One of the largest and most beautiful
tombs of the Middle Kingdom on the hill of Qubbat el
Hawa is that of Sarenput I, which marks the apogee
of funereal architecture in Aswan.
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Don't miss the article by Valérie Selve:
The Nomarchs
Translation by Jim Ashton.
Thank you Jim!
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The provincial
Nomarchs, far from the Residence in Memphis,
enjoyed autonomy and revenues, which allowed
them to consider themselves as minor sovereigns.
Sarenput lived in the reign of Senuseret (Sesostris) (a
short résumé of the reign HERE.)
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The “biographical” inscription, which Sarenput
left in his tomb, well shows how this powerful character
considered himself.
“
I have built my tomb to show my gratitude to the king
Kheper-Ka-Ra (Senuseret I).
His majesty made me great in the land. I have overturned
very ancient rules and, it resulted that I reached the
sky in an instant.
I have employed artisans to work in my tomb and his
Majesty congratulated me highly and often in the presence
of courtesans and the Queen..
The tomb was equipped with palace furniture, decorated
with all sorts of accessories, filled with decorative
parts and provided with offerings. I should not want
for any necessary thing, it was at the treasure house
that all this was claimed for me. His Majesty saw to
it that I could have a good life. I was full of joy
at having succeeded in reaching the sky, my head touched
the firmament, I grazed the stars. I appeared like a
star. I danced like the planets, my town celebrated
and my troops were jubilant.
For me, the Elephantine gods extended the reign of His
Majesty as king they caused His Majesty to be reborn
for me in order that he might repeat millions of Sed
festivals for me, they granted him eternity as king
that he might install himself on the throne of Horus,
just as I had wished for him.”
Sarenput had no hesitation in according himself a stellar
destiny and, thanks to the notable’s wishes,
the king of Upper and Lower Egypt could regenerate
himself eternally in order to permit Sarenput. to profit
from the same destiny. We see, nevertheless that, in
spite of the bragging, the proud Nomarch doubtless
considered himself a royal servant. This shows us that,
in the time of Sesostris I (Senwosret), royal authority
had been restored throughout the kingdom.
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Plan of Sarenput
I's tomb
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Access to the tomb is via a monumental staircase,
which is an integral part of the funerary complex.
Unlike those of Sabni and Mekhu for example, it is
not perpendicular to the face of the cliff but makes
an angle of 85 degrees.
From the porch doorway, which gave access to the
forecourt, there remain two side jambs of fine limestone
(a rare stone in this region, probably imported from
far away), each carrying a portrayal of Sarenput
with his instruments of power, the Sekhem sceptre
and baton of authority.
The forecourt is cut directly into the slope. It
comprises a series of six decorated pillars surmounted
by architraves and which supported a roof, which
has today disappeared. The general effect reminds
us of a temple vestibule.
The façade of the tomb comprises hieroglyphic
inscriptions, above all around the door, which they
frame. Laterally, more figurative representations
are presnt.
Around the door are portrayals of Sarenput in the
form of larger-than-life statues as on pylons in
a temple.
The first room, with 4 pillars, is decorated with
frescos and hieroglyphs painted in colour, though
much deteriorated.
You can see a statue
of Sarenput reconstructed by
the British Museum. Curiously, it is dated to the
reign of Senuseret II (not I)
Bibliograpic Summary:
-Hans Wolfgang Müller:
Die
Felsengräber der Fürsten von Elephantine
aus der Zeit des Mittleren Reiches,
Glückstadt 1940
-Dietrich Wildung: L' âge d'or de l'Égypte,
PUF, 1984
SOME OF THE PHOTOGRAPHS ARE FROM MARJOLAINE MOREAU,
WHOM I THANK VERY MUCH.
THE OTHERS HAVE BEEN TAKEN BY ME IN AUGUST 2003.
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