domingo, 6 de septiembre de 2015


Immediately above this series of assorted characters, the upper sub-register is more badly damaged.
Continuing from the left-hand side, towards the right, more kneeling dancers can be found, in sometimes strange ritual stances (view tb_01915). Then there are more standing dancers, all leaning forwards, some with their hands raised, some with them placed on their hips, some even touching the ground (view c2_30); their heads can be seen turned upwards or downwards (view cb_64).
Then the composition changes by the placement of a shrine (or a chest?), which extends to the column of text which introduced the two sub-registers. The content of this small rectangular area is certainly different in appearance (view tb_01923). It actually contains a monkey, a bounding calf and a duck (or a goose) in flight. These are three symbols indicating the rising sun: the monkeys receive it with their scream; the birds fly off and the calf (equating to the deceased or the regenerated sun) rises every morning from the mountains of the west, to where Hathor carried it during the night. These animals greet, each in their own manner, Amenhotep III, who, like the rising sun, rises regenerated for the sed-festival. This is another example of the king's solarisation at the end of his life.

TT192, the tomb of Kheruef , whose birth name was Naa .

The gigantic funerary complex, TT192, of Kheruef (a more suitable term than that of simply 'tomb') has been considered as imposing, which indicates the power and the wealth of the person who was for a time the steward of queen Tiy, the Great Royal Wife of Amenhotep III (view CD_04), at a time when Egypt was at the summit of its glory and its prosperity. The monument was very far from being finished when, for an unknown reason, the site was abandoned.
What is nowadays designated as "the tomb of Kheruef", only includes the entry and the west portico at the far end of the open courtyard, an all small portion of the monument itself.


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