The tomb of Tutankhamun needs to be seen as an historical document.
Nowadays everyone knows about Tutankhamun. His mummy, his funeral mask, his golden sarcophagus, his jewels, his spectacular furniture … are familiar to anyone.
But this familiarity towards the figure of Tutankhamun and his tomb does not always mean true knowledge.
The Tomb of Tutankhamun is a testimony.
The objects are so spectacular that sometimes they have shaded its true meaning. These objects are more than just forms with precious materials. They are testimony to Ancient Egypt, its religion, its belief.
The tomb of Tutankhamun is a historical document with information on the burial practices of the ancient Egyptians and on their conception of the Hereafter. To discover this information we have to contemplate the treasure of Tutankhamun as an ensemble of elements together with the tomb conceived to ensure eternal life to the pharaoh.
Thanks to the tomb of Tutankhamon we know that many objects deposited in the burials of Ancient Egypt followed a concrete order for a concrete aim.
The meaning of Tutankhamoun’s Treasure.
In the “Treasury” the Egyptian craftsmen made three key elements:
Isis and Nephthys overlaped behind Osiris in a Papyrus from Turin.
The artists of Ancient Egypt had a particular conception of perspective, which affected in the way they depicted groups of living beings and amounts of things.
In our last posts we saw how in Ancient Egypt the funerary scene of Osiris being flanked by Isis and Nephthys was usually depicted with the two mourners of Osiris juxtaposed. It allowed to draw Isis always preceding her sister Nephthys and to make both images complete, so effective for the dead’s resurrection.
Isis and Nephthys juxtaposed behind Osiris. Book of the Dead of Khonsumes.
But the ancient Egyptian artisan could also use the technique of superposition for drawing collectives of people (troops, groups of workers…), of animals (for instance flocks) or amounts of objects (offerings, vases…).
The superposition was also applied to the scene of Isis and Nephthys behind the resurrected Osiris on his throne. We can see it for instance in the famous Papyrus of Ani from the XIX Dynasty and in many others.
The two Drty (two kites), offering nw vases to the four pools. Relief from the tomb of Pahery in el-Kab. XVIII Dynasty. Photo: http://www.osirisnet.net
In Ancient Egypt a couple of two professional women in the role of Isis and Nephthys were actively involved in the dead’s resurrection. They appear usually at both ends of the coffin, during the Opening of the Mouth Ceremony or, from the New Kingdom, kneeling and offering two globular vases nw at the end of that funerary ceremony.
At the beginning we thought that this scene of the professional mourners offering the vases nw was something exclusive of the New Kingdom and of the Theban area. However we were maybe wrong; Ancient Egypt reveals always something new.
In some tombs from the Old Kingdom and from the Memphite area the artists of Ancient Egypt included an iconography, which remembers that one from later periods and from the south.
That is the case of the tomb of Iasen in Gizah (G2196) from the Old Kingdom. In the funerary chapel, to the left of the niche with the statue of the deceased, there is an image of Iasen seated and facing the offering table. Underneath two unidentified kneeling men are facing the dead and offering nw vases. Their position clearly reminds the one of the two professional mourners at the end of the Opening of the Mouth Ceremony, which will become so common during the New Kingdom.
In Ancient Egypt the Legend of Osiris was so important that it was integrated into the solar theology. As a result Isis and Nephthys, the two mourners of Osiris, became an essential part of some solar iconography, so both from the New Kingdom were depicted flanking the solar disk in its daily rebirth.
Book of the Dead of Nespakashuty. XXI Dynasty. Photo: www.louvre.fr
It also had an effect in the holy conception of geography in Ancient Egypt. If the rising sun occupied the east and the sunset the west, the two mourning goddesses had to be also located somewhere, so they had to have also a geographical assignation: north and south. At that point the titles of the two goddesses are quite explicit. In Ancient Egypt, Isis was “The One of the South” and Nephthys “The One of the North”.
Cartonnages in Ancient Egypt were used over the wrapped mummy mainly for mummy masks and some important parts of the body.
The cartonnage of Irtirutja in the Metropolitan Museum of Art of New York dates from the Ptolemaic period. In it one can see how the artist of Ancient Egypt dedicated this technique for covering some special parts of the mummy.
The fact of choosing those parts of the anatomy could reveal an intention of including the essential elements in the belief of Ancient Egypt for the dead’s resurrection.
Obviously the mummy mask was obligated, since, among the many faculties the dead had to recover, there were the faculties of seeing and breathing.
The feet of the mummy were covered with two images of Anubis. It seems as if they were inverted, but they are actually dressed to the deceased’s eyesight.
Two images of the scarab with the solar disk were also a grant of the mummy’s rebirth. In Ancient Egypt, the Osiriac resurrection and the solar rebirth were united, in the iconography and in the religious texts.
Image of Nephthys mourning in the mummy of Irtirutja. Photo: Metropolitan Museum of Art of New York.
The four sons of Horus (two at each side of the body) were also included in the composition, They were a personification of the canopic jars, which contained the dead’s viscera, so they accompanied always the deceased.
Finally, the ancient Egyptian artist could not omit two of the most important figures in the dead’s resurrection: Isis and Nephthys, the two professional mourners, who making a mourning ritual gave the faculties back to the mummy…
It seems that in Ancient Egypt there were a relationship between the hair element and some rites of Heliopolis.
The funerary texts show that the hair, the lock of hair and the cut of this lock of hair were somehow connected with religious practices of this ancient Egyptian city.
In chapters 167 and 674 of the Coffin Texts the deceased receives the offers of bread for the snwt festivity and the bier for the dnit festivity in the moment when the two mourners prepare their hair for him. Both were important lunar celebrations in Heliopolis during the Old Kingdom.
Detail of the eye of Horus from the tomb of Roy. XIX Dynasty. Photo: Mª Rosa Valdesogo
The festivity of snwt was celebrated in Ancient Egypt the 6th day of the month (Wb IV, 153, 4) and dnit was the festivity of the first and third crescent (Wb V, 465, 6 and 7). During these days ancient Egyptians celebrated in Heliopolis the process of recovery of the lunar eye, and the following day was called “day of Horus’ festivity” (Derchain, 1962, p. 30). So in Heliopolis, the lunar cycle was celebrated with the hair element as a process of rebirth, as it was in the funerals of Ancient Egypt.
Tha artist in Ancient Egypt followed the rule of depicting children with the side lock of hair.
However, this archetype so common in the Old and Middle Kingdom, had some changes from the New Kingdom on.
Common mourners from the tomb of Ramose. XVIII Dynasty. Photo: wikipedia
It is specially evident in the mourning scenes. Among the mourners usually some young girls can be seen taking part in the mourning performance, crying and rising arms as their adult companions. These young girls could be depicted in a smaller scale or nudes, showing this way their lower status. Also, according to the canon of Ancient Egypt, they should be represented with the side lock of hair. But from the New Kingdom it did not always follow the rule and some variations were introduced in the way of drawing the chiildhoodin Ancient Egypt.
For instance already in the tomb of Ramose, dating from the XVIII Dynasty, there is a group of common mourners in the funerary cortège. Some of them could be young girls due to their smaller size in the depiction, although they appear with the same long hair and the same clothes as the adults. One of them, however, was really a very young girl, due to the samller scale, her nudity and her different hairstyle: a middlelong hair, fringe and sidelock of hair.
In the tomb of Ameneminet (TT277) from the XIX Dynasty…