

Hall – East wall

p. 26, no. 3 p. 78, no. 1

p. 104, no. 6

TT 55 Racmosi328

Sh. cAbd el-Qurna

TT 82 Amenemḥēt329

Sh. cAbd el-Qurna

Tuthmosis III

Passage – West wall

Sh. cAbd el-Qurna

Amenophis II

Inner room – South wall

p. 218, no. 8

Passage – East wall

P. 270, No. 20-21

TT 93 Kenamūn

330

TT 104 Ḏḥutnūfer331

TT 157 Nebwenenef TT 158 Thonūfer

332

TT 161 Nakht333

TT 181 Nebamūn

Sh. cAbd el-Qurna Drac Abû el Naga Dra Abû el Naga c

Drac Abû el Naga 334

Khôkha

TT 219 Nebenmacet335 Deir el-Medîna

TT 249 Neferronpet336 Sh. cAbd el-Qurna TT 282 Nakht

337

TT 336 Neferronpet TT 343 Benia338

Dra Abû el Naga c

Deir el-Medîna Sh. cAbd elQurna

Amenophis II Ramesses II

Ramesses III

Amenophis III Amenophis III Ramesside

Tuthmosis IV Ramesside

Dynasty XIX Early Dynasty XVIII

p. 108, no. 5; p. 109, no. 6

p. 165, no. 10

Outer hall – East wall p. 190, No. 3 Pyramid

Hall – North wall Hall – North wall

p. 268

p. 274, no. 5 p. 287, no. 5

Outer Burial chamber p. 321-2, no.11 Hall -North wall

p. 335, no. 2

Chamber B- door thickness

p. 405, no. 12

Passage- West wall Inner room – South wall

p. 365, no. 6

p. 412, no. 10

Schott Photos 3753- 4. N. Davies, The Tomb of the Vizier Ramose, London 1941,plate XXII- XXVIII. 329 N. Davies & A. Gardiner, The Tomb of Amenemhet (No 82), TTS, 1, 1915, plate X, XIII. 330 N. Davies, The Tomb of Ḳen-Amūn at Thebes, New York 1930, plate XXXIX-XLII. 331 Abdel Ghaffar Shedid, Stil der Grabmalereien in der Zeit Amenophis‘ II: Untersucht an den thebanischen Gräbern Nr. 104 und Nr. 80, AV 66, 1988, Tafel 28. 332 N. Davies, Seven Private Tombs at Ḳurnah, London, 1948, fig. 7. 333 L. Manniche, The Tomb of Nakht the Gardener, at Thebes, no. 161, JEA 72, 1986. 334 N. Davies, The Tomb of the Two Sculptors at Thebes, New York, 1925, plate XIX, XX. 335 C. Maystre, La tombe de Neb-Enmât (No. 219), MIFAO 71, 1935, plate VII. 336 Schott Photos 8008; L. Manniche, The Wall Decoration of Three Theban Tombs (TT 75, 175 and 249) CNIANES 4, 1988, p. 47 -50, fig. 50-51. 337 L. Habachi, The Owner of Tomb No. 282 in the Theban Necropolis, JEA 54, 1968, p. 108. 338 Schott Photos 8055-8; H. Guksch, Das Grab des Benja, gen. Paheqamen, Theben Nr. 343, AV 7, 1978, Tafel 19. 327 328

264

Passage Tomb Number

Provence

Date

Scene Location

PM Reference

TT 399 No name

Sh. cAbd elQurna

Ramesside

Hall- West wall

p. 443, no. 1

Hall – East wall

p. 446, no. 2

TT 359 Inḥerkhac339

TT 406 Piay

Deir el-Medîna

Asâsif

Ramesses III -IV

Ramesside

Inner chamberWest wall

p. 423, no. 11

Conclusion The scene was found in 20 tombs, nine tombs date to the 18th Dynasty and are located at Qurna, while 11 are from the Ramesside period. Six tombs are located at Drac Abû el Naga and two at Deir el-Medina, oneeach at Asâsif and Khôkha.

339

Cherpion and Corteggiani, La tombe d’Inherkhaouwy (TT 359) à Deir el-Medina, MIFAO 128, 2, 2010, p. 91-4.

265

tomb of kha-em-hat

Figure 47. Passage – ceiling. By A. Damarany.

266

Passage

Figure 47A. Passage – ceiling. By A. Halim.

267

Chapter IV

Inner Room Inner Room Door way The side walls of the door that leads to the third (inner) room are destroyed; they were both covered with plaster during the conservation work that took place in the tomb. Loret had copied part of the text that was there during his time.1 Inner Room The inner room is small and not very well preserved; most of the walls are covered with plaster, and the traces of fire can be clearly seen. This room contains six statues, also in poor condition, three pairs of life-sized, seated statues of a man and a woman, one on the left-hand side, on the west wall two life-sized statues for the deceased and his father Imhotep, and the last pair on the right side for the deceased and, probably, his mother. The cruciform statue chapel with three statuary niches may have been taken over by the owner of TT 41 Amenomope from Kha-em-hat, whose tomb dates to the time of Amenophis III; like the other models it has a sunken courtyard. Also in this point, TT 106 and TT 23 followed him. Additionally, the unusual inscription of the façade, with its large figures, worship scenes and hymns, may have been inspired by the tomb of Kha-em-hat.2 Arch of the niche (see figure 58, 58A) The niche arch is decorated with two recumbent jackals facing each other. These are destroyed, unfortunately, except for the back of one and the ears of the other. There is mutilated space between them that seems to have had some decoration or inscriptions.

1 2

V. Loret, La tombe de Khâ‐em‐hâ, MMAF1, 1889, p. 131. J. Assmann, Das Grab des Amenemope (TT 41), Mainz 1991, p. 6.

268

Inner Room XXIV. South niche statues (Kha-em-hat and his Mother – see figure 48, 48A) The two life-size statues (c. 1.80 m high) represent the deceased and his mother.3 Both are represented in mummy form, the one representing the deceased has face half broken. He is wearing a plain, thick wig of shoulder length; both arms are crossed over his chest, his right hand is flat and the left in a fist. The statue has no inscription or decoration remaining, and, unlike other statues of the deceased in the tomb, there are no collars or necklace. The female statue next to him, according to El Tanbouli, was the deceased’s mother. She is wearing a long, thick, plain wig, and there are no collars or necklaces; both arms are bent across her lap, one of top of the other, and thus we see only her left hand in fist. The statue, now covered in plaster, is broken from the lap down to the ankle. Both statues have traces of black colour (from the fire) and also a reddish colour in some parts. XXIV.A East wall next to the southern statues (see figure 49 – 49C) The remains of this scene are c. 70 cm high and 50cm wide. The offering list is broken except for some small fragments, and it is covered in soot. The lower section of the wall is divided into three registers. Each register represents different kinds of wild gazelles. These animals, with their legs tied together and on a mat, all face the inner side of the niche: the upper one is now almost lost; the second well preserved, with its two, long horns; and the third is partially destroyed and not entirely carved (it lacks its head).

3

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 71.

269

tomb of kha-em-hat

Figure 48. Inner room - south wall. South niche statues - Kha-emhat and his mother. By A. Damarany.

270

Inner Room

Figure 48A. Inner room - south wall. South niche statues - Kha-em-hat and his mother. By A. Halim.

271

tomb of kha-em-hat

Figure 49. Inner room- east wall next to southern statues. Offering list. By A.Damarany.

272

Inner Room

Figure 49A. Inner room- east wall next to southern statues. Slaughtered gazelles. By A.Damarany.

273

Figure 49B. Inner room- east wall next to southern statues - lower register. By A.Damarany.

tomb of kha-em-hat

274

Inner Room

Figure 49C Inner room- east wall next to southern statues with squeeze. Offering list – slaughtered gazelles.

275

tomb of kha-em-hat XXIV.B West wall next to the southern statues (see figure 50, 51) The upper wall contains an offering list and Litany. There are two registers at the bottom; the upper register is about 40cm in height and 60cm in width. It represents a variety of offerings (bread, vegetables, cakes, fruits, a slaughtered duck, a vase and lotus flower bouquet placed on a mat. The scene is good preserved. The lower register is about 20cm in height and 60 cm in width, represents a slaughtered calf with its ribs, heart, and a foreleg next to it. Similar scenes in different tombs (Oryx) TT 57 scene no. 24 Tomb Number TT 100 Rekhmirēc 4 TT 119 Name lost5 TT 276 Amenemōpet6 TT 342 Ḏḥutmosi

Provence Sh.cAbd el-Qurna Sh.cAbd

el-Qurna Qurnet Muracî Sh.cAbd el-Qurna

Date Tuthmosis III

Scene Location Hall – North wall

PM Reference p. 210, no.10

Tuthmosis III to Ḥatshepsut

Hall – North wall

p. 234, no. 1

Tuthmosis IV Tuthmosis III

Inner room – North wall p. 353, no.11 Hall – West wall p. 410, no. 4

Squeezes – Griffith Institute Squeeze 4.66 - gazelle and oryx, from bottom of left wall of niche. – Griffith Institute Squeeze 4.67 - offerings, from right wall of niche.

4 5 6

N. Davies, The Tomb of Rekh-mi-rē’ at Thebes, New York, 1973, plate XLIV, XLV. W. Wrsensiki, Atlas zur Altägyptischen Kulturgeschichte 1, Leipzig, 1923, plate 340. R. Wilkinson, The Manners and Customs of the Ancient Egyptians, 3, 22, London 1878, fig. 329.

276

Figure 50. Inner room – west wall.Offering presentation list next to southern niche statues. By A. Damarany.

Inner Room

277

tomb of kha-em-hat

Figure 51. Inner room - west wall. Offerings and Oryx next to southern stautes- lower register. By A.Damarany.

278

Inner Room

Figure 52. Inner room – east wall – next to northern statues. Kha-em-hat is holding a stick. By A.Damarany.

XXV. Inner room - east wall (see figure 52-54) The right-hand side of the east wall prior to the north niche is destroyed and is poorly preserved except for a representation showing Kha-em-hat holding a stick in his left hand.7 Kha-em-hat is wearing a long, shoulder-length wig with a pattern; part of his real hair is shown. He has a short beard and is wearing a wide collar and a necklace made of three rows of beads, ending in a heart pendant; he also wears a bracelet. The relief was replaced by a cast, while the original remains in the Berlin Museum as no. 2063. The scene is 0.65m high and 1.00m wide.8 The wall was covered with plaster only at the bottom. Part of the original wall is preserved, showing the feet of the deceased and a stand for two vases. XXV.A East wall next to the northern statues (see figure 52 - 54) The walls on both sides contain a repeated version of the offering list. Both offering lists are intact. Underneath the offering list, are three registers: the first one represents five adzes, the second one two types of vases, four on each side. Only six could be seen as the rest of the left side is destroyed; the third register represents a big box with a sloping cover. Squeeze – Griffith Institute squeeze 1.13 - upper part of Kha-em-hat. G. Steindorf, Die Blütezeit des Pharaonenreichs, Leipzig, 1900, p. 51, fig. 45. H. Fechheimer, Die Plastik der Ägypter, Berlin 1918, plate 139; K. Lange, König Echnaton und die Amarna-zeit, München 1951, p.136, plate 7. 7 8

279

Figure 53. Inner room – east wall – next to northern statues. Kha-em-hat’s feet. By A.Damarany.

tomb of kha-em-hat

280

Inner Room

Figure 54. Inner room – east wall – next to northern statues.. Kha-em-hat is holding a stick - full view. By A. Halim.

281

tomb of kha-em-hat XXVI. North niche statues (Kha-em-hat as Maḥu with his wife Ty- see figure 55, 55A) Here we have two seated, life-size statues. The one on the right is destroyed and was covered with plaster; the other is in better condition except for the face, which is lost. Both statues were represented in mummy form: one for the deceased and the other, possibly, his wife Ty.9 The deceased wears a wig and his hands are crossed against the chest, one hand flat and the other in a fist. The statue on the right belongs to an unnamed woman; the lower part is covered with plaster, and only at the very bottom can a part of the original statue still be seen. Both statues are now without inscriptions, but the lower parts show traces of the inscription bands of both. According to PM, it seems that Kha-em-hat had another name (i.e. Maḥu), and most probably this was inscribed on his statue but it is now lost. It seems that it was a tradition at this period to have more than one name, as attested at several tombs, e.g. TT 29, 31, 40, 41, 48, 57, 83, 85, 94, 134, 140, 178, 192, 222, 224, 297, 368, 398, 409, and TT D.3. Squeezes – (26) Niche with statues of Kha-em-hat as Mahu and wife. side walls, litany and offering list (as at (10).

9

M. El Tanbouli, The Tomb of Kha-em-hat [TT 57], Cairo 2017, p. 74.

282

Inner Room

Figure 55. Inner room - north niche statues. Kha-em-hat with his wife Ty. By A. Damarany.

283

tomb of kha-em-hat

Figure 55A. Inner room - north niche statues Kha-emhat with his wife Ty. By A.Halim.

284

Inner Room XXVI.A Inner room - west wall (next to southern statues - figure 56, 56A) This scene, c. 1.80 m high and 1m wide, is partially damaged and the wall covered with plaster. There was a border to it apparently, but only traces remain. The deceased is depicted facing right, wearing a wig with a design; he has a short beard, a necklace with three rows of beads, and a wide collar. His right arm is stretched forward, and in his left hand he carries a folded cloth with a fringed end, the arm extended down by his side. The head was replaced with a cast, and the upper torso and arms are broken. He is wearing a short kilt under a long, transparent one, pointed in front and rounded at the back. Around his waist is a belt, only a part of which is visible. His left leg is placed before his right and he is depicted barefoot; the feet are broken and only parts remains. He is standing in front of a low offering table, piled with various offerings (i.e. bread, vegetables, a basket of figs). Underneath the table are two vases wrapped with flower stems; each one has a different shape and cover. The upper part of the wall exhibits 13 vertical columns of texts, with two long ones inscribed behind the deceased running down to the bottom of the wall.

285

tomb of kha-em-hat Text (1) ….. (2) xAst (3) dj.t (4) n Wsjr (5) n hn…n (6) tn Dt (7) af m (8) (h)A (9) jw wn Hr (10) jj m Htp mAA .n.f (11) f m anx (12) Sms .f sw m (13) Axt jmntt dwA.f Ra m msktt (14) … msk tt sHtp .f sw manDt xnm.f wrw.t .. Ra n xa sS nsw Jj m Htp m nfr tm wrS r? k …….. Ra r ra nb (15) iw .f wab.w m nTryt mAA .n.f Itn …… f bAH Hr …n bt .n kA n sS nsw Jj- m -Htp mAa-xrw (1) …….. (2) foreign land (3) given (4) to Osiris (5) in chest (6) you eternity (7) . ….. (8) go down stream (9) open the sight to (10) coming in peace, he saw (11) he .. in life (12) he follow him in (13) the western horizon, where he worship Ra in night bark (14) he pleased him, the day bark he joined the great crews of Ra to rise the royal scribe Imhotep appear as Nefer-tom and spent the eternal time of Re-daily (15) he is purified in the natron salt, he saw the sun-disk (Aton)…inundation??… to the ka of the royal scribe Im-hotep the justified. Squeezes – Griffith Institute Squeezes 1.14 and 4.68D - upper part of Kha-em-hat. – Griffith Institute Squeezes 4.59 - offerings.

286

Inner Room

Figure 56. Inner room- west wall next to southern statues. Kha-em-hat adoring. By A.Damarany.

287

tomb of kha-em-hat

Figure 56A. Inner room - west wall next to southern statues with squeeze.,Kha-em-hat adoring. By A.Halim

288

Inner Room XXVI.B West wall (next to northern statues – see figure 57, 57A) This scene, c. 1.80 m high and 1 m wide, is on a damaged wall, with traces of fire strongly visible; initially there was a border that now only remains above the text, right and left the statues. The text is destroyed, and only a very few signs can be made out: Next, to the inscriptions there is an entrance (now closed with an iron grid) leading to the burial chamber – the remains of bones, pottery, linen, and tomb-wall fragments are scattered everywhere. The burial chamber was completely burned and the walls are covered with soot: the shaft needs to be cleaned and the traces of fire removed. Access to the burial chamber is complicated and the visitor must crawl flat to get inside. Some photographs were taken as a part of the current study of the tomb (see plates 60–68).

289

tomb of kha-em-hat

Figure 57. Inner room- west wall next to northern statues. Offering list. By A.Damarany.

290

Inner Room

Figure 57A. Inner room- west wall next to northern statues. Broken wall with remains of text. By A. Damarany.

XXVII. West niche statues (see figure 58, 58.A) Two life-size seated statues are about 1.80m in height, 1.40m in width. The west niche has two life-sized and seated statues, c. 1.80 m high and 1.40 m wide, represented in mummy form and both male. One stands for the deceased and the other his father, Imhotep.10 The statue of the man on the right is Kha-em-hat, wearing a short wig (shoulder length) with a design. Both his hands are bent across his chest, the right flat and the left in a fist; there is a bracelet on his right hand (his left wrist is below the right). He has on a wide, designed collar, and a triple-row necklace with a double-heart pendant. The statue is plain except for a band of inscription starting from the waist down to the feet. It is in better condition than the one next to it, except for damage to the nose, chin, and from the waist down to below his knees. The facial features of Kha-em-hat were accurately carved. The statue was restored by covering the broken parts with plaster. The inscription band is partially destroyed. The statue of his father looks almost the same but it is suffered much. The face is damaged, together with the left shoulder, half the chest, and the hands, but the rest of the statue is in relatively good condition. The band of inscriptions is intact. The two statues are connected to the wall and an additional round piece of stone was added above their heads to connect with the ceiling. Right and left of the statues were the offering lists, but these are 10

Attia and Amani, Worshiping the Ancestors, GM 259, Göttingen 2019, pp. 15–30, plates I–VI.A.

291

tomb of kha-em-hat poorly preserved and only some fragments remains; in all, these are repeated eight times in the tomb and they are identical. Seated woman depicted between the statues (see figure 21,21A ,58, 58A) This scene is c. 2.60 m high and 40 cm wide. Between the two statues is a bas-relief of a seated woman, most probably Kha-em-hat’s wife; she sits on a low chair with a high back and a cushion, facing left. Another similar representation of her is to be found between the feet of the two life-size statues located in the transverse hall on the south wall. Kha-em-hat statue band inscriptions

….Hry-StA m pr-nfr sS-nsw jmj-r Snwty nw ^ma-MHw #a‐(m)‐HAt Master of secrets in the funerary workshop, (11) the royal scribe, overseer of granaries of Upper and Lower Egypt Kha-em-hat.

11

W. Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut, 1982, Title 1015, p. 120.

292

Inner Room Im-hotep statue band inscriptions

Hsy n nTr nfr mH-jb mnx n nsw n m pr-nfr jmj-r pr.wy nbw sS-nsw mry.f Jj-m-Htp The praised one from the good god, trusted and willingness of heart of the king …..of the funerary workshop, overseer of the double house of gold,12 the royal scribe his beloved Im-hotep. Squeezes – (28) Niche with statues of Kha-em-hat and Im-hotep, Royal scribe, with wife of Khaem-hat in relief between them. Side walls, remains of litany and offering list (as at (10), in Berlin, Ägyptisches Museum, 24365-6.

12

W. Ward, Index of Egyptian administrative and religious titles of the Middle Kingdom, Beirut, 1982, Title 191, p. 28.

293

tomb of kha-em-hat

Figure 58. Inner room - west niche statues. Statues of Kha-em-hat and his father Im-Hotep. By A.Damarany.

294

Inner Room

Figure 58A. Inner room - west niche statues. Statues of Kha-em-hat and his father Im-Hotep. By A.Halim.

295

tomb of kha-em-hat XXVII.A Ritual of offering list

296

Inner Room (1)……………. (2) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r…….. (3) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k irt @r…..iab n.k ….jmj.s Mw (4) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt….. pD n .k pAq(13) (5) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jtj n.k r Hr .k HTA (6) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r pAwty .f Hr.s psn (7) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k jrt @r dpt n.f dpt.y (8) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k jrt @r sSw.y kw ASrt (9) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k jrt @r wAH.t wnwn.t .k jm .s jwa (10) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k jrt @r xn.t n.f xnf.w (11) Dd mdw hA Wsjr sS mnw M3Hw rtH.f t-rtH (12) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r Hr.w r.k nHr.w (1) ……………… (2) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus………… (3) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the water that is in it, it is offered to thee, (mw) water. (4) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which thou hast stretched out14 (pAq) flat thin cake. (5) Recitation, Ho Osiris, scribe of maces M3Hw, take to yourself the eye of Horus, which you have seized to your face, (HTA) bread. (6) Recitation, Ho Osiris, scribe of maces M3Hw, take to yourself the eye of Horus, prevent that he becomes weak on account of it,15 (psn) bread. (7) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which he has tasted it, (dpt.y) meat offering. (8) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which raises thee up, roast joint. (9) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, whereby thou moves it about, (iwa) piece of meat. (10) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which he has baked, (xnf.w) bread 16. (11) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, which you restrain, (t-rtH) bread. (12) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, and those who are above thee, (nHr.w) bread.

this sign was used instead of by Loret. R. David, Temple Ritual at Abydos, London, 2016, p. 204. 15 R. David, Temple Ritual at Abydos, London, 2016, p. 203. 16 PT. 159, 188. 13 14

297

tomb of kha-em-hat

298

Inner Room (13) Dd mdw hA Wsjr sS mnw M3Hw sSp .n.k tp .k, Sns (14) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jtj n.k st, t-jmj-tA (15) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r wp.w r,k jm.s jrp (16) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k mH.t jt .k wp.w r.k jm.s jrp mH.wy(17)(17) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k Hwn.t jmj jrt @r wp.w r.k jm .s jrp jm.ty (18) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r swn.s r.k jrp snw (19) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r HAm.t n.f wpw r.k jm.s (20) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r bs.t.n.f xx.f sy jrp abS (21) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r Hnq pr jm .k Hnq.t ds (22) Dd mdw hA Wsjr sS mnw n.k Hnq pr jm .k Hnq.t Spn.t (23) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r ab n.k mw jmj.s mw (24) Dd mdw hA Wsjr sS mnw M3Hw hA snD jb.w .sn xw hA snD (25) Dd mdw hA Wsjr sS mnw M3Hw HAt.y m jr.t @r pH.wy m gn.wt %Tx sn bjt (13) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, receive to thyself thy head, (Sns) bread18. (14) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which thou hast taken to thyself, (t-jmj-tA) bread19. (15) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, with which thy mouth is opened, (jrp) wine 20. (16) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, which thy father has taken of it, with which thou opened thy mouth, (jrp mH.wy) wine 21 .(17) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, which rejuvenates that which is in the eye of Horus, that thy mouth may be opened with it, (jrp jm.ty) wine of Buto. (18) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, that it may be opened thy mouth, (jrp snw) wine of Aswan22 (19) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, that hunts, that thy mouth may be opened with it, (irp HAm.w) wine 23. (20) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which he had spat out, (jrp abS) wine 24 (21) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the fluid which comes from thee, (Hnq.t ds), beer in a (ds) vessel25. (22) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the fluid which comes from thee, (Hnq.t Spn.t) beer in a (Spn.t) vessel.(23) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the water that is in it, it is offered to thee, (mw) water. (24) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, their hearts adore thee, (hA snD) beer. (25) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, the beginning is in the eyes of Horus, the end is in the testicles of Seth, (sn bjt) unidentified substance.

Loret wrote PT. 117. 19 PT. 118. 20 PT. 155. 21 PT. 153,185. 22 PT. 157. 23 PT. 156. 24 PT. 154. 25 PT. 95; 148. 17 18

instead of

.

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Inner Room (26) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k mw jmy.w jr.t dSr.t, dSr.t nt mw (27) Dd mdw hA Wsjr sS mnw n nw m abH mnw n.k jrt @r bd r.k, bd (28) Dd mdw hA Wsjr sS mnwM3Hw mnw n.k jrt @r pD n.f, pA.t (29) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k mw bsA m mnDy.w mwt.k Ast, mw mnsA(30) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k SSwy kw, ASr.t HA (31) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r bns n wr.w, wr n jwf (32) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r, Hwn.t n.k Hwn (33) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r xpS (34) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jAb sA.f m jwa wa, jwa (35) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jmj HAtt %tX, jwf .n HAt (26) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, the water that is in the red eye of Horus, (dSr.t nt mw) water in a (dSr.t) vessel. (27) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, that purify thy mouth, (bd) Natron26. (28) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which he has stretched out, (pA.t) cake27.(29) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, the bsA milk which is in the breasts of thy mother, Isis, (mw mnsA) water in a (mnsA) vessel28.(30) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, which raises thee up, (ASr.t HA) roast meat29 (31) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, namely the product of the (wr n jwf) meat.(32) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which thou hast rejuvenated, (Hwn) meat. (33) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, namely the foreleg, (xpS) foreleg30. (34) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, who desires his son as the sole heir, (jwa) meat of the thigh31. (35) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which is at the front of Seth, (jwf .n HAt) breast flesh.

PT. 109. PT. 46, 123. PT. 42, 131. 29 PT.124. 30 PT. 20 (the ritual of opening of the mouth), 126. 31 PT.127. 26 27 28

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Inner Room (36) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r imy pH.wy %tX, jwf n pH.wy (37) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r m sbj.n.f r.s, (mjst ) (38) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r Sny .n.fr.s…….(nnSm) (39) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r sxn.f, sxn (40) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k sby.w r.k nDr .n.k sn, spH.tn spr. (41) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r sw.t (42) Dd mdw hA Wsjr sS mnw M3Hw mnw nk n.k spHt.w n Dr n.k st sSp Tsw .sn m rdj.t mn, psDw n jwf (43) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jw.s r.f sn, rA (44) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k Dr.w jb pn, trp (45) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k tp.w jmy.w xt %tX srw, sr (36) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which is in the buttocks of Seth, (jwf n pH.wy) rump flesh. (37) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, and that which he has brought from it, (mjst) liver32 (38) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, it does not go from it, (nnSm) spleen33. (39) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, his fat, kidney fat34. (40) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself, those who repel against thee, when thou hast grasped them, (spH.tn spr) ribs of meat35 (41) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself (sw.t) of the eye of Horus, (sw.t) meat 36.(42) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself, the two buttocks, receive their bones, do not let them move, (psDw n jwf) rump flesh. (43) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, when their heat comes, (rA) goose. (44) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself37……?????, Goose. (45) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the heads which are in the following of Seth, namely the (sr geese), goose.38

PT. 132. PT. 133. 34 PT. 53. 35 PT. 130. 36 PT. 96. 37 According to R. Davies, the translation here makes no sense, cf. Temple Ritual at Abydos, London, 2016, p. 374. 38 PT.139. 32 33

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Inner Room (46) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r m stA.f r.s, mAst (47) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r mn.n.f st, mnw.t (48) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k mndy.w n @r drp .n. f nTr.w jm Dab (49) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r Sd.t .n.f, jSd. (50) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r jArr.t n .sn, (jArr.t) (39). (51) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r Hwj Tsw .f st, nbs (52) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r mAA .k jm .s, t nbs (40). (53) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r nbs sxt.f st, waH (54) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r HD.t.s Sd.f st, sSt HD.t(41) (55) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r wAD.t .s Sd .f st, sX.t wAD.t (46) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, namely that which he has shot, (mAst) goose. (47) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, it has been made firm for him, (mnw.t) pigeon42 (48) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the breasts of Horus, with which he had fed the gods, (DAb) figs43. (49) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which he has removed, (jSd) fruit44 (50) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the grapes which belongs to him, (jArr.t) grapes. (51) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which protects, when he raises it, (nbs) fruit 45. (52) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, that thou mayest see by it, (t nbs) bread. (53) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, the fruits which he has snared, (waH) fruit46. (54) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, its white fruit, that he may protect it, (sSt HD.t) fruit47. (55) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, its green fruit, that he may protect it, (sS.t wAD.t) fruit.48

missing in Loret. Loret used another sign with pointed end. 41 missing in Loret. 42 PT. 140. 43 PT.152; 193. 44 PT. 160. 45 PT. 166. 46 Loret wrote it wrong in p. 119, L. 52, he used the determinative of the moon. 47 PT. 161, 189; R.O. Faulkner The Ancient Egyptian Pyramid Texts, Warminster, 1969, he had wrote it sSt, while in the book of R. Davies was wrote sXt, c.f., David, R. 2016. Temple Ritual at Abydos, London, 2016, p.374. 48 PT. 162, 181,190. 39 40

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Inner Room (56) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r sHD.t Dba n %tX, t-HD(49)(57) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r bnr.t Hr jb .k, bj.t (58) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jbH.w n @r HD.w wAD.y, HD.w tA (59) Dd mdw hA…………………. Am sHr.n.k r.k, jrt.t (60) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r nn Sy.s r.k (50), Saw.t (61) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r bnrtj Hr………, bnr (62) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r m bAbA.s, bAbA.y (63) Dd mdw hA Wsjr sS mnw M3Hw m jtf. j ……., Snf.t (64) Dd mdw hA Wsjr sS mnw M3Hw mnw n.k jrt @r m s Hbn bn .s Hbn .n (56) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, which the finger of Seth illumines, (t-HD) bread. (57) Recitation Ho Osiris, scribe of maces M3Hw, take to thyself the sweet eye of Horus, upon thy heart, (bj.t) honey. (58) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself, the teeth, the healthy herbs, (HD.w tA) young onions .51(59) Recitation, Ho…………………, which you grasped and taken to thy mouth, (jrt.t) milk.(60) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, it shall not be separated from thee, (Saw.t) baker’s wares. (61) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the sweet eye of Horus,(upon thy heart),( bnr) dates.(62) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, in causing it to be, (bAbA.y) fruit52. (63) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself ……?????53, (Snf.t) bread. (64) Recitation, Ho Osiris, scribe of maces M3Hw, take to thyself the eye of Horus, I give you bowls of (Hbn) loaves, (Hbn) bread.54 XXVII.B The Finds The tomb was plundered and the contents destroyed by fire, and soot covered the walls. but Mond records several finds, e.g. a bronze spearhead, fragments of some inscribed stone shabtis, and a wooden shabti box of a lady, in the northern mummy pit in the front hall. In the front chamber, to the left, in the large mummy pit at the end of the tomb, he found some small, terracotta shabtis, and in the court the coffins of Pedamen and Chonsu aufanch. He does not give the findspots. According to Mond’s account, he found three rock stelae in the courtyard, one referring to Kha-em-hat, the other to a royal prince called Hui, and the third was illegible. What remain today are the two stelae of Kha-em-hat in the courtyard (on the right side of the main tomb entrance. Mond also mentions the court and steps cut through the seated statue that led to the tomb of Userhat, which was formerly accessible through a hole connecting it to the tomb of Kha-em-hat.55 The first reference in the literature comes from Lepsius, who, in the course of the Prussian expedition during his stay in Thebes in 1843, visited TT 56. He wrote that he broke into the tomb through a hole from TT 57, confirming Mond’s account.56 Mond excavated several tombs in the winter of 1904–1905, and during his campaign he re-examined Loret used this sign instead of . The list on the wall in the inner room, east wall the sign is written and not . 51 PT.45, 125. 52 PT.165,180. 53 Unknown meaning, cf. David, R., Temple Ritual at Abydos, London, 2016, p. 207, 374 (75). 54 PT.187. 55 R. Mond, The Private Tombs of Thebes, ASAE 6, 1905, p. 67. 56 C. Seeber and A. Ghaffar, Das Grab des Userhat (TT 56), AV 50, 1987, p. 10, plates 38–39. 49 50

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tomb of kha-em-hat twelve tombs already known at Sheikh abdel Qurnah, including the closely adjacent TT 57, 102, and 56. It seems that there were two connections between TT 56 and TT 57, one leading through the now almost completely destroyed northern, narrow wall of the first transverse area of TT 57. Possibly here was the hole already used by Lepsius, which is also mentioned in 1908 and 1910 by Weigall. The second connection originated from the northwest ceiling of the forecourt of TT 57. Both culminated in the rear wall of the longitudinal space of TT 56, directly behind, with its statue niche – in which the figure of Userhat, and parts of the niche frame and adjoining right wall are now lost. Whether this connection existed in remote antiquity, or was made only recently by grave robbers, is unknown.57 Loret mentions that there was an opening in the tomb in the second room, a breakthrough at the bottom of the wall. He also mentioned that the Arabs claimed that a large black cat used to come out from this opening to eat the chickens; they tried to smoke the cat out, as it scared the children who dared not enter the tomb alone.58 Loret said that he had found some remains of mummies and yellow, wooden coffins, perhaps dating to the 20th Dynasty (the ‘Rishi Coffins’). XXVII.C Statue of Kha-em-hat in Brooklyn Museum 37.48E. (U.S.A.) (see figure 59) Provenance

Saqqarah59?

Date

XVIII Dynasty ‐ Amenophis III

Material Tomb

Dimensions

Description

Black granite

Abdel Qurna ‐ TT 57

47×23.2× 27.5cm, h. of the Stela 0.33× 0.217m

Kneeling statue of Kha-em-hat, in an adoring position, holding a stela with both hands with sun hymn inscriptions. ‘Charles Edwin Wilbour fund.

Bibliography www.brooklynmuseum.org/opencollection/ objects/116785/Fragmentary_Kneeling_ Stelephorus_Statue_of_Khaemhat

57

C. Seeber and A. Ghaffar, Das Grab des Userhat (TT 56), AV 50, 1987, p. 17.

V. Loret, La tombe de Khâ‐em‐hâ, MMAF1, 1889, p. 114; cf. J. Malek and E. Miles, Early Squeezes Made in the Tomb of Khaemhat TT 57, JEA 75, 1989, p. 227. 58

Brookyln Museum website mentioned it was made in Saqqarah, while Zandee mentioned in his article JEOL 16, p. 57 that this statue belongs to Kha-em-hat of TT 57, so this statue must have been found in his tomb in Luxor but for some reasons reached Saqqarah where it was sold and shipped to the museum? 59

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Inner Room Description This is a kneeling statue, the head broken and the neck displaying a collar and four rows of round pearls. The figure is wearing a long, transparent tunic with short sleeves that shows the fine body underneath. The wrists and arms are richly adorned with bracelets. The pose is classical, the chest somehow feminine, straight without stiffness; the weight of the body rests on the knees, which are on the ground; he sits resting on his heels, the clenching toes taking the weight of the thighs. The white linen tunic extends on the floor. The elbow is bent and the forearm extended, fingers resting on the top of a pillar in front of him, his hands touching the top, but from the side; the palms incline towards the ground. The stele is represented very simply, identical to the other monuments.60 Text In the center:

(61)

I ra nb xpry Ra Hr- Axty Itm imy Msktt O, everday Khepry, Re-Horakhty, Atum who is in the night bark (Msktt) Re‐Horakhty, Atum in his night bark (Msktt), Khepry, arises day after day.

60

61

C. Lalouette, Fideles du Soleil, Paris 1963, p. 5. C. Lalouette, Fideles du Soleil, Paris 1963, p. 6.

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(62)

(1) dwA Ra xft ‐ wbn .f jn sS ‐ njswt jmj‐r ‐ Snwtj #a- m-HAt (2) Dd .f jnD ‐ Hr .k Ra m ‐ wbn. k Jmn sxm ‐nTrw (3) Prjw m ‐ mwt.f m‐ Xrt ‐ hrww Hwnw ‐ pw n‐tp‐dwAt DA.k (4) bjA m- Awt - jb xftj .k - xrw m - nmt .f jj .n (5) .i- xr.k #prj @rw Jtmw @rw Axtj dwA(63) (6) i- tw m- dwAt sHtp.j - tw m - mSrw jrj.j n.k (7) jAw ra‐nb dj.k‐prj - bA n sS njswt jmj-r - Snwty nw ^ma- MHw (8) #a-m-HAt Hna.k r - pt sSm .tw.f m – Msktt (9) Mnj.tw .f m‐ manDt Abx.f [m] jxmw - [wrD] (10) imjw‐pt jj.n.(j) jn .n.j‐n.k mAat anx .k jm.s (11) ………………… k msxnt xntS ‐ ib.k ra‐ nb (1) Adoration of Re, when he rise, by the royal scribe, overseer of granaries, Kha-emhat.(2) He says: hail Re when you rise, Atum, creator of gods.(3) From your mother you arise everyday, it is the beginning (youth) of dawn.(4) you cross the sky water with kind heart, your enemy falls when they see the execution (slaughter)place.(5) I have come to you Khepr, Horus, Atum, Re-Herakhty.(6) I adore you in the morning and in the evening to please you.(7) I praise you everyday, may you give (allow) the soul of the royal scribe, overseer of granaries of Upper and Lower Egypt (Kha-em-hat) to ascend. (8) To heaven with you, may he repel from the shore in the night bark Meskett.(9) He may be joined the untired stars. (10) in the sky, I have come to bring you the truth that you live by it (11) .…..That your heart rejoices every day.64 Inscriptions on the back Pillar:

The sign is not clear as Lalouette had written the text by hand and it is not clear also on the Stela, It might be the abode of gods ‘ msxnt’. 63 It is not a figurative scene that is sculpted in the center, but instead he inscribed three names of the sun in three different times or stages, the arrangements of signs are naturally ordered, the scarab Khepri is like Atum, an individual god, primeval creator, was absorbed by the sun god and mixed with in theologies. 64 C. Lalouette, Fideles du Soleil, Paris, 1963, p. 47. 62

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Inner Room

(1) Dd mdw jn sS njswt n ‐nb tAwj m ^ma-MHw #a ‐ m‐ HAt Dd .f ‐ jnD ‐ Hr.k Jmn ‐Ra Htp .tj m ‐ Axt ‐ jmntt Jmi ‐ (2) .k &A- Tnn(65) Hr‐ dwA .k mwt .k Ast m sA ‐ Haw .k NArr.f m HAb dd.sn- spr.k - r.s m Htp rc nb (1) Words spoken by the royal scribe Kha-em-hat, overseer of granaries of Upper and Lower Egypt, who says: Hail to Amen ‐Re, who lie in the horizon of the west, the necropolis cries in joy, the sky. (2) And the earth (Tatenen) adores you, your mother Isis protects your body, Nareref is celebrating, they say: May you reach this place in peace every day.66 The text on the pedestal was not published by Lalouette, mentioning in her book that the inscriptions were not clear, mutilated, and with very many of the signs erased. This text is considered of great importance, as Kha-em-hat’s tomb is the only one with solar hymns inscribed on a stele, and also on the dorsal pillar; such hymns on back pillars was unknown before. Statue location These statues were placed in a niche inside a chapel,67 or were surmounted by a mudbrick pyramid, and might be placed outside the tomb itself, in a chapel before the entrance, or in the remains of a temple of Amenophis III.

Tatenen, a Memphite god, personifies earth, emerged for the chaos, identified with Ptah, was mentioned here by Kha-em-hat to represent three essentials necropolis, sky, and earth. 66 C. Lalouette, Fideles du Soleil, Paris, 1963, p. 47. 67 N. Davies, The Tomb of Nakht, New York 1933, p. 36. 65

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Figure 59. Statue of Kha-em-hat in Brooklyn Museum 37.48E.U.S.A. C. Lalouette, Fideles du soleil, Plate I.

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Inner Room Conclusion For this study into TT 57 at Qurna, at western Luxor, and dating to the reign of Amenhotep III (18th Dynasty - New Kingdom), the researcher obtained the approval of the Permanent Committee of Antiquities to study and publish the tomb. The approval was granted in March 2015, and a team was hired to photograph and transfer scenes and texts, conduct a survey, and make facsimile drawings. The work involved multiple visits to the tomb in Luxor and a review of the previous studies and accounts of the first explorers and the current literature. The drawings and copies extracted from the tomb were also researched. The tomb has suffered from several destructive factors over the centuries, including multiple thefts, stripping of some scenes and texts from the tomb, and fire. These depredations still present difficulties and obstacles and for the researcher of the tomb today. The author has employed various methods of scientific analysis, such as the descriptive research method, the historical and inductive and deductive approach, and elaborated descriptions of details of all the elements with historical tracking, including establishing the origins of scenes and decorative elements and clothes and some pieces of jewellery, decorations and the status of individuals, religious rituals, as well as endeavours to complete texts and papyri where possible; comparisons with other tombs have also been made. The survey of the tomb determined the exact location of scenes on the walls and an accurate description of the state of preservation, and references to maintenance work or the completion of elements with modern forms were undertaken and an architectural plan for the tomb was attached to the study. The tomb contained almost one hundred scenes and texts, and these were compared with other tombs in which parallel scenes to those of the tomb of Kha-em-hat occurred and these were recorded in tables with detailed information about the tomb owners, dating, and the position of every scene in the tombs. Tombs of the 18th Dynasty are almost all of the same type, both in terms of decoration and architecture. These similar scenes indicate that the majority of people during this period shared the same beliefs, sometimes simply repeating them from their ancestors or developing new ones. The artists of the 18th Dynasty produced exquisite results in their paintings and sculptures: TT 57 is a wonderful example of this, emphasising that art reached its peak during this period. An increase in full bodily forms is now observed in male depictions. The modelled or fuller male abdomen becomes more frequent over time with Tuthmosis IV, becoming a noticeable trend. However, the starred belly remains standard and was found in over half of all the paintings. In terms of details, perfume cones have not yet been found in Middle Kingdom images, and thus were probably an invention of the 18th Dynasty. They were initially flat and about the size of a fist. From the time of Tuthmosis IV onwards, the larger form gained popularity. The increase of full bodily forms can also be observed in male depictions. The modeled or fuller male abdomen becomes more frequent over time with Tuthmosis IV, even in a noticeable trend. However, the starred belly remains standard with over half of all pictures.

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tomb of kha-em-hat The sunken court evolved during the reign of Amenophis III; the appearance of the ‘opening of the mouth’ stelae in the court of the tombs began in the 18th Dynasty. The present research identified that the ritual of the ‘opening of the mouth’ was undertaken in a unique place, the tomb facade, unlike New Kingdom tombs except – for TT 57 and TT 100 (Rakh-mi-re) which shared the same characteristic. Tomb scenes were selected according to the profession of the deceased, and the position of every scene on the wall was not chosen randomly, but according to a particular order on the wall. As for statuary, TT 57 is the first tomb to have statues carved from the rock. From the beginning of the 18th Dynasty there was an increase preference for cult of statues, as can be found in many different tombs in the Theban necropolis; the number of statues sometimes increased to three or four in one niche. Rock- cut, life-size statues started to appear during the reign of Amenophis III. The tradition of having two names seems to have also begun in the 18th Dynasty, as attested TT 29, 31, 40, 41, 48, 57, 83, 85, 94, 134, 140, 178, 192, 222, 224, 297, 368, 398, 409, and TT D.3. The growing popularity of sun-hymns throughout the 18th Dynasty is evident and as these were inscribed on door frames and statues with stelae, e.g. the statue of Kha-em-hat. The text inscribed on the statue of Kha-em-hat in the Brooklyn Museum (no. 37.48E) is considered important, being the only one with inscribed solar-hymns on a stela and also on the dorsal pillar, hitherto hymns were not found on these back pillars. It is also noteworthy that Khaem-hat is always represented as a more significant figure than those who are engaged with him in the scenes. Many other developments appeared during the reign of Amenophis III, i.e. inscribing harvest and jubilee festival dates, and new wig designs. Scene analysis 1. The deceased preforming rituals (scene 7) This scene is attested in 59 tombs, 55 from the 18th Dynasty, three from the 19th Dynasty, and one from the time of Psemmatikhos I. 42 are located at Qurna, nine at Drac Abû el-Naga, six at Khôkha and one at Deir el-Medina. 2. Counterpart scenes – the so-called ‘mirror scenes’ (scenes 7, 12) Scenes showing the deceased burning offerings were noted in 16 tombs. 3. Butchers in scenes of offerings on braziers (scene 7) This scene is found in 25 tombs, all from the 18th Dynasty, 15 tombs at Qurna, four at Khôkha, and four at Drac Abû el-Naga. 4. Child king suckled or nursed by goddess (scene 8) This scene appears in two tombs from the 18th Dynasty, one at Khôkha, one at Qurna.

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Inner Room 5. Representation of quails (scene 8) This scene is represented in five tombs, all from the 18th Dynasty. Four are in the same location at Qurna, and one at Asâsif. 6. Freight ships (scene 9) This scene is attested in 12 tombs, 11 from the 18th Dynasty and one from the 19th Dynasty. Four are located at Qurna, three at Drac Abû el-Naga, two at Asâsif, one at Khôkha, and one at Qurnet Murcai. The freight ship scene and the market scene are found mainly in the 18th Dynasty, indicating that a slight influence extended into the subsequent Dynasty. 7. Market scene (scene 9) This scene appears in seven tombs, six from the 18th Dynasty and one from the 19th Dynasty. Three tombs are at Drac Abû el-Naga, two at Qurna, one at Asâsif, and one at Deir el-Medina. 8. ‘The Litany of Re’ (scenes 10–28) This scene was found in 11 tombs, almost all from the 19th Dynasty onwards. Three are located at Qurna, four at Asâsif, and two at Deir el-Medina. 9. Victim scenes (scene 10) A scene attested in 13 tombs, 10 from the 18th Dynasty, one from the Ramesside period, and two from Late period. Eight are located at Qurna, two at Qurnet Muraci, two at Asâsif, and one at Khôkha. 10. Butchers in other scenes (scene 10) This scene is recorded in 21 tombs, 13 from the 18th Dynasty and the others from the Middle Kingdom period and the 19th Dynasty. 11 tombs were located at Qurna, three tombs at Asâsif, two at Khôkha, and the others from adjacent sites. 11. Bringing animals to the deceased (scene 11) This scene was found in 41 tombs, 35 from the 18th Dynasty and the others from other periods. 27 are located at Qurna, five at Khôkha, five at Drac Abû el-Naga, and the others at adjacent sites. 12. ‘Name-ring captives’ (scene 11) This scene is known from 13 tombs, 11 from the 18th Dynasty and two from the Ramesside period. Seven are located at Qurna, two at Khôkha, two at Deir el-Medina, and one at Drac Abû el-Naga.

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tomb of kha-em-hat 13. ‘The Nine Bows’ (scenes 11–15) A scene recorded in nine tombs, all from the 18th Dynasty, six at Qurna, two at Khôkha, and one at Asâsif. 14. Harvesting, winnowing, ploughing (scene 8) This is understandably one of the most popular scenes in Theban tombs, found in 66 of them. 45 date to the 18th Dynasty, 13 to the Ramesside period, and the others to different periods. 31 are located at Qurna, 15 at Drac Abû el-Naga, nine at Khôkha, three at Deir el-Medina, and the others at different locations. 15. Felling trees (scene 13) This scene is recorded in nine tombs, six from the 18th Dynasty and three to the Ramesside period. Six tombs are located at Qurna and the three others are at adjacent sites. 16. Measuring crops with a cord (scenes 8–13) A scene attested in ten tombs, all of the 18th Dynasty. Six of them are located at Qurna, two at Khôkha, and two at adjacent sites. Surveying and the calculation of taxes were known since the 2nd Dynasty, but they were not represented on tomb walls until the 18th. 17. Herdsman with pipe (scene 13) This scene appears in only three tombs, one from the 18th Dynasty and two from the Ramesside period. Two tombs are located at Deir el-Medina and one at Qurna. 18. Chariots in daily use (scene 13) The scene is attested in 13 tombs, nine from the 18th Dynasty, three from the Ramesside period, and one from the Late period. Eight tombs are located at Qurna, two at Drac Abû elNaga, two at Khôkha, and one at Asâsif. 19. Chariots pulled by mules (scene 13) A rare scene found only in one tomb from the early 18th Dynasty at Asâsif. 20. Slaying foes (scenes 11–15) This scene is found in only four tombs, all from the 18th Dynasty (three at Qurna and one at Khôkha). 21. Rewards or appointments (scene 15) This scene was attested in 11 tombs, seven tombs from the 18th Dynasty and four from the Ramesside period. Six are located at Qurna, two at Khôkha, three at different adjacent sites. There was a great change during the reign of Tuthmosis III related to the appearance of kings in tombs: they started to appear on the occasion of the reward or promotion of an official, as 316

Inner Room well as certain other occasions. Representing the reigning king on his throne in private tombs became de rigueur. 22. ‘Address to visitors or to the living good wishes’ (scene 16) This text appears in nine tombs, six from the 18th Dynasty and three to later periods. Four tombs are located at Qurna and the others at adjacent sites. 23. Funeral scenes and rites (scenes 18, 19) This is one of the most popular scenes found so far, attested in 80 tombs, 49 from the 18th Dynasty and 27 from the Ramesside period. 39 tombs are located at Qurna, 15 at Drac Abû elNaga, nine at Deir el-Medina, nine at Khôkha, and three at Asâsif. Funeral procession (includes dragging coffin, bringing a funeral outfit, mourners, mummers, Rites before mummy at the tomb, and reception by the western goddess. Therefore, the funeral procession was represented almost in every tomb. 24. Booth with offerings and servants (scenes 18, 19) This scene is known from 17 tombs, six from the 18th Dynasty and 11 eleven from the Ramesside period, indicating that the scene was more represented in Ramesside tombs than during the 18th Dynasty, in contrast to those mentioned previously. 25. In the funeral procession (scenes 18, 19, 21, 22) This scene is recorded in 27 tombs, 12 from the 18th Dynasty, 11 from the Ramesside period, and the rest from other eras. 13 tombs were located at Qurna, four at Drac Abû el-Naga, four at Qurnet Muracì, three at Khôkha, and two at Asâsif. 26. ‘The Nine Friends’ (scenes 18, 19) A scene attested in 20 tombs of the 18th Dynasty, eight at Qurna, six at Drac Abû el-Naga, five at Khôkha, and one at Asâsif. 27. Purification of the deceased (scene 20) This scene appears in five tombs, all at Qurna, dating to the 18th Dynasty. 28. Purification scene (scenes 21, 22) A common scene attested in 23 tombs, 15 from the 18th Dynasty and eight from the Ramesside period. Ten are located at Qurna, two at Qurnet Muraci, three at Khôkha, one at Drac Abû elNaga, one at Asâsif, and the others at diverse locations. 29. ‘The Fields of Iaru’ (scenes 21, 22) This scene appears in 17 tombs, three from the 18th Dynasty, 13 from the Ramesside period, and one from the Saite period. From this we see that the scene decreased in popularity from 317

tomb of kha-em-hat the 18th Dynasty and was prevalent during Ramesside times. Six tombs are located at Qurna, two at Drac Abû el-Naga, one at Asâsif, one at Deir el-Bahari, one at Qurnet Muraci, and five Deir el Medina. The ‘Fields of Iaru’ concept was known from the earliest times. Ancient Egyptians believed in the existence of the afterlife, when the deceased passes the judgment of the dead successfully. The belief is visualised in Chapter CX of The Book of the Dead as the ‘fields of reeds’ or the ‘fields of Iaru’, i.e. heaven. These were represented as gardens or fields where all the agricultural activities took place (ploughing, sowing, reaping, as well as the use of canals), as well as other everyday functions, such as eating and drinking. In the vignette, the place is pictured as the ‘great domain’, a tree-filled surrounded by water. The height and volumes of wheat had a particular preference too, hence the aim of having an ideal crop. Such related scenes were found on various walls within the tomb. 30. ‘The Abydos Pilgrimage’ (scenes 21, 22) This popular scene is found in 59 tombs: 34 from the 18th Dynasty, 18 from the Ramesside period, and five from the Late period. 27 tombs have been located at Qurna, 13 at Deir elMedina, five at Khôkha, two at Asâsif, one at Qurnet Muraci, and eight at Drac Abû el-Naga 31. Rites before an empty chair (scenes 21, 22) This is a rare scene, found only in two tombs – one from the 18th Dynasty (Qurna) and one from the Ramesside (Deir el-Medina). 32. Chariots in funeral scenes (scenes 21, 22) The chariot is attested in ten tombs, seven from the 18th Dynasty, one from Ramesside period, and two to the Late period. Six are located at Qurna, two at Asâsif, one at Khôkha, and one at Drac Abû el-Naga. 33. ‘Leaving the tomb to see Amun go forth’ (scene 23) This text was seen in 16 tombs, 14 at Qurna from the 18th Dynasty, one from the 11th Dynasty, and one from the Late period (one of these from Asâsif). 34. The Book of the Dead - text with vignette (scenes 21, 22) The text appears in 15 tombs, seven from the 18th Dynasty (at Qurna), and eight from the Ramesside period, four tombs at Deir el-Medina. The Book of the Dead was of great importance for ancient Egyptians and it was not placed randomly in their tombs, as many of the funerary provisions of the deceased were. From the beginning of the 18th Dynasty vignettes were added to the spell, and several colours employed. 35. Funeral procession scene (scenes 17–19, 21, 22) This scene was noted in 20 tombs, nine from the 18th Dynasty (at Qurna), and 10 from the Ramesside period, six at Drac Abû el-Naga, two at Deir el-Medina, one at Asâsif, and one at Khôkha. 318

Inner Room 36. Oryx (scene 24) This scene was attested in only four tombs dating to the 18th Dynasty, three at Qurna and one at Qurnet Muraci. From the previous survey of scene analysis, it becomes clear that the 18th Dynasty had several distinguishing features. Some scenes were only used during this period and were completely abandoned after it, i.e.: Distingushied scenes used in the Eightennth Dynasty only

Number of scenes in TT57

1. Butcher’s scene

scene no.7

2. Quail scene

scene no.8

3. Nine bows scene

scene no. 11-15

4. Measuring crop with cord scene

scene no. 8-13

5. Chariots towed mule scene

scene no. 13

6. Slaying foes

scene no. 11-15

7. Nine friends

scene no. 18-19

8. Purification of the deceased

scene no. 20

9. Oryx

scene no. 24

Frequently used scenes during the Number of scenes in TT Eighteenth Dynasty onwards 57 1. Bringing animals to the deceased, was attested in 41 tombs

scene no. 11

3. Funeral scenes and rites, was attested in 80 tombs

scene no. 18-19

5. Abydos pilgrimage was attested in 59 tombs

scene no. 21-22

2. Harvesting - winnowing - plowing was attested in 66 tombs.

scene no. 8

4. In funeral procession was attested 27 tombs

scene no.18-19-21-22

319

tomb of kha-em-hat Scenes that were used during Eighteenth Dynasty and were slightly used during Nineteenth Dynasty.

Number of scenes in TT 57

1. Market scene

scene no.9

2. Freight ships

scene no.9

3. Victims

scene no.10

4. Butchers

scene no.10

5. Herdsman with pipe

scene no.13

6. Name ring captives

scene no.11

7. Chariots in daily use

scene no. 13

8. Rewards or appoints

scene no.15

9. Address to the visitors

scene no.16

10. Purification scene

scene no.21-22

11. Chariots in funeral scenes

scene no.21-22

12. Leaving the tomb to see Amun going forth

scene no.23

13. Book of the dead - text with vignette

scene no. 21-22

14. Funeral procession

scene no. 17-18-19-21-22

The titles of Kha-em-hat attested a strong relationship of the deceased with Anubis. Ten titles were attested in the tomb for the deceased with Anubis as follows: Title

Transliteration

1. Prophet of Anubis

Location in the tomb Facade - north wall - lefthand side.

ink Hm-nTr Inpw 2. The double houses works of ... Inpw who is in wt (embalming workshop) ...... bearer of funerary house the royal scribe

Outer court- door jamb right-hand side

ti pr tAwy kAt n ...(Jn)pw imy wt ...n Hry sStA pr-nfr sS njswt

320

Inner Room Title

Transliteration

3. Chief of chapel of Anubis

Location in the tomb Hall - east wall - north side

Hr-tp n k3r Inpw 4. Bearer of secrets of funerery house

Hall - west wall - door entrance - right-hand side Hry-sStA m pr-nfr

5. Bearer of secrets of boxes of Anubis

Passage - door thickness north side Hry sStA m hn Inpw

6. Knowledgeable like Ra and bearer of secrets in the funerary work shop 7. Great seers, to two chests of Anubis (mentioned twice) 8. Who is in the wt (embalming workshop) of the Netherworld of ......

Passage - door thickness north side sjA Ra-Hry sStA m pr-nfr Hall - ceiling - middle line passage - east wall south side Wr-mAw n hnj-Inpw Hall - ceiling - middle line imy wt dw3t nt

9. Bearer of secrets of the box of Anubis, superior of the secret room

Passage - south wall -cryptography (no longer exists)

Hry-sStA.w m hn Inpw Hrj-tp m at Sps.t 10. Overseer of the administration of the administrative districts of the pharaoh

Transverse hall - east wall south side

imy-rw gs pr nA n prwyt-aA

The relationship between Anubis and his role in the Heb-Sed festival is well attested. It was described in detail in the vignettes of the funerary complex of Ne-user-re. The name of Sed is understood by the sign of a standing jackal on a standard, which was also associated with Upwawet. Helck thinks that the Sed festival was a royal hunting ritual, where the king selects the standard of a jackal as a deity of hunters. 321

tomb of kha-em-hat The scenes and titles in the tomb emphasise that Kha-em-hat was not only a high-ranking official but also a clergyman; this is evident from the devotion offered to Anubis, and the several titles relating to the jackal may be to guarantee a proper burial and good protection for his tomb. Turning the south wall in the transverse hall into the cult of the dead by placing there two life-size statues instead of an autobiographical stela, indicates the strong religious beliefs of Kha-em-hat. The majority of Theban tombs in the 18th Dynasty present many of the popular scenes, i.e. ‘The pilgrimage to Abydos’, ‘Osiris with the Western Goddess, funeral processions, scenes of daily life, and scenes related to the profession of the deceased. Combining the secular and religious scenes was the desire of every tomb owner.

322

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Archaeopress Egyptology 35

Tomb of Kha-em-hat of the Eighteenth Dynasty in Western Thebes (TT 57) offers a detailed study of the tomb that dates to the reign of King Amenhotep III. It is considered one of the most important Egyptian tombs as it contained not only rare scenes but also revealed development of the religious rituals of the time. The tomb is still in very good condition and is open to visitors. Amani Hussein graduated from the Faculty of Archaeology, Cairo University (1990) and received her PhD in 2019 from Helwan University, Cairo. She is a department member at the Eberhard Karl University of Tübingen.

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