On the Architectural Development of Monumental Tombs South of the Unas Causeway at Saqqara from the Reigns of Akhenaten to Ramses II (original) (raw)
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PAPERS ON ARCHAEOLOGY OF THE LEIDEN MUSEUM OF ANTIQUITIES , 2022
Acting with images and images that act Egyptian non-royal tombs were created, used, and visited by diverse audiences on different occasions, during the construction and the burial, for reasons of funerary cult, and at events in the necropolis such as religious festivals and processions. 1 The patron, the artists, architects, and craftsmen, members of the tomb owner's family, his peers and subordinates, priests, relatives, or even passers-by and participants in feasts were able to enter the tomb chapels and see the decoration. As such, the iconographic programme of the tombs reflects the values and concerns of members of the elite, and we can assume that there was a desire to individualise the images. After all, tombs were meant to establish a funerary cult related to the identity of their elite owners, 2 who most probably wished to be distinguished from their peers by the uniqueness of their monument. 3 It seems obvious that for the owners, the construction and decoration of a tomb was an important event during their lifetime, since the cult chapels in particular were prestigious locations where knowledge about social rank was imparted and commemorated. It was also most probably in the interest of the tomb owner to attract visitors and family members to the tomb with the decoration of the chapel, and thereby ensure an ongoing offering cult. It was only through continued visits by the living that the monument's cult could be maintained, and so in this context the inventiveness of artists responsible for decorating the chapel was of importance. 4 Tomb owners likely wished to "make good dwelling in the graveyard, make worthy the station in the West", as expressed in an Egyptian literary text known today as the Instruction of Hordjedef, 5 among others. Thus there was the desire to build a monument, which satisfied all the cultic needs for the afterlife, served as self-representation of the tomb owner, and performed memorial functions for the deceased. The iconographic programme of the tomb 1
Windows are a very rare element in Theban tombs, present only in the Eighteenth Dynasty, mainly in its early part. The University of Pisa excavations at Dra Abu el-Naga recently added three new examples of tombs with this feature: MIDAN.05, whose investigation has been completed in 2014, and two new tombs, T1 and T2, opening onto its forecourt, not yet excavated. The first phase of MIDAN.05, a T-shaped tomb with one single window, probably dates to the true beginning of the Eighteenth Dynasty, when rishi-coffins were still in use. This paper suggests that the evolution of new models of funerary architecture in the New Kingdom must be slightly backdated to the very beginning of the Eighteenth Dynasty, before Hatshepsut. At the same time the importance of openings –both intercolumnia and windows– in saff-tombs as well in the early Eighteenth Dynasty Theban funerary architecture stresses the vitality of a tradition well rooted in the Middle Kingdom, possibly related to the solar cult.
Thesis in The DATE of TOMB TT 254 Verification through ANALYSIS OF ITS SCENES
Bulletin of the Center Papyrological Studies, 2017
This paper extrapolates and reaches an approximate date of the TOMB of TT 254, the tomb of Mosi (Amenmose) (TT254), has not been known to Egyptologists until year 1914, when it was taken up from modern occupants by the Antiquities Service, The tomb owner is Mosi , the Scribe of the treasury and custodian of the estate of queen Tiye in the domain of Amun This tomb forms with two other tombs (TT294-TT253) a common courtyard within Al-Khokha necropolis. Because the Titles/Posts of the owner of this tomb indicated he was in charge of the estate of Queen Tiye, no wonder a cartouche of this Queen were written among wall paintings. Evidently, this tomb's stylistic features of wall decorations are clearly influenced by the style of Amarna; such as the male figures with prominent stomachs, and elongated heads, these features refer that tomb TT254 has been finished just after the reign of Amenhotep IV (Akhenatun). Table stands between the deceased and Osiris which is divided into two parts: the first part (as a tray) is loading with offerings, then the other is a bearer which consisted of two stands shaped as pointed pyramids… based on the connotations: 1-Offerings tables. 2-Offerings Bearers. 3-Anubis. 4-Mourners. 5-Reclamation of land for cultivation. 6-Banquet in some noble men tombs at Thebes through New Kingdom era. Applying some inductive analogies, conclude that This Theban tomb belongs to the era of King Ay.
The representations of statuary in private tombs of the Old Kingdom
1984
§ 1-§ 42 Attitudes documented in the representations of statues, § 1-§ 28 the striding male statue, § 1-§ 7 the seated male statue, § 8-§ 16 the scribe statue not shown, § 17 group statues, § 18-§ 20 statues depicting women, § 21-§ 28 Costume and coiffure, § 29-§ 42 kilt types, § 29 coiffure, § 30-§ 32 unusual combinations of kilt and coiffure, § 33-§ 35 dissimilation in depictions of statue pairs, § 36 the lector's sash, § 37 sandals, § 38 statues depicting nude men, § 39 costume and coiffure of female statues, § 40-§ 41 the fillet and jewelry, § 42 Chapter 3: THE CONTEXTS OF THE STATUE REPRESENTATIONS, § 43-§ 91 Workshop scenes, § 43-§ 65 statue types shown, § 45 scale of the statues, § 46 the statue base, § 47 the person depicted in the statue, § 48 the "finished" state of the statue, § 49 craftsmen, § 50-§ 51 the material of the statue, § 52-§ 65 proximity as a criterion for determining material, § tools as indicators of material, § 54-§ 58 preserved painting, § 59-§ 63 inscriptional evidence, § 64 55 the representation itself, § 65 57 Scenes of statue transport, § 66-§ 81 60 the orientation of the scenes, § 67 61 water and overland transport, § 68 61 statue types, § 69-§ 70 62 scale of the statues, § 71 63 associated inscriptions, § 72-§ 79 64 subsidiary activities associated with statue transport, § 80 68 transport of a statue shrine, § 81 69 Representations of statues in a ritual context, § 82-§ 89 70 the statue in lieu of the mummy in scenes of the funeral, § 83-§ 84 depiction of the Old Kingdom statue ritual, § 85-§ 89 72 Representations of statues on the walls of the serdab, § 90 75 The evidence of the representations for the statue's function, § 91 Chapter 4: OLD KINGDOM WORDS FOR STATUE AND THEIR DETERMINATIVES, § 92-§ 104 twt, § 93-§ 100 etymology, § 93 orthography of the singular, § 94-§ 95 orthography of the plural, § 96 79 determinatives, § 97-§ 100 rpwt, § 101-§ 102 szp, § 103 Inscriptions referring to statuary without employing twt, rpwt or szp, § 104 Chapter 5: DEPICTIONS OF ROYAL STATUARY TO THE END OF THE OLD KINGDOM, § 105-§ 115 89 Depictions of royal statues from the Archaic Period, § 105-§ 107 89 A representation of a statue of Djoser from Heliopolis ?-§ 108 94 References to royal statuary on the Palermo Stone, § 109 95 The "detailed determinative," § 110 A statue of Sahure depicted, § 111 102 Statues mentioned in the Abusir Papyri, § 112 A representation of a statue of Pepy II?-§ 113 104 Determinatives for twt in the royal decrees, § 114 105 vi CATALOGUE Representations of statues in workshop scenes, Cat. Nos. 1-57 Representations of statues in scenes of statue transport, Cat. Nos. 58-130 Representations of statues in a ritual context. Cat. Nos. 131-143 Representations of statues on the walls of the serdab, Cat. Nos. 144-148 Representations of statues in other contexts, Cat. Nos. 149-157 APPENDIX: STATUE REPRESENTATIONS OF THE MIDDLE KINGDOM,