an Egyptian tomb is a lot more than just a place to deposit a mummy; it marks the place where the deceased remained "available" to the outside world, where people could provide the necessary cult provisions for his survival in the afterlife.

This is why the tomb is conceived as a dwelling, with a courtyard, an entry, a chapel accessible to the public, and an inaccessible private part, the burial chamber

we drove to Deir el Bahri next.

Deir el-Bahari

Deir el-Bahari is a complex of mortuary temples and tombs on a bay in the cliffs on the west bank of the Nile River east of the Valley of the Kings. Its name (Arabic for “northern monastery”) refers to a monastery built there in the 7th century CE.

The guardian there told us there are tombs further in but we did not feel like goi ng further.

We went toward Hatshepsut

Mortuary Temple of Hatshepsut (1479-1458 BCE)

A golf cart took us from ticket kiosk to the temple

Hatshepsut was the daughter of Thutmose I (1520-1492 BCE) by his Great Wife Ahmose. Thutmose I also fathered Thutmose II (1492-1479 BCE) by his secondary wife Mutnofret.

In keeping with Egyptian royal tradition, Thutmose II was married to Hatshepsut before she was 20 years old. Thutmose II fathered a son with his lesser wife Isis. This son was Thutmose III (1458-1425 BCE) who was named his father's successor.

Thutmose II died while Thutmose III was still a child and so Hatshepsut became regent, controlling the affairs of state until he came of age. In the seventh year of her regency, though, she broke with tradition and had herself crowned pharaoh of Egypt.

Her reign was one of the most prosperous and peaceful in Egypt's history. There is evidence that she commissioned military expeditions early on and she certainly kept the army at peak efficiency but, for the most part, her time as pharaoh is characterized by successful trade, a booming economy

The opening feature of the temple is the three terraces fronted by a portico leading up to the temple proper, and arrived at by a 1 km (0.62 mi) long causeway that led from the valley temple

Beyond the terraces, one passes the natural façade of the cliff face, and space is now carved from the mountainside. The ramp leads next to a HYPOSTYLE HALL, a large hall full of columns. Moving beyond the hypostyle hall, the central AXIS of the ramp continues to the SANCTUARY, the smallest space in plan and height.

Below are Osiride statues of Hatshepsut of the upper terrace

Hathor shrine

This shrine is dedicated to the goddess Hathor. Hathor holds special significance in Thebes, representing the hills of Deir el-Bahari, and also to Hatshepsut who presented herself as a reincarnation of the goddess

portico adorned with four columns carrying Hathor capitals.[56][53] The walls of the entrance contain scenes of Hathor being fed by Hatshepsut. Inside are two hypostyle halls, the first containing 12 columns and the second containing 16.

Beyond this are a vestibule containing two columns and a double sanctuary. Reliefs on the walls of the shrine depict Hathor with Hatshepsut, the goddess Weret-hekhau presenting the pharaoh with a Menat necklace, and Senenmut

Anubis shrine

At the north end of the middle terrace is a shrine dedicated to the god Anubis. This shrine is smaller than its counterpart to Hathor in the south. It comprises a hypostyle hall adorned with 12 columns arranged into three rows of four, followed by a sequence of two rooms terminating at a small niche. Images presented on the walls are of offerings and cult activity, with a relief showing Anubis escorting Hatshepsut to the shrine. The name of Anubis was used to designate the heir to the throne,

TOMBS OF NOBLES

TT55, the tomb of Ramose, Vizier of Egypt

is located at the foot of the hill of Sheikh Abd el-Qurnah, not far from the mortuary temple of Ramesses II – the Ramesseum. Its importance lies in its documentation of the funerary changes from Amenhotep III to Amenhotep IV/Akhenaten. Ramose became vizier in the last years of the reign of Amenhotep III and still held this office under Amenhotep IV/Akhenaton.

The suppression of the god Amun under Akhenaten led to damage to this tomb, as happened elsewhere. "This damage was crudely rectified, in deep-set relief, and faced up with liquid plaster in the clumsiest possible way" after the Amarna period, when the names and images of Akhenaten and Nefertiti were in turn erased. Ramose himself does not seem to have suffered the same fate; his family may have been too influential.

Leading down to the large forecourt of the tomb was a broad stairway of 25 steps cut out of the rock. A ramp down the middle of these steps was for the lowering of a sarcophagus. large columned hall. Four rows of eight papyrus-bundle columns once supported the roof. Only bases or stumps remain.

These reliefs are among the finest and most careful creations in Egypt. ... note the carefully sculpted faces, opulent perfect rippled wigs, luxurious necklaces

Columned hall

The tomb of Userhat , TT56

Userhat was a civil servant of middle-upper class in the middle of the 18th Dynasty, the period corresponding to the end of the reign of Amenhotep II, with a likely movement towards that of Thutmosis IV.

His tomb TT56 is located towards the bottom of the hill of Sheikh Abd el-Qurna, corresponding to his social status.

. Its shape and its decoration are classic, but of a remarkable execution, the height of funeral craftsmanship of the time. It owes this in particular to two famous scenes, the one of the barbers, and the one of the chariot hunt

On the left, is the continuation of the capture of the birds: Userhat and Mutneferet are seated on a wide chair with a high back. This is raised up on a mat and under them are two different shaped vessels. Userhat is dressed as many time before, a short white kilt and a long transparent over-garment. He wears a broad necklace and bracelets, but in addition he has a pendant necklace. From the lotus flower in his left hand he inhales the perfume. Mutneferet wears her long white dress, although, due to the extensive damage, it is impossible to see her upper body. What can be seen is that she wears a headband. Behind the couple, on the north wall, are the three handmaids already mentioned. The colours of these three is almost totally lost, but it is still possible to see that the first one holds sandals or a fan in her hand, the next holds her hands to the shoulders of the one in front of her, the third carries a ointment pot with a long neck.

In front of Userhat and his wife is a large table, stacked with offerings, at the other side of which two men present some ducks; five for the first and three for the second, who also carries two long papyrus bouquets. Three other ducks stand on a small table, between the large table and the first of the men (all the birds are alive, and there are no dead ones on the pile of offerings). These ducks represent the catch from the associated scene to the right.

The accompanying text is inscribed on 12 columns and a horizontal line; although very much erased, the sense is comprehensible, namely that it is the capture of the birds using a capture-net which is displayed

The end wall: The whole wall is centred by a pseudo false door stela, the false door acts as a magic passage, providing communication between the terrestrial world and the beyond. the deceased made through these scenes his rites of passage, which includes the one of "the opening of the mouth"

Pic below is one of the most famous and rare of the Egyptian paintings, and show an activity which is commonplace in all the armies of the world: the cutting of the hair of the soldiers

The other recruits wait for their turn. The men are all seated, some on the floor, others on fixed stools or folding stools (nevertheless, in principle they are considered as chairs of nobles). Under the large tree, two men take a nap, whilst to their right, two others share a folding stool

The upper registers show the recruits which, empty bag in hand, come to look for what is due them at the entry of the warehouse Order is maintained thanks to the officers provided with sticks, who make them wait in two parallel lines . In the third register, two trees have been added by the artist to break the monotony.

The clothing allows the soldiers to be distinguished one from another. The recruits of the top two registers are clothed in a short kilt with a netting attachment (possibly of leather), those in the lower of the three registers wear a slightly longer, split kilt. The officers wear a plain white kilt and a transparent vest, those of the top row also wear a long transparent skirt over the kilt; the better quality clothing of the officers allows them to be recognised immediately.

There are two officers standing among the recruits of the top register. Perhaps the officer on the right is Userhat, since two recruits "kiss the ground" in front of him.

on the right The recruits on duty are in the warehouse and head toward the exit, heavily laden with breads which are going to be distributed. A supervisor, who is much shorter than the recruits, is provided with a whip with two thongs, to ensure that all happens correctly.

The west wall is dedicated to the funeral ceremony, with its various processions and rituals, including the pilgrimage to Abydos. It can be divided in two parts: in the upper registers is the procession of the actual funeral ceremony, on the bottom register, the river pilgrimage to Abydos

https://www.osirisnet.net/tombes/nobles/ous56/e_ouserhat56_05.htm

The scene of hunting by chariot in the desert

This scene, which is at the entry end of the east wall, is famous, and has been frequently reproduced because of its quality and its originality, the creation of a true master

Userhat is standing in a chariot, the reins wrapped around his waist, leaving his hands free for the hunt. In reality, and certainly in battle, it would have been controlled by a charioteer. The chariot is a light model, the same as that used for fighting (the Egyptians didn't use any heavy chariots). Its sides are made of curved pieces of wood, while the bottom and front parts are in basket-work. The main body rests on the axis, with wheels having four spokes. The connection of the spokes to the hub and rim are made using leather thongs, which are indicated by a difference in colour (light brown against the red-brown of the wood). The chariot is pulled by two powerful horses, represented in red and white, whose manes are especially well groomed. The artist tried to show the horses in a powerful and characteristic attitude: the head is raised, the back arched, the prominent hindquarters, with a curvature like that of the mane. Notice that here, as in other tombs, the ancient Egyptians never really knew how to represent the horse, an animal which appeared during the Second Intermediate Period (about 1700-1550 BC), and they were therefore relatively new to them. Nevertheless, the pair shown here clearly give the impression of galloping, which reflects the hunter's haughty attitude, contrasting strongly with the disorderly view of the game in flight.

The real interest of the scene is in the way in which the wild game is represented. The action takes place in the desert, the environment of which is shown by the rarity of vegetation, by the dark brown tones of the horse and the archer and the paler red-brown tones of the game. The artist has carefully eliminated the green and blue colours.

The fauna has been achieved looking amazingly natural. How different from the Old Kingdom where the quarry was represented as a static sample; also the enclosures or nets which delimited real reserves of game are no longer portrayed.

Only animals without horns are represented here, fleeing in an indescribable panic in front of the rain of projectiles which fall on them. Again the artist accentuated the effect by outlining some of the bodies in red, but not all of them. Two injured hares jump under the stomach of the horses, whilst a third lies on the ground, dead. Gazelles bound in all directions while trying to flee; some are wounded, the others, already dead or in pain, lie on the ground. Two hyenas are represented under the horses; one runs away while the other, already struck by arrows, turns around, its open mouth flowing with blood

The scenes of bird hunting and fishing in the marshes

The scene of fishing with the harpoon

Real event and/or symbolic ?

The interpretation of this hunt scene, as with the bird catching and fishing scenes which follow, could be seen on two levels. On the one hand, to consider them as an evocation by the deceased of the joy of hunting, and of his desire to relive these sensations in the beyond. Did Userhat really participate in this kind of sporty hunt during his life? It is possible, but not certain.

Besides, this scene appears in the deep part of funerary chapel.it appears more likely to consider these scenes as essentially apotropaic (apotropaic = intended to ward off evil or dangerous influences).

The animals of the desert live in a hostile environment, uncontrolled by the Egyptian man, an environment where Ma'at, "order" doesn't reign, but her opposite, Isfet, "disorder", not orderly chaos.

The animals specific to this environment therefore represent a potential danger, and are comparable to the hostile forces of chaos which, in the beyond, are going to try to stop Userhat from accomplishing his post-mortem destiny to which he aspires. They must therefore be destroyed

Hunting birds in the marshes

TT100, the tomb of REKHMIRE

Coming from a powerful family that had already supplied before him at least two Viziers to Egypt, Rekhmire occupied the Viziership under Thutmose III and remained there in turn until the first part of the reign of Amenhotep

His tomb (or rather its chapel), TT100, is carved at the base of the hill of Sheikh Abd el-Qurna. It is exceptional, and historically important for its pictorial quality, especially in the texts it contains, which explain the various functions and responsibilities of the Vizier as well as his duties. It also contains magnificent scenes of foreign peoples’ payment of tribute and the most comprehensive version of the ritual of opening the mouth in all the Theban tombs

Rekhmire was never buried in the TT100. And for a very good reason! The tomb was never intended from the outset to receive a burial since there is no burial vault. The Vizier may have wanted, like the Pharaohs of the time, to separate a chapel of worship from his burial

Below are processions that are bringing to the Vizier produce of the cities south and and north of Thebes (regions called "The head of Upper Egypt", which reach from Elephantine to Assiut). These regions, north and south, comprise of 40 tax districts each (a total of 80). Each of the 80 district officials brings its contribution, livestock, agricultural and other products, but also frequently in rings or necklaces of gold and silver. Above each of the officials, is a legend whose title indicates, its district and its contribution in precious metals expressed in deben (1 deben = 91g) or its multiples. One of the duties of Rekhmire is to control the proper reception of these products.

Thutmose III, a conquering king, greatly expanded the borders of Egypt and placed the Egyptians in contact with, for them, new peoples. The parade below is an annual ceremony at which foreign nations' contributions are presented to Pharaoh in the presence of his Vizier who will be responsible for recording and storing them.

from top to bottom, the tributes of, and ambassadors from, 1) of Punt, 2) the Aegean world, 3) Nubian peoples, 4) Syrian populations and finally in 5) Nubian and Syrian captives accompanied by women and children.

TT96, the tomb of SENNEFER

Sennefer was "Mayor of the City" (i.e. Thebes) and "Overseer of the Granaries and Fields, Gardens and Cattle of Amun" during the reign of Amenhotep II of the Eighteenth Dynasty

He was buried in a small but well decorated tomb (TT96, sometimes known as the "Tomb of the Vineyards" ... a large part of the ceiling of the burial (or coffin) chamber and all of that of its antechamber are decorated to give the impression of standing under an overhanging vine arbour, hung with large bunches of grapes.

two registers of porters carry grave goods towards the seated figure of Sennefer, The already delivered goods, placed on a small table at the start of the upper register, is a necklace and two bracelets. The porters in turn carry: two necklaces, sandals, a band of material, two funerary statuettes, a cartonnage mask, a heart-shaped vase, two chests and a basket

The link between Sennefer's responsibility for the garden of Amun, with its central vineyard, can now be appreciated.

Below, on the left (the cultic east) the deceased and Meryt are shown worshipping Osiris and Anubis, whilst at the centre the scene illustrates Chapter 151 of the Book of the Dead. Finally, on the right, Sennefer and Meryt are being purified by a sem-priest.

The grape vine arbour decoration of the ceiling, which is above the full length of this wall, extends down into the three scenes.

The area to the left contains one scene, that of an offering made to the couple by a sem-priest.

a sem-priest, dressed in his usual leopard skin, burns incense and makes a libation offering to Sennefer and Meryt. In his hands he holds a censer and hes-vase with which he pours a libation over the smaller of two offerings heaped with various kinds of food. The larger, which is nearest to Sennefer, is piled on top of a tall single pillar stand, whilst the other is on a low table.

Between the priest and the smaller table is a vertical line of inscription: "1000 breads, 1000 beers, 1000 cattle, 1000 fowl, 1000 of all good and pure things for your ka-soul.".

Another small text exists between the pillar of the larger offering and Sennefer's legs and just states: "A daily offering for your ka, Mayor Sennefer, justified".

On the right the area contains two scenes, each containing only Sennefer and Meryt.

below is a tall altar on top of which are five lotus flowers. Three of these are still in bud and two in full bloom. The support of this alter is bound with a ribbon. On either side, in the role of life and death, is a building on which reclines a jackal, with a ribbon around its neck. This jackal is identified in the text above the lotus flowers as: "Anubis, who is in the Place of Embalming, Lord of the Necropolis".

The pylons on which Anubis reclines represent the two horizons, which separates this world from the next. On one side, the western mountains where the sun and life disappears; on the other side, the eastern mountains connect with the rising sun and thus representing the side of renewed life.

Below the two images of Anubis on his pylon, the doorway is decorated with six texts in the form of the offering formulae.

Here Sennefer and Meryt are represented twice in two unrelated scenes.

In the scene closest to the exit doorway, Meryt stands behind Sennefer. They are portrayed, according to the text, as "going out for the day".

the next scene represents the couple seated The columns of text, which begin in front of Sennefer and extend above the couple, is in the usual form of an offering formula: "An offering which the king gives to Osiris, Ruler of Eternity, that he may give invocation offerings of bread, beer, oxen and fowl, everything good and pure, all which goes forth upon his altar in the course of every day, for the Ka of the Mayor of the Southern City, Sennefer, justified; (and) his companion, his beloved, the chantress of Amun, Meryt

a sem-priest performs the purification of Sennefer and wife Meryt using a nemset-jar, from which two streams of sacred water flow

He is clothed in the panther skin of the sem-priest, worn over a white kilt. Holding a nemset vessel in his hands, from which escapes a stream of water which flows over Sennefer and his wife.

He invokes (in the text located above and behind him) in turn: Horus, god of the south, Seth, god of the north, Thoth, god of the west, and Sepa, god of the east. Sepa, a less known god, whose name means centipede

PILLARS

there are pillars in the symbolic west (the rear of the chamber) and the south (the left-hand side of the chamber on entry)

In the pillar below is the performance of purification, part of the ceremony of the 'Opening of the Mouth' (as mentioned previously, the actually ceremony is not shown in the tomb).

The purification is carried out by four priests, two on either side. The purification streams of water flow upwards from the nemset-jars held by the priests, forming a dual covering over Sennefer, and descending to his feet.

Sennefer stands on a sandy hill in the form of a "mountain" hieroglyph. The valley is filled (like a lake or stream) with the hieroglyph for "festival", of which three more are displayed above his head, but placed upside down. Thus there are four "festival" hieroglyphs to match the number of priests and streams of purifying water. The four officiants are identified by their status: top left - "chief lector priest", top right - "priest", bottom left and right - "lector priest". They each stand at one of the four cardinal points.

The double heart, one silver and one gold, hangs against Sennefer's chest and golden jewelry once again decorates his neck and arms. He holds a baton horizontally in front of him with both hands

. Here, Sennefer is seated and Meryt, who is standing, presents to him a bowl of incense (myrrh)

Below, in the pillar Meryt brings Sennefer lotus blossoms. He wears no vest, but wears a broad gold necklace and four gold bracelets. he holds a lotus blossom to his nose, to enjoy its fragrance. A small female kneels at the side of Sennefer's chair, on a mat, grasping his leg