DEIR EL-MEDINA NO.I SENNEDJEM
SON OF TJARO AND TAYA
Early 19th Dynasty, reign of Ramses II, 1290 - 1224 BC
| Location,
topography, history |
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..." No tomb has been reproduced in
books on Egyptian art as often as that of Sennedjem,
not only because of the freshness of its paintings
but also because of their exquisite quality."
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The tomb was discovered on 31 January 1886, and was excavated
in 1917 - 1924 and again in 1928 - 1930. The tomb, which bears
the number 1 in the Theban necropolis as a whole, overlooks
on the west, the southern part of the village of Deir el-Medina,
which is overshadowed by the Theban peak.
A courtyard (12.35 x 9.40 m), once closed on the east by a
pylon, opened on the west on to three chapels, those of Khonsu,
Sennedjem and Tjaro (all members of the same family), each
topped by a pyramidion. inside the courtyard a well previously
led to Sennedjem's vault, while the chapels of Khonsou and
Tjaro had no undergrounds chambers.
Sennedjem's tiny underground chamber consequently contained
the bodies not only of its owner and his wife but also of
relatives and collaterals - twenty in all, nine enclosed in
coffins, eleven simply wrapped in bandages. The nine coffins
housed the bodies of Sennedjem and his wife lyneferti, his
son Khonsu and his wife Tamaket, and his other children :
Parahotep, Taashen, Ramose and Isis, and also a young girl
called Hathor. In 1886, the furniture contained in the tomb
was taken to the Bulaq museum, whereas other items from the
chapel were dispersed in European and American museums.
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| View 38: DEM |
The coffins and funerary furniture found in the vault are
exquisite pieces, and recall the high quality of the tomb
paintings, starting with the coffins of Khonsu (JE27302) and
Isis, who holds a convolvulus in her hand (JE27309).
Tomb N° l was directly facing the house which Sennedjem (who
held the title "Servant in the Place of Truth (=Deir el-Medina)"
occupied in the new quarter which formed an extension to the
south-west of the village of the tomb workmen, as they were
called.
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| View 37 |
The chapel
Very little remains of Sennedjem's chapel except the doorjambs
at the entrance, on which were carved formulae dedicated to
Sennedjem, his wife and his sons
Khabekhnet and Khonsu.
The shaft and burial chamber proper
A rectangular brick-lined shaft, with steps cut into its sides,
descended towards the tomb, which consisted of an entrance
hall (A) leading to an antechamber (B), which gave access
through another shaft to the burial chamber (C). From the
antechamber (B) a storeroom (D) was reached through a sloping
passage.
Access to the entrance hall (A) was concealed by a wooden
door (now destroyed) at the bottom of the shaft to the west
: the door was inserted in a sandstone door-frame, the jambs
and lintel of which are now in the University of California's
Anthropological Museum.
Like all the tombs at Deir el-Medina, Sennedjem's tomb consists
of a vaulted funerary chamber hewn out of the rocky marl.
Its walls are lined with a mud-brick lining, on which the
ribs of the vault rest.
After the walls had been smoothed with a mixture of mud and
chopped straw, to which was added a pale yellow powder found
in the desert after heavy rain, they had to be whitewashed
before they could be painted.
The walls of the tomb were decorated like those of a sarcophagus
: they were sub-divided into several registers of scenes,
while the vault was divided into eight panels.
Due to the restricted space available for decoration, the
artist chose a selection of scenes regarded at Deir el-Medina
as the most effective and typical at all the key moments of
the afterlife.
This funerary summary was complemented not only by the objects
discovered inside the burial chamber, but also by the decoration
on the coffins and the many items found in the chapel, including
a papyrus with Sinuhe's Tale (P. Vernus).
| The
door and the entrance corridor |
The tomb was closed by a wooden door, now in Cairo Museum
(JE27303).
On the outside the deceased is joined by his relatives as
he stands in front of Osiris, Maat and Horus, flanked by Isis,
the venerable Lady of Heaven. The inside is decorated with
the well-known scene in which Sennedjem, sitting next to provisions
piled high on a table, complemented by ewers and lettuces,
and with his wife curled up next to him, plays a game of senet.
The entrance corridor is decorated on both sides (east and
west), and also on its ceiling, to conform with the order
of the various stages of the solar journey.
The east wall depicts Re shown
here as the Great Cat of Heliopolis killing the snake Apophis.
Sitting under the legendary persea tree, he is about to cut
the snake's head off with a knife.
The scene is complemented at the bottom by chapter 17 of the
Book of the Dead (nine columns), which recounts the killing
of Re's enemies. The legend in another Theban tomb (TT335)
recalls that the protagonist is indeed the "Great Cat, aspect
of Re", while his opponent is named as "Apophis, ennemy of
Re".
On the ceiling Nut's body is depicted in its simplest form
: i.e. as part of the mountain of the East, suggested here
by the outline of a wadi. The goddess, depicted with full
breasts, spreads her arms in a welcoming gesture towards the
sun-disc, which has died inside her.
To the south, a badly damaged
figure of the deceased stands in front of a hymn from chapter
16 of the Book of the Dead.
To the west the three lions Aker,
Shu and Tefnut support what appears to be the western horizon,
where the sun sets.
Ten columns of text form chapter 17A of the Book of the Dead,
the counterpart of chapter 17. The text read from the right-hand
side when on entering the tomb, beginning with the lower registers.
The south-east wall (on the right when entering) is divided
into two parts : a funerary banquet scene (first register)
and a series of guardians/genii occupying two registers.
In the lower register, above the plinth which runs parallel
to the ground, are depicted eleven characters, four of which
are sitting in chairs, followed by six men and one woman standing
(views 2 & 3). They represent Sennedjem's relatives and descendents.
Gathered together on the east side are those who still belong
to the world of the living (this parallels the topography
of the village), while the west side represents the world
of the dead.
From the east are brought the various components of the funerary
banquet, coming supposedly from the store-room (D), where
containers of drinks and baskets of food were kept.
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| View 5 |
The four figures sitting in black wooden chairs (the legs
shaped like lion's paws) on reed mats, are two men (two brothers
known as Tutu and Mesu), followed by Khabekhnet,
eldest son of Sennedjem, and his wife Sahti (view 4).
The chairs, the mats, and the cone of perfumed unguent that
adorns their heads, and also the lotus flower that some of
them are smelling, clearly indicate their privileged status
within the family. It also confirms the funerary nature of
the banquet.
Two young girls, Tiyi and Henuturet (view
5),
wearing the side lock of youth and dressed in a long dress
like the one worn by the adults, bring their contribution
in the form of a papyrus stalk, as a token of recognition,
in relation to Hathor from Thebes.
There follow four men in pairs : Khonsu, Ramose, lmhotep and
Ranekhu. The young girl who brings up the rear (view
6) is not named.
On the upper part of the frieze, coming from the west, Sennedjem
and his wife, each one in a different register, advance in
a greeting gesture towards ten guardians whose task is to
guard the doors which divide the afterlife (view
7). Each god, shown either in human or animal form, is
represented inside a right-angled pattern, topped by a frieze
of khakeru reminiscent of the plant patterns which decorated
the doors and partition walls of houses.
Sennedjem approaches the five guardians, named as Neru (vulture-headed),
Redit Sebankha (crocodile-headed), Henti Requ (naked hydrocephalic
dwarf), Ikenti (human) and Tshesef (black dog).
In the lower register lyneferti approaches the other five
guardians : Mespath (lion-headed), Negau (cow-headed), Semanti
(snake-headed), Khudjetef (heron) and a dog with a piebald
coat.
A short text (two columns) which preceeds each guardian gives
their names and attributes.
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| View 8 |
The north-west wall, which provides a counterpart of the scenes
from the south-east wall, is divided into two parts (see supra).
In the lower register, looking towards the east, i.e. towards
the descendants from whom they await the offerings and the
funerary cult, the couple formed by Sennedjem and lyneferti
and those formed by their direct ancestors (view
8) receive the funerary cult performed by an officiant.
The two family sides are associated to the funerary cult of
Sennedjem since at the time the tomb was built, they had all
already died.
The libation is dispensed over an altar on which rests a vase
destined to keep the water cool, amidst blue lotus flowers
in bloom.
Sennedjem is holding a ceremonial cloth, together with the
symbol of his responsibility : the scepter-kherep which indicates
he has reached at least the level of foreman (view 9).
Two children, called Ranekhu and Hotepu - a boy and a girl
- still wearing the side lock of youth stand between the chairs
of Sennedjem and lyneferti (view 10).
In front of the first couple, Sennedjem's parents Tjaro and
Taya are approached by a sem-priest called Rama who does not
wear the leopard-skin (nor does the officiant who precedes
him). He pours the libation with one hand and with the other
stretches the sail of a miniature vessel, thus symbolizing
the northern breeze. The two features complement each other,
and underline the coincidence between the beginning, of the
flood and the arrival of the northern breeze.
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| View 11 |
The upper register, which forms the frieze, is dedicated to
one scene only: the mortuary wake (view
11).
The mummy, head to the west, on a lion-shaped bed lies under
the embalming tent (see infra), composed of a wide vaulted
chapel.
The deceased has already joined the world of the Gods, as
indicated by his curved beard. At each end of the body the
goddesses Nephtys and Isis are represented as female kites,
each identified by the hieroglyphic symbol on her head.
Behind them several columns of text specify their nature and
role as goddesses.
scene to the west
The north-west angle of the north wall is a repetition of
the previous scene. An embalmer, shown as Anubis, tends Sennedjem's
mummy and sees to the resurrection of the deceased as if it
were the body of Osiris (view 12).
The mummy, placed symmetrically in relation to the south-west
wall and lying on a similar couch, is now inside the ritual
embalming tent or Set-Netjer. Anubis arranges the distinctive
yellow final wrappings which surround the body. The mummy
is isolated from the outside by a white cloth which reaches
half-way up, ending in a net attached to the top of the kiosk.
The top left of the scene forms a vignette which has been
incorporated in the hieroglyphic text. This text of twenty-six
columns was read at the time of the entombment, and consists
of the beginning of chapter I of the Book of the Dead. The
painter-scribe did not manage to complete the text, however,
due to the restricted space on the wall.
The north wall : the middle scene.
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View 13
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The part which continues on the right of the previous scene
is occupied by a scene which takes up the whole length of
the wall.
Osiris, God of the Dead (view
13) is depicted under a raised canopy, on top of a grooved
cornice formed of small floral columns whose capitals combine
white and blue lotuses, lilies and papyrus plants. At the
base of this floral decoration hang red and white ribbons.
At the top of this floral capital two uraei with discs symbolise
the two protector-goddesses of the kingdoms of Upper and Lower
Egypt.
The small floral columns support a roof of uraei with discs
intended to protect the god.
In the middle Osiris emerges, dressed all in white, his hands
holding the sceptres heqat and nekhekh and standing on a bevel-edged
pedestal reminiscent of the sign for Maat. The god wears a
crown made presumably of corn, wild flowers and flowers from
the marshes, which give it a multicoloured appearance. It
is topped by a mandrake. Osiris is flanked by two animal skins
containing his body fluids. The skin is wrapped around a stick
fixed inside a pot.
The god stands in front of a ewer on an altar topped by a
bouquet of blue lotus flowers.
Two prophylactic eyes, the sun and the moon, frame the divine
figure and indicate the cosmic and conceptual nature of Osiris,
whose chapel symbolizes the universe.
Sennedjem kneels on a mat before the image of the Lord of
the Realm of the Dead, near three tables heaped with offerings
; two lettuces have been added between the tables. At the
sides two jars of beer, the stalk of a blue lotus wrapped
around each one rest on a small altar.
The food offerings, consisting of loaves of bread, meat, birds,
fruit and vegetables, are surmounted by a bouquet of wild
flowers and flowers of the marshes.
A hymn to the Lord of the Dead occupies the whole space up
to the frieze. A shorter text in the small space between the
deceased's head and the mat indicates that he is sitting next
to Unennefer to whom the offerings are dedicated.
The North wall - east scene
This scene does not provide a solution of continuity with
the previous one. Behind the squatting figure of Sennedjem,
Anubis, "He-who-presides-over-the-purification-tent, the God,
the Great, Lord of Heaven", leads Sennedjem by the hand to
Osiris, one hand on his shoulder in submission (view 15) :
he is the leader of the souls, a role which has been his since
the origin of his cult.
Above the god and Sennedjem a twenty-two column text contains
the words spoken by Anubis for the benefit of the deceased
so that he may be welcomed by the gods of the Duat. This text
combines chapters 38B and 55 of the Book of the Dead. The
two scenes work in tandem : while the deceased is led towards
the God of the Dead, the decoration emphasises that while
the offerings were normally addressed to Osiris, they have
been "transferred" so that the deceased may now enjoy them
in the afterlife.
The east wall of the burial chamber is obviously associated
with the rising sun.
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| View 17 |
This scene is undoubtedly the best known of all the tombs
at Deir el-Medina. It reflects not only the pleasures that
the deceased will enjoy in the Fields of laru, but also the
celestial destiny which is now his, since he shares the fate
of Re in his solar boat.
The wall is divided into two parts : the Fields of laru (view
16) and the journey of the solar boat (view
17).
The lower part is demarcated by a frame symbolizing the area
irrigated by a canal and forming the vignette of chapter 110A
of the Book of the Dead. The deceased is admitted to work
in Osiris's agricultural estate just as he was during his
lifetime in Pharaoh's estates. As a new farmer of Osiris,
he had to work in order to ascertain his subsistence as well
as enrich the god, not without the Egyptian inventing the
principle of the "shabtis", in order to escape from the daily
chores and peacefully enjoy eternal rest.
The canal divides this rectangular frame into three strips
of land and an island.
The first canal, which ends in a double-pointed extremity
on the right, isolates a strip of land planted with flowers
- an evocation of the vegetation which grew near canals (view
18). Among the stylised plants the mandrake and poppy may
be recognized.
To the right, at the far end, an island seems to be a quay
for a bark called Djefau, which is the one of Harmakhis (Horus
of the Double Horizon). It is indeed "the bark of Harmakhis,
which sails through the Fields of laru", as shown by a text
describing an identical scene at Medinet Habu.
The second strip of land is sub-divided into three registers.
In the first one alternate the trees commonly found in the
Nile valley - sycamores, palm-trees full of dates, and the
dum palm-trees (view 18) which enable the deceased to quench
his thirst.
Separated from the previous register by a line on the ground,
the figures of Sennedjem and his wife are busily engaged in
two activities : the deceased guides a plough pulled by two
cows, while lyneferti follows him, sowing the seed in the
furrow (view 19). To the left the couple harvests flax, which
according to certain similar scenes grows under the influence
of the moon.
The upper register on the left contains a harvest scene (view
20): Sennedjem, as required by agricultural tradition, cuts
off the ears of corn (a third from the top) with a sickle,
leaving the stubble for grazing, while lyneferti, behind him,
puts the ears of corn her husband has missed in a bag (view
20b). To the right, Sennedjem is shown sitting at a pedestal
table laden with food.
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View 22
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The last register portrays the meeting between the kneeling
couple in the desert of the West, greeting Re-Harakhty, followed
by Osiris-Khentymentiu, Ptah-Neb-Maat and two other great
gods who represent the Great and Small Enneads (views 20 and
21).
The sand, depicted as a long ellipse, reminds us that Sennedjem
and his wife are in the desert.
Behind the gods, Parahotep, one of Sennedjem's sons, looking
to the left, sails away in his small boat on the canal (
view 22).
To the right of this vignette, whose meaning remains uncertain,
Khonsu, another son of the deceased, carries out the "opening
of the mouth" ceremony on his father's mummy, so that he may
breathe again and consume the foods of the other world (
view 23).
The conclusion is to be found on the vault (view
17) above the frieze which crowns the previous scene.
Here we find the apotheosis of "Re-Horakhty-Atum, Lord of
the Two Lands and Heliopolis, Khepri who is in his bark".
The divine being, who represents all the solar phases (morning,
midday and evening), is greeted by two cynocephals (view 24),
at the time he rises and sets, the head surmounted by an enormous
red disc encompassed by the uraeus, the image of "She-who-is-far-away".
The stem is covered by aquatic plants, which are pulled by
the boat as it sails through the celestial marshes.
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View 25
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While the east wall portrays life and the rising of the sun,
the west wall, in contrast, is strongly linked to death.
Osiris, the image of the dead sun, takes over from Re-Horakhty
in the Duat - the underworld.
Sennedjem, mummified and resuscitated, having fulfilled his
functions in front of Osiris, now appears at the court of
the gods of the Duat, Osiris and Harmakhis (view
25).
Sennedjem and lyneferti, their heads adorned with the cone
of perfumed unguent dotted with grains of incense (view 26),
proceed towards a chapel topped by twenty-four menacing uraei,
its ceiling decorated by a trellis. A short text above the
heads of the figures, and the chapel which represents the
fictitious palace of the gods, remind us that the gods the
couple worship are the Lords of the Duat.
In the lower register Harmakhis is followed by three divine
couples, while in the upper Osiris is followed by two divine
couples and one god on his own. The number of divinities who
represents the Great and the Small Enneads, is obviously arbitrary.
But Osiris, recognizable by his crown, undoubtedly as the
successor of Harmakhis, the sun which travels from one horizon
to another during the day.
The space above the frieze is filled by a scene normally placed
on the arches of funerary stelae, referring to the flood-water
poured for the deceased, as suggested by the ewer standing
on the table covered with lotus flowers and topped by three
signs : shen (the orb of the solar disc), three ripples of
water, and a cup (view 26b).
Wepwawet and Anubis, guardians of the necropolis, each one
on a pylon-shaped mountain, frame this scene, animated by
two prophylactic human eyes which also represent the two luminaries
(view 26 bis).
The vault consists of eight panels separated by bands of text.
On a level with the frieze, in the north and the south, run
two lines of hieroglyphs containing an offerings formula,
addressed in the south to Hathor, who abides in the desert,
to the gods and in particular to the one who is in Heliopolis,
and in the north to Re-Horakhty-Atum, Lord of the Two Lands
and Heliopolis.
Each of these texts asks for the deceased to be granted the
special functions regulated by the divine powers : for him
to breathe air and never be without water (Osiris), for him
to come and go within the necropolis, for him not to be repulsed
when approaching the gates of the Duat (Hathor), for him to
become a spirit in the sky, for him to be given power on earth,
and for him to be found just in the necropolis, sail in front
of the stars and reach the boats of day and night (Re-Harakhty).
These longitudinal texts echo the various scenes depicted
in the vault.
On the other hand the transverse texts evoke the protection
given to the deceased by several funerary divinities - Thoth,
Lord of Hermopolis, who owns the divine words, Anubis, the
four sons of Horus (divided here into two pairs : Amseti and
Duamutef to the south, Qebehsenuef and Hapy to the north),
who care for the internal organs of the dead and for the four
cardinal points.
The decoration of the vault suggests the journey from east
to west towards rebirth, since the deceased must first of
all identify certain divine powers before he can experience
resurrection.
First section .
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View 27
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The panels of the vault read from east to west.
In the first section to the south (panel 1), the scene represents
the vignette of chapter 109 of the Book of the Dead, and Re-Horakhty-Atum,
Lord of the Two Lands and of Heliopolis.
First the sun emerges from between the two turquoise sycamore
trees which mark the horizon. The deceased is supposed, according
to this same text, to recognize the manifestation of these
two cosmic trees. The artist has then left a space for a character
depicted as a young calf (view
27) "pure of mouth", whose horns have not yet grown. He
foreshadows the adult solar bull who goes forth in the sky.
It is improbable that the human-headed god is a representation
of Sirius, because this star is usually depicted as a female
goddess whose rising precedes the rising of the sun. It is
more likely to be the spirit of the food which accompanies
the appearance of the sun, expressed by Hu or Ka. In a way
it evokes the ka of the celestial food, a theme alluded to
in the parallel panel.
Opposite this scene, in the coolness of the north (panel 2)
(west side) are Sennedjem and his wife.
They are taking part in a divine banquet presented by Nut,
the Great Lady of the Sycamore (view 28). The goddess, like
a nymph, emerges from the nourishing tree whose fecundity
is expressed by bunches of fruit, ready to be eaten.
Sennedjem and lyneferti are depicted as if emerging from the
courtyard of the tomb. The artist has represented the closing
wall of the courtyard, from which opens the side door.
The goddess (view 29) pours the contents of an ewer towards
the deceased, and presents them with a plate of offerings
piled up with food. This scene, which closely resembles chapters
22 and 44 to 59 of the Book of the Dead, indicates that the
deceased are given special treatment for the Feast of the
New Year, which coincides with the annual flood.
Thus Sennedjem and his wife (view 30) are assured of water
and food on a recurrent basis for the whole year to come.
Second section
To the south (panel 3), Sennedjem goes forth with outstretched
hands, wearing the same kilt as on the west wall of the tomb.
He addresses praises to three divinities squatting on a Maat
throne. The first god is hieracocephalous, while the other
two have human heads. The text, which takes its inspiration
from chapters 109, 112, 113 and 180 of the Book of the Dead,
emphasizes the action of presenting adorations to the gods
"who hold Maat" here an aspect of "She-who-is-far-away".
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| View 31 |
The north scene (panel 4) is a parallel to the previous one,
since the couple address their praises to the gods, the Lords
of Heaven, shown as five divine figures squatting on a Maat
throne against a blue sky, where the lunar-solar disc is accompanied
by seven stars (view
31 and extra).
Situated to the north, it is possible that the stars represented
the Great Bear, i.e. the nocturnal astronomical clock which
indicated the hours, which were part of what the Egyptians
called the imperishable stars because they never disappeared
from the horizon.
Third section
The south scene (panel 5) resembles the vignette of chapter
108 of the Book of the Dead and represents another scene of
adoration to the gods, the Lords of the Duat (view 32).
Sennedjem has discarded his pointed kilt, and now wears a
simpler garment which is probably more suited to the functions
he is performing. He takes the last steps towards his celestial
fate on his own. The Lords of the Underworld consist of a
series of threatening characters : two guardian-gods, one
human-headed and one dog-headed, squat on a platform. They
yearn for truth, and wish to be convinced of the pure intentions
of the one who is seeking eternal life.
Behind them the space is sub-divided into two sections: a
celestial part characterized by the sky and a human-headed
god, and a subterranean shown with a horizon and a snake-headed
Lord of the Desert, resembling the snakes Mehen or Sa-to (view
33), who envelop the underworld with their coiled bodies.
The north scene (panel 6) does not show the deceased. It is
entirely dedicated to the representation of the sun boat sailing
from west to east, contrary to the journey of the luminaries
(view
34).
In the prow of the same boat stand the phoenix of Re and the
benu-bird, wearing a Osirid crown like the one worn by the
god above on the vault. This is probably what has impelled
the artist to position the boat as if it were sailing towards
the east. Behind the benu-bird, which lives in the flooded
lands, stands Re-Horakhty-Atum, Lord of the Two Lands and
of Heliopolis, followed by the gods of the Great Ennead in
the bark of Re, which is protected front and back by the two
prophylactic eyes.
Fourth section
Ending the cycle, this last section provides a kind of conclusion.
The south scene (panel 7) (view 35) shows the deceased, dressed
as before, going forth towards three divine figures, the first
of which takes precedence over the other two : it is the ibis-headed
Thoth, Lord of Hermopolis, scribe of Maat for the Ennead, to
whom the text above the deceased is addressed. His epithets
recalls that he holds power over the moon, which by its lunations
forms the interlaced designs of celestial writing in the sky.
Thoth is probably followed by Maat, while the third character
wears the pshent and could be identified as Atum, the setting
sun, as indicated by his position at the extreme west of the
tomb.
As Atum disappears over the horizon, Thoth appears, bringing
with him the new year ; and the cycle starts again with the
first scene of the vault, east of the burial chamber.
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View 1
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The scene to the north (panel 8) (view
1) expresses the idea that Sennedjem, like Atum, passes
through the gates of the western horizon in order, like him
to experience, rebirth in the morning, after being an Osiris
during the night.
The horizon is materialized by a folding door, its two sockets
resting in the middle of the sign for mountain, the whole
topped by the sign for sky.
The artist has managed to express everything in the tiny funerary
chamber. Sennedjem has accomplished his day-and-night journey.
He has become better acquainted with the luminaries and he
various mechanisms of the universe. in his tomb, inside his
beautiful, colourful coffin, protected by the mummy wrappings
and his amulets, he is now ready to face eternity, to live
forever and ever, accompanied by terrestrial and celestial
food, economically independent in the Fields of laru.
Experiencing a lunar or solar rebirth, or assuming the shape
of the imperishable stars, he has become immortal.
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One of the Sennedjem's
shauabti is in the Fitzwilliam museum (E.g. 1887).
It is made of painted limestone.
Also known as Ushebti, it is a substitute to the dead,
whose role was to "answer to the voice" when
Sennedjem
was called to work in the fields, and take his place.
At the end of the New Kingdom, the ideal number of
these Ushebtis was around 365, one for each day of
the year.
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| Bibliography |
|
R. Porter & B. Moss, Topographical Bibliography of Ancient
Egyptian Hieroglyphic Texts, Reliefs and Paintings I/I (2nd
Ed, Oxford, 1972), p. 1-5 (lists all the scenes from the tomb
which appeared in many books of art until 1960)
B. Bruyere, La Tombe No. I de Sen-Nedjem a Deir el-Medineh,
Mémoires publiés par les membres de I'lnstitut français d'Archéologie
Orientale du Caire, tome LXXXVIII, Le Caire, 1959
Fahmy Abd el-Wahab, La Tombe de Sennedjem à Deir el-Medineh.
Croquis de position, Mémoires publiés par les membres de I'lnstitut
Français d'Archéologie Orientale du Caire, tome LXXXK, Le
Caire, 1959
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| A THESIS ON THE TOMB |
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A thesis dedicated to Sennedjem (in Spanish) was placed before the University of Barcelona in February 2006 by Mrs. Marta Saura Sanjaume.
It took on the responsibility to recover the objects from the tomb, dispersed in the museums of the world, and to replace them in the complex context of the occupation of the tomb.
It also compares the texts of the Book of the Dead, on papyrus, with those present in the tomb.
The entire thesis (with photos of the objects) is downloadable HERE.
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Original text by Sydney
Aufrere - Summarized by Thierry Benderitter
Translation: David Hawke
Photographs by Jacques Livet - Drawings by Marcel Kurz
© Copyright Jacques Livet and OsirisNet 2003
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