| The public galleries of the British Museum, London |
Stela of Penbuwy
From Deir el-Medina at Thebes
British museum EA 1466
This stela was made by Penbuwy in honour of the god
Ptah, who is shown at the top left, seated in a
shrine before a table heaped with food offerings.
The ears shown around the figure of the god were
included in the hope that they would enable the god
to hear the prayers addressed to him. Penbuwy was
a member of the workers gang responsible for the
construction of the royal tombs. He is shown at the
bottom right.
From Deir el-Medina at Thebes
British museum EA 1466
This stela was made by Penbuwy in honour of the god
Ptah, who is shown at the top left, seated in a
shrine before a table heaped with food offerings.
The ears shown around the figure of the god were
included in the hope that they would enable the god
to hear the prayers addressed to him. Penbuwy was
a member of the workers gang responsible for the
construction of the royal tombs. He is shown at the
bottom right.
The page was last modified on September 28th 2008.
Sources:
1. Strudwick, Nigel: The British Museum masterpieces of ancient Egypt. London : The British Museum Press, 2006.
2. Taylor, John H.: Death and afterlife in ancient Egypt
London : British Museum Press, 2001.
3. Pharaoh's workers : the villagers of Deir el-Medina / edited by Leonard H. Lesko
Ithaca : Cornell University Press, 1994.
4. Shaw, Ian, Nicholson, Paul: British Museum dictionary of ancient Egypt
London: British Museum Press, 1995.
5. McDowell, A.G.: Village life in ancient Egypt : laundry lists and love songs
Oxford : Oxford University Press, 1999.
6. Janssen, Rosalind: Growing old disgracefully at Deir el-Medina In Ancient Egypt, December 2004/January 2005, pp.
39-44.
7. Janssen, Rosalind: The old women of Deir el-Medina: Paper delivered at the Institute, 8 December 2006. In Buried
history: The journal of the Australian Institute of Archaeology, 2006, Vol. 42, p. 3-10.
8. James, T.G.H.: Pharaoh's people : scenes from life in Imperial Egypt
New York : Tauris Parke, 2003.
9. Bierbrier, Morris : The tomb-builders of the pharaohs
Cairo : The American University in Cairo Press, 1982.
10. Davies, Benedict G.: Who's who at Deir el-Medina : a prosopographic study of the royal workmen's community
Leiden : Nederlands Instituut voor Her Nabije Oosten, 1999
11. Strudwick, Nigel and Helen: Thebes in Egypt : a guide to the tombs and temples of ancient Luxor
London : British Museum Press, 1999.
12. Weeks, Kent R.: The treasures of Luxor and the Valley of the Kings
Cercelli : White Star Publishers, 2005
13. Museum's website at www.thebritishmusuem.ac.uk
14. The British Museum's gallery labels
1. Strudwick, Nigel: The British Museum masterpieces of ancient Egypt. London : The British Museum Press, 2006.
2. Taylor, John H.: Death and afterlife in ancient Egypt
London : British Museum Press, 2001.
3. Pharaoh's workers : the villagers of Deir el-Medina / edited by Leonard H. Lesko
Ithaca : Cornell University Press, 1994.
4. Shaw, Ian, Nicholson, Paul: British Museum dictionary of ancient Egypt
London: British Museum Press, 1995.
5. McDowell, A.G.: Village life in ancient Egypt : laundry lists and love songs
Oxford : Oxford University Press, 1999.
6. Janssen, Rosalind: Growing old disgracefully at Deir el-Medina In Ancient Egypt, December 2004/January 2005, pp.
39-44.
7. Janssen, Rosalind: The old women of Deir el-Medina: Paper delivered at the Institute, 8 December 2006. In Buried
history: The journal of the Australian Institute of Archaeology, 2006, Vol. 42, p. 3-10.
8. James, T.G.H.: Pharaoh's people : scenes from life in Imperial Egypt
New York : Tauris Parke, 2003.
9. Bierbrier, Morris : The tomb-builders of the pharaohs
Cairo : The American University in Cairo Press, 1982.
10. Davies, Benedict G.: Who's who at Deir el-Medina : a prosopographic study of the royal workmen's community
Leiden : Nederlands Instituut voor Her Nabije Oosten, 1999
11. Strudwick, Nigel and Helen: Thebes in Egypt : a guide to the tombs and temples of ancient Luxor
London : British Museum Press, 1999.
12. Weeks, Kent R.: The treasures of Luxor and the Valley of the Kings
Cercelli : White Star Publishers, 2005
13. Museum's website at www.thebritishmusuem.ac.uk
14. The British Museum's gallery labels
Stela depicting a deceased person
British Museum EA 372
19th dynasty, about 1295-1186 BC
From Deir el-Medina
Painted limestone
Pennub and Khamuy, who are
described as "able spirits of Ra".
British Museum EA 372
19th dynasty, about 1295-1186 BC
From Deir el-Medina
Painted limestone
Pennub and Khamuy, who are
described as "able spirits of Ra".
Stela dedicated to "the Osiris, the able spirit of Ra"
19th dynasty, about 1295-1186 BC
EA 359
From Deir el-Medina
Painted limestone
Pennub and Khamuy, who are described as "able spirits of Ra".
The seated persons hold lotus flowers in their hands.
19th dynasty, about 1295-1186 BC
EA 359
From Deir el-Medina
Painted limestone
Pennub and Khamuy, who are described as "able spirits of Ra".
The seated persons hold lotus flowers in their hands.
Sarcophabus of Ankhnesneferibre
British Museum EA 32
26th dynasty, about 530 BC
From Thebes. Found by the French expedition in the rock tomb above Deir el-Medina in 1832.
Ankhnesneferibre was the last "God's Wife of Amun" or "divine adoratrice of Amun" before the Persian
conquest of 525 BC. She was a daughter of Psamtek II (595-589 BC). Although the sarcophagus was
found in so called "tombs of Saite princesses" at Deir el-Medina, Ankhnesneferibre and several other
women with the same title had tomb chapels at Medinet Habu, in front of the Ramesses III's temple.
The sarcophagus was reused in Roman times by Amenhotep Pamontu, a priest of the late Ptolemaic or
early Roman period, whose brother Montuzaf was buried elsewhere in the necropolis. Amenhotep Pamontu
added the inscription around the upper edge of the sarcophagus base. He also added his own name in the
princess's cartouches and changed the pronouns in the text. The lid shows the princess clasping the royal
crook and flail, symbolising her powerful position in Thebes. The office of divine adoratrice became a focus
of power and influence during the Late period.
The inscriptions represent a variety of religious texts. They include parts from the Pyramid Texts, the
Book of the Dead, several mythological texts, recitations from funeral rites, magical texts, a hymn to
the sun, and hourly rituals for a vigil over the deceased, as well as offering formulas. The combination is
unparalleled elsewhere.
Length : 259 cm
British Museum EA 32
26th dynasty, about 530 BC
From Thebes. Found by the French expedition in the rock tomb above Deir el-Medina in 1832.
Ankhnesneferibre was the last "God's Wife of Amun" or "divine adoratrice of Amun" before the Persian
conquest of 525 BC. She was a daughter of Psamtek II (595-589 BC). Although the sarcophagus was
found in so called "tombs of Saite princesses" at Deir el-Medina, Ankhnesneferibre and several other
women with the same title had tomb chapels at Medinet Habu, in front of the Ramesses III's temple.
The sarcophagus was reused in Roman times by Amenhotep Pamontu, a priest of the late Ptolemaic or
early Roman period, whose brother Montuzaf was buried elsewhere in the necropolis. Amenhotep Pamontu
added the inscription around the upper edge of the sarcophagus base. He also added his own name in the
princess's cartouches and changed the pronouns in the text. The lid shows the princess clasping the royal
crook and flail, symbolising her powerful position in Thebes. The office of divine adoratrice became a focus
of power and influence during the Late period.
The inscriptions represent a variety of religious texts. They include parts from the Pyramid Texts, the
Book of the Dead, several mythological texts, recitations from funeral rites, magical texts, a hymn to
the sun, and hourly rituals for a vigil over the deceased, as well as offering formulas. The combination is
unparalleled elsewhere.
Length : 259 cm
Wennekhu's stela
British Museum EA 1248.
Limestone
Probably from Deir el-Medina
The stela is showing Wennekhu and
Penpakhenty worshipping the sun
god. The sun god is represented as
a falcon-headed mummiform
figure, seated in the solar barque.
British Museum EA 1248.
Limestone
Probably from Deir el-Medina
The stela is showing Wennekhu and
Penpakhenty worshipping the sun
god. The sun god is represented as
a falcon-headed mummiform
figure, seated in the solar barque.
Hieratic ostrakon
British Museum EA 41541
From Deir el-Medina
20th dynasty, about 1160 BC
This poem is a rare example of a literary work by
a known individual. It was probably circulated
among the village literati as well as being used as
a copying exercise for Amennakht's apprentices.
Red points mark the ends of lines of verse.
"Beginning of the instruction, the verses for the
way of life, made by the scribe Amennakht for
his apprentice Hormin; he says: You are a man
who listens to a speech to separate good from bad
- attend and hear my speech! Do not neglect what
I say!"
Height: 20.5 cm
Lenght: 16 cm
Acquired in 1905.
British Museum EA 41541
From Deir el-Medina
20th dynasty, about 1160 BC
This poem is a rare example of a literary work by
a known individual. It was probably circulated
among the village literati as well as being used as
a copying exercise for Amennakht's apprentices.
Red points mark the ends of lines of verse.
"Beginning of the instruction, the verses for the
way of life, made by the scribe Amennakht for
his apprentice Hormin; he says: You are a man
who listens to a speech to separate good from bad
- attend and hear my speech! Do not neglect what
I say!"
Height: 20.5 cm
Lenght: 16 cm
Acquired in 1905.
Ostrakon bearing an attendance record of workmen
British Museum EA 5634
From Deir el-Medina
19th Dynasty, year 40 of Ramesses II, about 1239 BC
Limestone
Black and red ink
This large ostrakon bears hieratic writing on both sides. At the top of the first side the date is given
as "year 40". As the handwriting was determined to be of the Ramesside Period, this must refer to
the fortieth year of Ramesses II's reign, about 1239 BC. It is clear from the contents that the list
is a summary of workmen's absences from their duties. 280 days of that year are registered. Only
about 70 of these days seem to have been full working days. Aside from holidays and other
non-working periods, by Year 40 of Ramesses's reign the royal tomb would have been substantially
finished, and it is possible that men were taken off onto other projects, for example, to the tombs of
queens in the Valley of the Queens.
A list of forty names is arranged in columns of hieratic script on the right-hand edge of each side. To
the left are dates written in black in a horizontal line. The reasons for absences are written above
the dates in red ink. They are varied and give us a fascinating insight into some aspects of life in
ancient Egypt. Illness figures prominently; a couple of examples of illnesses of the eyes are mentioned.
There is another example of a man absent after being stung by a scorpion. One workman functioned as
a doctor and was often away attending on others. Absences due to deaths of relatives are recorded,
as are also references to purification rituals surrounding childbirth. A workman was absent bandaging
(less likely mummifying) his colleague Hormose. Frequently a day missed is down to a man 'being with
his boss'; other sources show that workmen did frequently do work for their superiors. Occasionally a
man is away 'building his house', or at 'his festival', and there are even examples of drinking, in
particular 'drinking with Khonsu'. There is mention of a Khenherkhepshef, who is also alluded to as
'the scribe' in several places. Many of these persons mentioned here are known from other documents
of this period.
It is thought that on a day-to-day basis the scribes of the tomb would write daily notes on small
flakes of stones and then compile more formal accounts for the administrative records, the result of
which would have been this large ostrakon.
Height: 38.5 cm
Width: 33 cm
British Museum EA 5634
From Deir el-Medina
19th Dynasty, year 40 of Ramesses II, about 1239 BC
Limestone
Black and red ink
This large ostrakon bears hieratic writing on both sides. At the top of the first side the date is given
as "year 40". As the handwriting was determined to be of the Ramesside Period, this must refer to
the fortieth year of Ramesses II's reign, about 1239 BC. It is clear from the contents that the list
is a summary of workmen's absences from their duties. 280 days of that year are registered. Only
about 70 of these days seem to have been full working days. Aside from holidays and other
non-working periods, by Year 40 of Ramesses's reign the royal tomb would have been substantially
finished, and it is possible that men were taken off onto other projects, for example, to the tombs of
queens in the Valley of the Queens.
A list of forty names is arranged in columns of hieratic script on the right-hand edge of each side. To
the left are dates written in black in a horizontal line. The reasons for absences are written above
the dates in red ink. They are varied and give us a fascinating insight into some aspects of life in
ancient Egypt. Illness figures prominently; a couple of examples of illnesses of the eyes are mentioned.
There is another example of a man absent after being stung by a scorpion. One workman functioned as
a doctor and was often away attending on others. Absences due to deaths of relatives are recorded,
as are also references to purification rituals surrounding childbirth. A workman was absent bandaging
(less likely mummifying) his colleague Hormose. Frequently a day missed is down to a man 'being with
his boss'; other sources show that workmen did frequently do work for their superiors. Occasionally a
man is away 'building his house', or at 'his festival', and there are even examples of drinking, in
particular 'drinking with Khonsu'. There is mention of a Khenherkhepshef, who is also alluded to as
'the scribe' in several places. Many of these persons mentioned here are known from other documents
of this period.
It is thought that on a day-to-day basis the scribes of the tomb would write daily notes on small
flakes of stones and then compile more formal accounts for the administrative records, the result of
which would have been this large ostrakon.
Height: 38.5 cm
Width: 33 cm
| Shabti of Khenherkhepshef British Museum EA 33940 From Deir el-Medina Shabti figures of the New Kingdom (about 1550-1070 BC) were often made of stone, with paint used to give the servant figures a lifelike appearance. This shabti is a particularly fine example. The heavy wig, with gold bands at the ends, rests over an elaborate and colourful collar. The red-brown colour of the face indicates that the figure is male. Ancient Egyptian women were usually depicted with paler skin, implying that they did not have to go out and work in the harsh sunlight. |
The white on the shabti's arms and lower
body show that the figure is mummified,
identifying it with the god Osiris, who is
also shown with his arms crossed over his
chest. While the god holds the crook and
flail symbolizing kingship, the shabti holds
two hoes, denoting agricultural labour.
Shabti figures were intended to work on
behalf of the deceased in the Afterlife,
activated by a spell. Here the shabti spell
is skilfully painted in horizontal lines of
black around the figure. The hieroglyphic
text begins with Khenherkhepshef''s name
and title, 'Scribe in the Place of Truth'
(the royal necropolis (cemetery).
Height: 29.3 cm
Width: 8.7 cm
Depth: 5.3 cm
body show that the figure is mummified,
identifying it with the god Osiris, who is
also shown with his arms crossed over his
chest. While the god holds the crook and
flail symbolizing kingship, the shabti holds
two hoes, denoting agricultural labour.
Shabti figures were intended to work on
behalf of the deceased in the Afterlife,
activated by a spell. Here the shabti spell
is skilfully painted in horizontal lines of
black around the figure. The hieroglyphic
text begins with Khenherkhepshef''s name
and title, 'Scribe in the Place of Truth'
(the royal necropolis (cemetery).
Height: 29.3 cm
Width: 8.7 cm
Depth: 5.3 cm
Headrest of Khenherkhepshef
British Museum EA 63783
From Deir el-Medina
19th Dynasty, around 1225 BC
Limestone
The limestone funerary headrest is
decorated with figures of Bes. The
god's terrifying appearance and
the snakes and a spear that he is
waving were intended to drive
away night demons.
Height: 18.8 cm
Width: 23 cm
Depth: 9.7 cm
British Museum EA 63783
From Deir el-Medina
19th Dynasty, around 1225 BC
Limestone
The limestone funerary headrest is
decorated with figures of Bes. The
god's terrifying appearance and
the snakes and a spear that he is
waving were intended to drive
away night demons.
Height: 18.8 cm
Width: 23 cm
Depth: 9.7 cm
Hieratic papyrus
British Museum EA 10731
19th dynasty, about 1200 BC
From Deir el-Medina
A charm written in Khenherkhepshef's distinctive
cursive hand. The sheet was folded and worn around
the neck. The text is a spell against a demon called
Sehaqeq whose eyes are in his head, whose tongue is
in his backside.
British Museum EA 10731
19th dynasty, about 1200 BC
From Deir el-Medina
A charm written in Khenherkhepshef's distinctive
cursive hand. The sheet was folded and worn around
the neck. The text is a spell against a demon called
Sehaqeq whose eyes are in his head, whose tongue is
in his backside.
Fragment of wall painting from the
tomb of Kynebu at Deir el-Medina:
the deified ruler Amenhotep I
British Museum EA 37993
20th dynasty, about 1129-1126 BC
Painted plaster
Height: 44 cm
tomb of Kynebu at Deir el-Medina:
the deified ruler Amenhotep I
British Museum EA 37993
20th dynasty, about 1129-1126 BC
Painted plaster
Height: 44 cm
Fragment of wall painting from the
tomb of Kynebu at Deir el-Medina:
deified Queen Ahmose-Nefertari
British Museum EA 37994
20th dynasty, about 1129-1126 BC
Painted plaster
tomb of Kynebu at Deir el-Medina:
deified Queen Ahmose-Nefertari
British Museum EA 37994
20th dynasty, about 1129-1126 BC
Painted plaster
Fragments of papyrus
British Museum EA 10016.2.
Ramesside Period, 1295-1069 BC.
Perhaps from Deir el-Medina. Fragments of a papyrus showing animals engaged in human activities.
The scenes are humorous parodies of scenes from official and religious art.
British Museum EA 10016.2.
Ramesside Period, 1295-1069 BC.
Perhaps from Deir el-Medina. Fragments of a papyrus showing animals engaged in human activities.
The scenes are humorous parodies of scenes from official and religious art.
Figured ostrakon
British Museum EA 50714.
Ramesside Period, 1295-1069 BC.
Possibly from Deir el-Medina
Limestone
The caption in front of the woman
records her speech :"Calm is the
desire of my skin!"
British Museum EA 50714.
Ramesside Period, 1295-1069 BC.
Possibly from Deir el-Medina
Limestone
The caption in front of the woman
records her speech :"Calm is the
desire of my skin!"
Fragments of wall decoration from the tomb of Amenhotep III.
EA 38500, 38408, 49670,49672. 18th dynasty, reign of Amenhotep III, about 1390-1352 BC.
From the tomb no 22 in the Valley of the Kings.
EA 38500, 38408, 49670,49672. 18th dynasty, reign of Amenhotep III, about 1390-1352 BC.
From the tomb no 22 in the Valley of the Kings.
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| Amennakht, son of Ipuy, was "Scribe of the Royal Tomb" from 1168 BC for thirty years. He was the copyist of legal and administrative texts from Deir el-Medina, including the will of Naunakhte, the widow of Khenherkhepshef. He seems to be the author of five surviving poems, including a lyrical poem about the neighbouring city of Thebes. |
Amennakht's votive stela
British Museum EA 374
20th dynasty, about 1160 BC
From Deir el-Medina
Limestone
The stela records Amennakht's prayer to
the local goddess to remove an affliction
"Praises for your spirit, Meretseger,
Mistress of the West, by the scribe of
the Place of Truth (st-maat), Amennakht
true-of-voice; he says: 'Be praised in
peace, O Lady of the West, Mistress who
turns herself to grace! You made me see
darkness in the day I shall declare Your
power to other people. Be gracious to me
in your grace!'"
British Museum EA 374
20th dynasty, about 1160 BC
From Deir el-Medina
Limestone
The stela records Amennakht's prayer to
the local goddess to remove an affliction
"Praises for your spirit, Meretseger,
Mistress of the West, by the scribe of
the Place of Truth (st-maat), Amennakht
true-of-voice; he says: 'Be praised in
peace, O Lady of the West, Mistress who
turns herself to grace! You made me see
darkness in the day I shall declare Your
power to other people. Be gracious to me
in your grace!'"
Behind the headrest in the picture above there is a photograph showing the front of the papyrus
described below.
Papyrus giving a list of dreams and their interpretations
British Museum EA 10683
From Deir el-Medina
19th Dynasty, around 1275 BC
The meaning of dreams is a subject that fascinated the ancient Egyptians. This hieratic papyrus,
probably dates to the early reign of Ramesses II (1279-1213 BC). On each page of the papyrus a
vertical column of hieratic signs begins: 'if a man sees himself in a dream'; each horizontal line
describes a dream, followed by the diagnosis 'good' or 'bad', and then the interpretation. For
example, 'if a man sees himself in a dream looking out of a window, good; it means the hearing of his
cry'. Or, 'if a man sees himself in a dream with his bed catching fire, bad; it means driving away
his wife'. The text first lists good dreams, and then bad ones; the word 'bad' is written in red,
'the colour of ill omen'. The papyrus had several owners before it was, presumably, deposited in the
cemetery at Deir el-Medina. It is uncertain who the original owner was, but it passed into the hands
of the scribe Khenherkhepshef.
described below.
Papyrus giving a list of dreams and their interpretations
British Museum EA 10683
From Deir el-Medina
19th Dynasty, around 1275 BC
The meaning of dreams is a subject that fascinated the ancient Egyptians. This hieratic papyrus,
probably dates to the early reign of Ramesses II (1279-1213 BC). On each page of the papyrus a
vertical column of hieratic signs begins: 'if a man sees himself in a dream'; each horizontal line
describes a dream, followed by the diagnosis 'good' or 'bad', and then the interpretation. For
example, 'if a man sees himself in a dream looking out of a window, good; it means the hearing of his
cry'. Or, 'if a man sees himself in a dream with his bed catching fire, bad; it means driving away
his wife'. The text first lists good dreams, and then bad ones; the word 'bad' is written in red,
'the colour of ill omen'. The papyrus had several owners before it was, presumably, deposited in the
cemetery at Deir el-Medina. It is uncertain who the original owner was, but it passed into the hands
of the scribe Khenherkhepshef.
On the other side of the papyrus, the
scribe copied a poem about the Battle of
Kadesh, which took place in the reign of
Ramesses II (about 1285 BC). The
Dream Book passed to Khaemamen,
Khenherkhepshef's wife's second
husband, and then to his son Amennakht
(both added their name to the papyrus).
The Dream Book was part of an archive,
including a wide variety of literary,
magical and documentary material, which
passed down through the family for more
than a century.
Height: 34.50 cm
Gift of Mrs. Chester Beatty
scribe copied a poem about the Battle of
Kadesh, which took place in the reign of
Ramesses II (about 1285 BC). The
Dream Book passed to Khaemamen,
Khenherkhepshef's wife's second
husband, and then to his son Amennakht
(both added their name to the papyrus).
The Dream Book was part of an archive,
including a wide variety of literary,
magical and documentary material, which
passed down through the family for more
than a century.
Height: 34.50 cm
Gift of Mrs. Chester Beatty
Ostrakon of a seated king
Found in Ramesses IX tomb in the Valley of the
Kings by the British Pro-consul Henry Salt
Ramesside Period
Limestone
Sketch of the god Amun-Ra, seated on the
throne, facing left towards an offering table.
There is a short hieroglyphic inscription above
and in front of the figure.
Found in Ramesses IX tomb in the Valley of the
Kings by the British Pro-consul Henry Salt
Ramesside Period
Limestone
Sketch of the god Amun-Ra, seated on the
throne, facing left towards an offering table.
There is a short hieroglyphic inscription above
and in front of the figure.
Hieratic ostrakon
British Museum EA 5633
Around 1100 BC
From Western Thebes, possibly Deir el-Medina
Limestone
Black ink with several red lines
Record of goods bought by a woman called
Wekhbet
British Museum EA 5633
Around 1100 BC
From Western Thebes, possibly Deir el-Medina
Limestone
Black ink with several red lines
Record of goods bought by a woman called
Wekhbet
| Ancestor busts Seventy-five examples of small anthropoid or ancestral busts have been revealed during excavations at Deir el-Medina. They generally do not bear any inscriptions. Typically small, they measure from 10 to 25 cm in hight and are made of limestone or sandstone. We can assume that most were originally painted as remains of pigment on some are evident. The gender of the most of the busts is open to question. The figures are referred to as 'ancestor busts'. It is thought that they were placed in the small shrine areas which seemed to form part of private homes, and played a part in the private devotions of the family. Five busts were found in houses at Deir el-Medina, where they could have been placed in wall niches in the first and second rooms. The wall niches are comparable in size, so this seems probable. Rather than representing anyone in particular, the busts anonymous nature suggests that they represent all the ancestors whom the family might wish to commemorate. Another theory is that they represent "the able spirit" of those, who had been authoritative in life, by inference, the older members of the community. In troubled times people turned to them for help, i.e. to a parent still remembered, not to an ancestor of long ago. Some of these must have been older women. Similar objects have been found at fourteen other sites from the central Delta to the Third Cataract. They were found in or near houses as well as in tombs and temples. Whether the context was domestic or religious we cannot be sure, but it is understood that for the worshiper the ancestor busts conjured up memories of a deceased relative. |
Stela with inset ancestor bust
British Museum EA 270
19th dynasty, about 1295-1186 BC
Probably from Deir el-Medina
Limestone
This unusual monument incorporates two
miniature ancestral busts above a scene
showing the dedicator (name lost) worshipping
another bust.
British Museum EA 270
19th dynasty, about 1295-1186 BC
Probably from Deir el-Medina
Limestone
This unusual monument incorporates two
miniature ancestral busts above a scene
showing the dedicator (name lost) worshipping
another bust.
Ancestor bust
British Museum EA 73988
19th dynasty, 1295-1186 BC
Limestone
Provenance unknown
British Museum EA 73988
19th dynasty, 1295-1186 BC
Limestone
Provenance unknown
Ancestor bust
British Museum EA 61083
Said to be from Thebes, Egypt
19th or 20th Dynasty, 1300-1150 BC
Painted limestone
Features are carefully modelled, face, wig and
wsh collar (a "broad" collar, a form of necklace)
are painted.
Height: 24.5 cm
Width: 15.5 cm
Thickness: 9 cm
British Museum EA 61083
Said to be from Thebes, Egypt
19th or 20th Dynasty, 1300-1150 BC
Painted limestone
Features are carefully modelled, face, wig and
wsh collar (a "broad" collar, a form of necklace)
are painted.
Height: 24.5 cm
Width: 15.5 cm
Thickness: 9 cm
| Over 50 stelae from Deir el-Medina testify to the existence of household cults devoted to deceased relatives who had become akhu. The spirits could be dangerous if offended, and the offerings to the akhu were both propitiatory and reverential. |
| Aprentice scribe's copy of Kemyt Ramesside Period, 1295-1069 BC Possibly from Deir el-Medina British Museum EA 5640 The work named Kemyt (The Compendium), an Egyptian word meaning "what completes, completion", or "what is completed", is mentioned in the 12th dynasty's (circa 1950 BC) The Satire of Trades, so it must be older than that, suggesting Kemyt was a standard text in the 12th dynasty. The greetings in Kemyt, found at the beginning of a letter it contains, are characteristic of formal letters dated to the 11th dynasty (circa 2000 BC), where the origin can be derived. The surviving copies are written in vertical columns divided by spacing lines, in red paint, rather than in horizontal lines written from right to left, which was the norm during the New Kingdom. The appearance of the signs used is old fashioned, characteristic of early Middle Kingdom period. Why have more ostraka with portions of Kemyt survived than those bearing parts of any other literary text? There might be several reasons for that: the text of Kemyt is not particularly interesting (it is a model letter), so perhaps it was in its simplicity and in its lack of difficulties for the young scribe that it could have been used for scribal beginners. It could have been used as the first reader from which the student learned to handle the hieratic script both in reading and writing. Thanks to its standard formulae and expressions the exercise was easy to learn and hard to forget making the work ideal for instructional purposes. The signs on this limestone ostrakon are rather clumsily written. The opening greeting, known to thousands of ancient schoolboys, reads: |
| Your state is like living a million times! May Montu lord of Thebes act for you, Even as this servant desires! May Ptah South of his Wall sweeten your heart with (life), very (much)! |
| Objects originating from the location of Deir el-Medina displayed in the public galleries of the museum |
| One of the forms, deceased ancestors were commemorated through, were small stelae. These were usually round-topped or pointed. Some of them bore the figures of deceased individuals, identified as revered ancestors by the epithet Akh-iker-en-Re, "the able spirit of Ra". The akh-spirits were the blessed dead, those who had attained a seat in the sun-bark of the god Ra. Their magical powers protected them from the dangers of the afterlife. They could also use them for or against the dead and the living. To become an akh (plural akhu) one had to know the magic spells, perform funerary rites and have the gods, especially Ra, intervene on one's behalf. |
Fragment of a stela of Neferabu
19th dynasty
Limestone
From Deir el-Medina
British Museum EA 1754
Acquired in Luxor
Height: 17.5 centimetres
Length: 52 centimetres
Location: Gallery 63/11
19th dynasty
Limestone
From Deir el-Medina
British Museum EA 1754
Acquired in Luxor
Height: 17.5 centimetres
Length: 52 centimetres
Location: Gallery 63/11
| Neferabu was a worker from Deir el-Medina, active in the necropolis at some point during the first half of the 19th dynasty. His activity can definitely be pinned down to years 36 and 40 of Ramesses II. Neferabu's title was "The servant in the Place of Truth". The stela below may have come from his tomb TT5 or perhaps from one of the shrines at Deir el-Medina. The relief shows the sons and relations of the deceased and the draftsman Pabaki, the draftsman Pashedu and the scribe Ipu, carrying assorted funerary goods to place in his tomb. These include various boxes and stools. The tomb of Neferabu (TT5) offers an excellent platform on which we can try to construct his family tree. Neferabu was apparently the son of "The servant in the Place of Truth" Nefferonpet and Mahi. Despite the fact that Amenmose is referred to as the "father" of Neferabu in TT5, it can be shown that he was in fact the father of Neferabu's wife Ta-Isis (or Isis). There are a number of other stelae and objects from this tomb in the British Museum. The stela below is in good but incomplete condition. In literature it is always cited together with stela 150 (as BM 150+1754). Published by Kitchen in Rammesside Inscriptions, Vol 3, p. 774, Part of 154. Also published in The BM hieroglyphic texts from Egyptian stelae etc., edited by T. G. H. James, Part 9: Plate XXX Registration number: 1931,0613.11 |
| The cult of Amenhotep I From the 18th dynasty onwards, the main focus of religious worship of the population of Deir el-Medina was the cult of Amenhotep I, particularly in the form of "Lord of the village", together with his mother Ahmose-Nefertari. Amenhotep I Djeserkare (1525-1504 BC) was the second pharaoh of the 18th dynasty. He was probably still very young when he came to the throne, so it is likely that his mother, queen Ahmose-Nefertari (c.1570-1505 BC) served as regent for the first part of his reign. They are jointly credited with the foundation of Deir el-Medina, where they consequently enjoyed personal religious cults until the late Ramesside Period. Apart from the modest temple dedicated primarily to the couple, they were secondary honourands in the chapels of other gods as well. The deified king had many feasts during the year at which his statue was carried in procession by the wab priests. The feasts were fairly regular events and were usually part of religious festivals connected with the cult. One festival involved the carrying of Amenhotep I's statue into the Valley of the Kings, another may have been associated with the anniversary of his death. The deified king was called upon to resolve disputes, particularly the ones involving properties. In these oracles, the image of the god, Amenhotep I, responded positively or negatively to questions put to him. Since the priests of this particular cult came from the workmen themselves, the response would be some form of consensus between the priests who were carrying the divine image. The god's oracular pronouncements, however they were made, had great weight, and his processions were a high point in Deir el-Medina's life. The textual and representational evidence associated with their cult at Deir el-Medina may be seen in cult statues, votive stelae, libation basins, paintings and inscriptions in tombs and on ostraka. More than fifty of the Theban tombs of private individuals include inscriptions mentioning Ahmose-Nefertari's name. Below are samples of representations of the deified couple. All originate from Deir el-Medina and are now housed in the British museums. |
A Letter from Tjaroy's son
British Museum EA 10284
20th dynasty, 1071 BC
From Thebes
In this letter Tjaroy's son Butehamun expresses his concern
for his father to the Priest of Hathor and
Troop-Commander Shedsuhor, who was with him on an
expedition to Nubia.
"Indeed you are good, and my father belongs to you. Be a
pilot for the Scribe of the Royal Tomb Tjaroy! You know he
is a man who has no courage of his own at all, since he has
never made such journeys as now. Help him in the boat! Look
after him with vigilance at evening as well, while he is in
your hands!"
British Museum EA 10284
20th dynasty, 1071 BC
From Thebes
In this letter Tjaroy's son Butehamun expresses his concern
for his father to the Priest of Hathor and
Troop-Commander Shedsuhor, who was with him on an
expedition to Nubia.
"Indeed you are good, and my father belongs to you. Be a
pilot for the Scribe of the Royal Tomb Tjaroy! You know he
is a man who has no courage of his own at all, since he has
never made such journeys as now. Help him in the boat! Look
after him with vigilance at evening as well, while he is in
your hands!"
The remains of Butehamun's house
inside the temple enclosure of
Medinet Habu
inside the temple enclosure of
Medinet Habu
| Tjaroy, the great-grand-son of Amennakhte, was "Scribe of the Royal Tomb" from 1091 BC. During his lifetime the villagers moved to the temple of Ramesses III at Medinet Habu. Tjaroy is known from his letters and had a reputation for jokes. He went on many state missions, including one to the south, accompanying army supplies. Many letters mention his anxieties for his family, including his son Butehamun, whose house survives. |
Letter from Tjaroy
British Museum EA 10326
20th dynasty, 1071 BC
From Thebes
Tjaroy writes to his son Butehamun from Nubia - "the wilds
where I am abandoned in this far-off land" - about various
family matters. He reassures them that he is doing quite
well "with my boss and he does not neglect me". He also
answers his son's question about some documents which had
been caught in a rain storm.
British Museum EA 10326
20th dynasty, 1071 BC
From Thebes
Tjaroy writes to his son Butehamun from Nubia - "the wilds
where I am abandoned in this far-off land" - about various
family matters. He reassures them that he is doing quite
well "with my boss and he does not neglect me". He also
answers his son's question about some documents which had
been caught in a rain storm.
| Chapels of the Divine Adoratrices at Medinet Habu The office of the "Divine Adoratrices of Amun", also called "God's wives of Amun" dates back at least to the New Kingdom, when it tended to be held by a queen not necessarily resident in Thebes. During the Third Intermediate Period, the office developed into the main focus of the practice of the cult of Amun in Thebes. The office was not hereditary, as the occupants of the office were not allowed to marry, but rather adoptive. At some point in her life the Adoratrice would adopt a young woman, who would hold the office as junior partner, and who would become the senior Divine Adoratrice on the older woman's death. A number of these women built chapels for themselves near to the High Gate at Medinet Habu during the 25th and 26th dynasties. Above the doors of the chapels, texts appeal to visitors to pray for the princesses and make offerings to their souls. |
| In the centre of the four-columned hall of the chapel of Amenirdis I (25th dynasty) is this black granite offering table decorated with loaves of bread, jugs of wine, and cooked fowl. |
| The Divine Adoratrice Amenerdis I, her name in cartouche before her, depicted on the walls of her burial chapel - the best preserved of the Saite chepels within the Medinet Habu complex |
