Rags to Riches: The Story of Weni. 6th Dynasty

Tomb of Intefoqer - Antefoker Plan - Nobles' Tombs Luxor Egypt- Part XII

Tombs of the Nobles, Luxor, Egypt
This is a regular 12th Dynasty tomb comprising a long entrance corridor before the main chamber. It belongs to the governor and vizier under Sesostris I and is one of the oldest tombs in this group. It is situated high on the mountain and commands a good view of the Nile Valley.
In contrast with the 18th Dynasty murals, these paintings are somewhat crude and carried out on rough plaster. They are nevertheless quaint and informative. On the right-hand wall of the main chamber (a) is a hunting scene with the deceased shooting game in an enclosure. The gazelles, hares, etc. are being chased by
dogs. Birds are being netted and fish are being hauled in from a square pond of water. Just beyond the center of the wall (b) is a series of cooking scenes and still further along (c) is are presentation of Antefoker and his wife.

Towards the center of the left-hand wall (d) is a fascinating representation of a funerary dance. It takes place before the deceased is brought to the tomb. The male performers have unusual reed crowns. They chant "O Hathor - a newcomer" and "She has inclined her head" the second chant indicating approval by the goddess of
the deceased's entry to the underworld.
The inner chamber has a deep niche at the end, designed to hold Antefoker's statue (which has now been reconstructed). The burial shaft extends off this chamber. On the right-hand entrance wall (e) are musicians, both male and female. The offerings to the gods of the underworld are near the center of the right-hand wall (f).

Tomb of Rekhmire Plan - Tombs of the Nobles, Luxor, Egypt. Part VII

Tomb of the Nobles, Luxor, Egypt.
Rekhmire was vizier under Thutmose III and his son Amenhotep II. The tomb follows the regular style of the 18th Dynasty nobles' tombs, comprising a narrow, oblong first chamber and a long corridor opposite the entrance. But this corridor rapidly gains in height to the rear of the tomb and runs Into the rock. It was inhabited by a farming family for many years and the wall decorations have suffered at their hands. The tomb is a memorial to personal greatness and a revelation on law, taxation and numerous industries. Professor Breasted described It as "the most Important private monument of the Empire".
Rekhmire was an outstanding vizier who was entrusted with a great many duties. There was nothing, he wrote of himself in an inscription, of which he was ignorant in heaven, on earth or in any part of the underworld. One of the most important scenes in the tomb is that on the left-hand wall of the first chamber near the corner (a). It shows the interior of a court of law in which tax evaders are brought to justice by the grand vizier himself. The prisoners are led up the central aisle, witnesses wait outside and at the foot of the judgement seat are four mats with rolled papyri.
These are proof that written law existed in 1500 B.C. Messengers wait outside and others bow deeply as they enter the presence of the vizier.
Near the center of the opposite wall (b) Rekhmire performs his dual role of receiving taxes from officials who annually came with their dues, and receiving tributes from the vassal princes of Asia, the chiefs of Nubia,etc. The foreign gift-bearers are arranged in five rows: from the Land of Punt (dark skinned), from Crete (hearing vases of the distinctive Minoan type discovered on the island by Sir Arthur Evans) , from Nubia, from Syria, and men, women and children from the South. The diverse and exotic tributes range from panthers, apes and animal skins, to chariots, pearls and costly vases, to say nothing of an elephant and a bear.
The inner corridor gives an insight into the activities of the times. On the left-hand wall (c) Rekhmire supervises the delivery of corn, wine and cloth from the royal storehouses. He inspects carpenters, leather-workers, metal-workers and potters, who all came under his control. In the lower row is a somewhat damaged record for posterity of one of the most important tasks with which he was entrusted: supervising the construction of an entrance portal to the temple of Amon at Karnak. He held vigil over the manufacture of the raw material, the moulding of the bricks and their final use. Pylons and sphinxes, furniture and even household
utensils all came under his control. There are interesting scenes, to the left of the bottom row, of seated and standing statues being given final touches by the artist before polishing. The fascinating detail provides a pictorial treatise on the different industries of the times.
On the right-hand wall (d) Rekhmire may be seen at a table and there are traditional scenes of offerings before statues of the deceased, the deceased in a boat on a pond being towed by men on the bank, and a banquet with musicians and singers.

All the representations in this tomb show rhythm and free-posing, gesticulating and active figures. They are very different from the patterned group action with which we are familiar. The high premium traditionally set on balanced design was not lost. But the solid strings of people are gone, and with the break with the frieze the curtain is suddenly lifted on a picture of things as they really were: workers bending to mix mortar or squatting to carve a statue: a man who raises a bucket to his colleague's shoulder; another engrossed in carpentry; the elegant ladies of Rekhmire's household preparing for a social function with young female servants arranging their hair, anointing their limbs, bringing them jewelery. The message in these delightful murals is forceful and clear, with the dignified personage of the vizier himself towering over his subordinate sin administrative excellence.

Tomb of Ramose Plan - Tombs of the Nobles - Luxor, Egypt. Part III

Tombs of the Nobles, Luxor, Egypt.

This tomb belongs to the vizier in the reigns of Amenhotep III and Amenhotep IV (later Akhenaten). It comprises a main hall with thirty-two rather squat papyrus columns (1), an inner hall (2) containing eight clustered columns of smaller dimension (all destroyed) and the shrine (3).

Ramose was one of the earliest converts to the sun-worship and his tomb is therefore of historical significance as one of the few standing monuments in Thebes of the period between the two faiths. It is moreover of artistic significance since it gives a unique opportunity to see conventional relief representations alongside the new realism which has become known as the Amarna period.

Before we describe the tomb of Ramose a word should be said about Akhenaten's sun-worship and the art it heralded. The movement was not the isolated act of a rebellious Pharaoh who established a new capital in Tel el Amarna with a set of original ideas and a new outlook. The sun-worship of Akhenaten was introduced in Thebes over a number of years. The formation of a new capital, rendering Amon no more than a local deity, was really only the final step in a continuing process.

Light is still being shed on the transition period from one worship to another. There is considerable evidence to support the theory that Amenhotep III and his son (Akhenaten) shared a co-regency for many years at Thebes, and that, while the father was too disabled by ill-health and his son too young for the responsibility, Queen Tiy laid the foundations for the new thought that her son (Akhenaten) was to bring to fruition. Among the first steps taken were the 'enlightenment' of certain Theban noblemen to the 'truth of monotheism', and a breakaway from the traditional forms of art. The tomb of Ramose dates from this period. It was started in the traditional style, continued in the new and left unfinished when Ramose followed his master to Tel el Amarna.

On both the left and right eastern walls of the main chamber, the murals are in unpainted, stylized relief. This was the conventional mural form typical of Amenhotep III's last years when his son (Akhenaten) may have been co-regent. On the southern half (a) Ramose the deceased vizier sits with his relatives. The men and women of his household are depicted in the traditional manner with regular faces, clothes and elaborate wigs, the details of which were carried out with faultless precision; the only paintwork is on the eyes. On the northern wall (b) are scenes of worship, offerings and religious ceremonies. The representation that most fully shows the stylized, unemotional, traditional treatment of the mural is that on the left-hand rear wall (c) by the central doorway. It is a portrayal of Amenhotep IV (Akhenaten), as he was then still called, seated below a canopy with Maat. Ramose himself is twice represented before the throne. This scene probably dates from the period of the building of the first temple to the sun at Thebes, a time when Amon was not yet openly challenged but the worship of Aton (or Aten) was nevertheless taking root.

However on the right-hand rear wall (d) we see a quite new mood. Now the young Pharaoh, who changed his name to Akhenaten only after he setup the new capital, stands with his royal consort Nefretiti (Nefertiti) on a.balcony, while Ramose, depicted in Amarna style and attitude, is being decorated with chams. Though it is still in relief, one can easily recognize the new realism, especially in the portrayal of the Pharaoh and his wife. Compared with the divine incarnation of Amon at (c), here at (d) we see the Pharaoh with belly extended in unflattering truth. Above is the life-giving sun with fourteen rays. Four of them hold symbols of life and happiness. Two support his outstretched arm. Another offers the symbol of life to the nostrils of the queen. Behind is the royal bodyguard. This mural probably dates from the period just before the departure from Thebes and already the thick loins of the Amarna period are apparent, though some of the innovations such

as the higher relief of the attendants in comparison with the rest of the sculpture, has not yet matured. It is a preview of art movement taking shape.

Let us ponder a moment about this so-called 'freedom of artistic expression' under Akhenaten. It does not imply individualism since the state artists worked in teams on approved themes inherited from the early dynasties. They were now freed from this traditionalism, which was encouraged by the priesthood, to do free poses encouraged by the Pharaoh. A swinging walk, relaxed comfort, tender relationships, predominate in the new art.

One theory is that the Amarna period was one of artistic degeneration. But degeneration does not take place overnight, and here in the tomb of Ramose the two art forms coexist. One may compare the stiff, unpainted, precise relief work of the earlier period with the first stages of the new realism. It is a unique opportunity to see the Pharaoh on one wall in perfect, divine immobility and, on the other, as the relaxed and physically imperfect man.

On the upper part of.the left-hand wall (e) is a peculiar juxtaposition of old and new in the group of mourners one of the most expressive and delightful drawings to be found in any tomb. Grief comes down the centuries in a heart-rending funerary convoy. The men carry boxes covered with cooling foliage, a jar of water and

flowers. A group of grieving women turn towards the funeral bier fling their arms about and throw dust in their hair, tears streaming down their cheeks. One woman is supported by a sympathetic attendant. One is so young as to be unclothed. Most of the figures are individual, expressing vaned movements and degrees of grief and are even of different sizes. But the group of five mourners at the center of the group of women are shown as a series of parallel lines behind the front figure. Traditions are not easily broken! Further along the wall women beat their breasts and thighs in grief or squat to gather dust to scatter on their heads.

Another theory about the representations of the Amarna period is that the young Pharaoh reverted to the archaic forms of art that he held so dear. He believed that Amon was but a usurper of the true sun-worship of Ra at Heliopolis and accordingly the proportions of pre-dynastic times were recaptured. The art he encouraged, in the words of Arthur Weigall, was 'a kind of renaissance - return to the classical period of archaic days."

In the doorway leading to the second, unfinished, chamber Ramose appears standing (on the left-hand side) and praying (on the right).

Pictures from the Tomb of Ramose, Luxor Egypt. from the Tombs of the Nobles.

The Complete Tombs of the Nobles

Tombs of the Nobles Plans, Luxor, Egypt

Luxor, Egypt.

The Tombs of the Nobles spread over an area of about two square miles from Dra' Abu el-Naga' in the north to Deir el Medina in the south. There are well over three hundred. All belong to the officials who wielded power, to a greater or lesser extent, in the New Kingdom.

Who were these people, these aristocrats of the age? Perhaps their position is best understood by stressing first of all that the Pharaoh of Egypt was no mere figurehead. His position was supreme and he took an active part in all affairs of state. He was concerned with matters ranging from the height the water rose during the inundation of the Nile in any year, to the recruitment of troops, whom he personally led into battle. He participated in public ceremonies and dedications, supervised the planning and construction of an edifice or a state thoroughfare and even had the final say in the judgement of a petty crime. It can be readily appreciated

therefore that this was far too much for a single pair of hands and the Pharaoh's vizier took a share of the responsibility. Along with the chief treasurer, he headed the main government departments.

The vizier provided the liaison between the departmental heads and the Pharaoh, just as the departmental heads provided the liaison between the workers and the vizier. In Thebes all the affairs of the state capital filtered through the hands of the vizier before coming to the attention of the Pharaoh, including the annual taxation from officials and recording of tributes from conquered lands.

The viziers held a powerful position and the growth of this power can be traced in their tombs from the days of Thutmose III , when the monarch could afford to be liberal with his loyal and trusted subordinates, giving them gifts and honors in recognition of their services, to the era following Akhenaten's breakaway government when the vizier became the power behind the throne and, taking advantage of a weakening line of monarchs, ultimately gained the supreme position for himself.

These then are the tombs of the grand vizier and of those under his control : the army general, the superintendent of granaries, the overseer of gardens, the scribe of the fields,etc. The majority of tombs were uniform and simple, designed in two parts. There was a wide open court leading to a hall which was sometimes supported by pillars or columns. Directly center-back of this hall was a long corridor leading to the offering shrine which had niches for the statues of the relatives of the deceased. The walls, due to the poor

quality limestone rock, were covered with a layer of clay and then a coat of whitewash. These were painted. There are sculptured reliefs on only a few. The walls of the main hall usually bore prayers for the deceased to the right and a record of his career to the left. The back corridor usually carried the various funerary rites.

The tombs of the nobles differed from those of the Pharaoh in one important respect. Where as the royal tombs were only burial places, the tombs of the nobles were funerary rooms and burial places combined. The Pharaoh was divine and joy and plenty were automatically assured to him in the hereafter, while a nobleman

depicted on the walls of his tomb every aspect of his experience on earth that he wanted repeated in the hereafter. Naturally he chose the most pleasant memories : the perfect harvest, the perfect feast, the perfect catch on the hook and the perfect fowl brought down with an arrow. The happiest hours of his life were captured for the hereafter, the greatest joys and naturally the most praiseworthy honors best owed on him for his administrative excellence.

These tombs shed a flood of light on the life and times. They are valuable chapters in ancient history. Just as the Saqqara Mastabas tell us about life in the Old Kingdom and the rock-hewn tombs of Beni Hassan give an insight into the Middle Kingdom, it is the tombs of the nobles that tell us most about the New Kingdom.We

see how the people lived, worked, built, fished, speared.We see them enjoying a social function and grieving at a funeral. We see the impassive faces of officials at a public ceremony and the light-hearted gaiety of a group of dancers. In fact here is a new type of art.

Egyptian art , as we have seen, was both religious and idealized, conforming to a strict pattern in the portrayal of the Pharaoh, the deities, battles and festivities. The side-view face was considered more typical of the individual than front-view, whilst front-view eyes were necessary for expression. A side-view of the arms necessarily meant concealing one of them, therefore square shoulders were necessary. Groups of people were shown as parallel outlines behind the front figure. These traditions were never questioned by the state artists and they continued the repetitive positions and positioning from generation to generation. Movement was unknown.

In the tombs of the nobles we come across a severe break with these traditions. All the paintings are characterized by naturalism.

First of all, in place of the frieze, each wall is surrounded by a decorative border and within each frame is a picture, complete in itself. The outer figures face inwards, movements and actions are varied. There is balance, perspective and, surprisingly, even front-view faces and side-view shoulders. The most delightful drawings are such realistic portrayals as a thirsty man and a naughty child.

The natural wit and spontaneity of the artist has at last been released. While national and mortuary temples were normally filled with stylized, grand, heroic and repetitive themes, the walls of the tombs of the nobles were covered with a rich and exciting catalogue of the lives of men, each of whom was a pivot of at least

one administrative unit of his time - and not, as sometimes claimed, by cheap substitutes for wall relief.

Explore Tombs of the Nobles in details and plans:

Tomb of Nakht - Tombs of the Nobles - Luxor, Egypt. Part II

Tomb of Ramose - Tombs of the Nobles - Luxor, Egypt. Part III

Tomb of Khaemhat - Tombs of the Nobles - Luxor, Egypt. Part IV

Tomb of Userhet, First Prophet, Egypt - Tombs of the Nobles, Luxor. Part V

Tomb of Userhet, The Royal Scribe. Tombs of the Nobles, Egypt Luxor, Part VI

Tomb of Rekhmire - Tombs of the Nobles, Luxor, Egypt. Part VII

Tomb of Emunzeh - Tombs of the Nobles - Luxor, Egypt Part VIII

Tomb of Amenemheb - Tombs of the Nobles - Luxor, Egypt. Part IX

Tomb of Sennefer - Tombs of the Nobles - Luxor, Egypt- Part X

Tomb of Menna - Tombs of the Nobles - Egypt, Luxor - Part XI

Tomb of Intefoqer - Antefoker Plan - Tombs of the Nobles - Luxor Egypt- Part XII

Tomb of Haremhab (Royal Scribe) Tombs of the Nobles - Luxor, Egypt. Part XIII

Tomb of Ineni - Tombs of the Nobles - Luxor Egypt. Part XIV

Tomb of Menkheperrasonb Plan - Tombs of the Nobles - Luxor, Egypt. Part XV

Tomb of Kheruef Plan - Tombs of the Nobles - Luxor, Egypt. Part XVI

Tomb of Sennutem Plan - Tombs of the Nobles - Luxor, Egypt. Part XVII