The tomb of SARENPUT II dates from the Middle Kingdom,
more precisely from the reign of Amenemhat II whose
cartouche Nub-Kau-Ra is shown on the walls. This sovereign
reigned for a period which is still subject of debate
but usually situated between about 1925 and 1895 BCE.
Under his reign, close contacts were formed with the
Near Eastern world and Crete. We know little of his
internal political activities.
The tomb of Sarenput II can be considered an architectural
jewel, though soberly and sparsely decorated.
 The
forecourt FORECOURT is cut directly into the
cliff, which has been literally hollowed out. We notice
various strata indicating the heterogeneity of the
rock. (fig.
37 and fig.
38). In this forecourt, there
were no pillars as in that of Sarenput I. A high, narrow
entrance gives access to the interior of the tomb.
The view from the entrance (fig
35) shows an arrangement
of remarkable symmetry and overall harmony, with a
perspective which seems to focus on the important element:
the niche at the farther end.
Six
pillars carved from the solid rock support the ceiling
of the first hall They
are not decorated and nor are the walls of this room.
We note, nevertheless, that the strata, which are clearly
visible in the light of the forecourt, are here reinforced
by coloured lines due to the semi-darkness.
Between the second and third pillars is an offering
table (fig
27), which carries the names and titles
of the owner. The family, cult priests or even ordinary
visitors could place their offerings here or, if a
libation of water was enough for them, this would run
away via the small gutter at the front.
A
flight of nine perfectly cut steps then leads to a narrow vaulted
corridor. This is coated with a white plaster. Three symmetrical niches
are cut into each side. In each of these is an Osiriform statue cut into the
rock and depicting the deceased. The statues are either anepigraphic (fig
30 and fig
22) with black skin (the colour of the fertile Nile silt) or may carry
the names and titles of Sarenput. In this case, the rear wall of the niche is
painted in yellow ochre and the statue itself relates to the world of the living
with red skin, a coloured wig and, on the breast, a wide Usekh collar. The column
of hieroglyphs on a yellow background gives the titles and one of the functions
of the deceased (fig.
31). The walls between the niches carry representations
of the deceased (fig
32 and fig 33).
From
there we enter the second pillared hall ,
much smaller than the first. It contains four square-sectioned pillars, decorated
on one of their faces with an effigy of the deceased surmounted by a column of
black hieroglyphs on a yellow background, reminding us of the titles and sacerdotal
functions of Sarenput. Laterally, we find two small anfractuosities. When I was
there, the one on the left contained, on the floor, reed baskets full of bones,
of which some were certainly human (I recognised a femur with certainty).
The small
niche at the rear constitutes
the end and the raison d’etre of the tomb. It has retained all the freshness
of its original colours and we see how carefully the hieroglyphs were drawn.
On the rear wall (fig 08) we see the Governor shown with heroic size, seated on a low-backed seat and
extending his hand towards the well-garnished offering table which is before
him. Clothed in a simple loincloth, he wears the short beard of the living and
his breast is decorated with the wide Usekh collar. In front of the table and
shown much smaller, as is the custom, the son of the deceased, Ankhu, presents
an open lotus flower, symbol of rebirth. All the titles and functions of Sarenput
are shown on this wall. To write his second name, Nub-Kau-Ra Nakht, the Nomarch
has used the cartouche of the reigning Pharaoh. Probably a way of showing the
power which he considered himself to hold in his Nome.
On the left wall (fig 09) Sarenput advances, heading towards the exterior and holding two symbols of
his power, the reed and the Sekhem sceptre. He is followed by his son Ankhu,
one arm folded on his chest in a sign of deference. Facing them, a wife or dignitary
clothed in an archaic sheath dress with two straps. She is holding two open lotus
flowers. A column of hieroglyphs on a yellow background gives her name ( but
the name is lost) and her function: priestess in the temple of Khnum.
We can see on this wall the remains of the grid lines which permitted the artist
to respect the size, proportions and position of the characters.
On the right wall (fig 42)
Sarenput is again shown heading towards the exterior of the tomb. Behind him,
a woman is seated looking towards the back of the tomb, in front of an offering
table. This is his mother, Hetepet, also priestess in the temple of Khnum. We
see that Sarenput has reserved a choice spot for her in his tomb, much more important
than that of his wife.
The hieroglyphic transcriptions are provisional.
See the corresponding pages of Urkunden (with thanks to Raymond Montfort).
Urk
1 Urk
2 Urk
3 Urk
4
|
"The hereditary prince, chancellor
of Lower Egypt, the one friend, director of the prophets of Khnum, Sarenput,
justified" |
 |
"The hereditary prince, chancellor
of Lower Egypt, the one friend, director of the prophets of Satet, Sarenput" |
 |
"The hereditary prince, chancellor
of Lower Egypt, the one friend, director of the prophets of Khnum, Sarenput" |
 |
Right:
“Blessed in the service of
Satet, mistress of the Elephantine and of Nekhbet, Nabure-Nakht (second
name of Sarenput)”.
Left: “Blessed in the service of Khnum, master of the cataract at
the head of the Elephantine"
|
 |
"The offering which (the king?.. missing)
makes to Anubis the prince of the necropolis and to Sab, the offering
which he makes to Osiris, master of the West for the benefit of the Ka
of the hereditary prince, the chancellor of Lower Egypt, the prince who
is in the heart of the king and vice-versa, chief of the army in the
mountainous and the meridional regions, the prince, director of the prophets
of Satet mistress of the Elephantine, director of the army, Sarenput,
justified.
His son who he loves, the prince Ankhu, justified." |
 |
There is difficulty on this face to know in which
direction the text above Sarenput should be read. (two axes cross, which
give repetitions and lacunae)
“
The offering prt.xrw of loaves, beer, meat, poultry, clothes, cloth, (in
short) all good and pure things for the benefit of the Ka of the hereditary
prince, the great priest of Ptah (?), Sarenput the pensioned chief of (?,
the sign of the Nome is missing)”
Above his wife: “his mother, his beloved, priestess in the temple
of Satet, Hetepet, justified”…….then?
|
 |
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PHOTOGRAPHS
BY THIERRY BENDERITTER, AUGUST
2003.
You can use them for non commercial
purposes with no obligation, though a link would be appreciated.
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