This wall is dedicated to the third jubilee sed-festival of Amenhotep III, for which Kheruef had the responsibility of organising during the 37th year of reign of his sovereign
Until recently, the wall was divided physically into two parts: on the left, close to the entry, an area had been cleaned to the base stone colour; on the right, the area was blackened by soot and grime ( and ). This situation has now changed, and the wall is now nearly completely cleaned. The two zones can be better distinguished.
On the left, Kheruef pays homage to his Pharaoh and queen Tiy in their kiosk.
On the right, the area is divided into several registers. The upper large one involves the raising of a djed pillar and celebration to it. Beneath this are two smaller (in height) registers. These include activities associated with the ceremony.
Finally, a register which extends the full length of the wall and is of the same height as each of the two small registers above. This includes the activities for which Kheruef was responsible.
The general architecture of the kiosk is superimposable with the one already described for the opposite end of the wall. Therefore, only the differences will be discussed.
Where previously there were the rekhyt, there is now a representation of the Nine Bows. They symbolise the a group of numerous enemies (3 is the sign of plural, 3x3 is numerous) who try to destabilise the monarchy. It can be seen that they represent foreign regions, but Upper and Lower Egypt are also represented there. Indeed, the internal rebels, those who fight against royal power, are classed along with those of the enemies of the country.
Each of the opponents is represented with his arms bound behind his back; the body has the shape of an notched oval containing the name of the region or the city from which each originates. The faces are marked in a very characturalistic way ().
These conquered or subdued countries (or parts of Egypt) are, from right to left: the Hau-Nebus (Aegean isles and others of the Mediterranean sea, ) ; the Shatyu (Upper Nubia) ; Ta-shema (Upper Egypt ) ; the Sheshtyu-im (inhabitants of the Oases) ; Ta-Mehu (Lower Egypt ) ; the Peityu-shu (Desert of the East ) ; the Tjehenu (Libyans) ; the Iuntyu-sety (Nubians) ; the Menttyunu-sedjet (Beduins of Asia).
Thus, placed under Pharaoh's sandals, they are eternally in a state of submissiveness and dependence. The platform has preserved its beautiful yellow colour, which also extends on to the front slope, intended to make the design of the whole platform equate to the hieroglyphic sign for "Ma'at" ().
If the setting is superimposable, the subjects are definitely treated differently.
He is once again seated on a cuboid seat, which this time includes, at waist level, a protective falcon with the expanded wings (and not a vulture as before). This falcon is a reminder that the king is the god Horus's successor. He doesn't wear the coat of the sed-festival as before, but a transparent short sleeved tunic, which reaches down to his ankles. It includes, what appears to be a red waist band punctuated with rounded motifs. This time he holds a flail and an ankh (the sign of life) in his right hand. In his left he grasps the familiar sceptre, which this time has the much more familiar curved heqa shaped end, associated with the Gardiner's hieroglyphic sign S38. This is distinctly different from the one of the previous sed-festival. He wears the blue crown (the khepresh, for a long time wrongly named the 'helmet of war', but is actually one of the ceremonial crowns). It is completed by a coiled uraeus snake. Around his neck, the king has a composite necklace of a very large size, probably combining an wesekh and two shebiu. The wearing of the shebiu by a sovereign is quite unusual, as already seen, and constitutes an indication of his deification whilst still living. Above his head, is represented a solar disk surrounded with two snakes carrying ankh signs.
Behind the king, and separated from him by an incomplete column of hieroglyphs, is seated queen Tiy. This time there is no goddess. She wears a tight-fitting dress, very difficult to see today, tied at the waist by a belt which was once red in colour, and wearing sandals. In her right hand she holds an ankh sign, whilst in her left, folded on her chest, she waves the bent floral sceptre of the queens. On her beautiful tripartite wig rests a mortar which in turn supports the two tall feathers liked with Amon. A metallic headband decorated of two uraei completes this grouping. Tiy is seated on an extraordinary seat, a complexity of symbols (). It has a high backrest and armrests. The sides of the armrests are sculpted with scenes indicating the queen's domination over the hostile women of the country. The queen presents herself as a sphinx, wearing a mortar with a double uraeus, and trampling on two captive foreigners. Behind her, a winged snake, wearing the white crown, raises itself above a lotus plant (both are symbols of Upper Egypt). The accompanying text mentions
"The White One of Hierakonpolis".
The space between the front and rear legs of the chair is filled with a image of an emblem called the sema-tawy, the joining of the two lands (). A Nubian and an Asian, with naked chests and hanging breasts, have their hands tied behind their backs and bound florally to the upright of the emblem by lotus and papyrus plants. The reunification of the Two Lands took place at the time of the king's enthronement, but was also regenerated at every sed-festival. Here again, can be seen the power that some women had acquired, and notably the Great Royal Wife, since she can now be represented in the type of scene reserved normally for the sovereign himself.
The scene can be divided in three parts: with Kheruef in front (almost destroyed) who advances towards the royal couple, while presenting them some gifts of jewelry. Above have survived eight columns of text. Behind, the area is divided into the three sub-registers, each occupied by the deceased leading two men.
Presentation of gifts
The jewelry consists of a magnificent dish (of gold?) in the shape of an open lotus flower, decorated with the heads of ibexes. At the centre, the youthful Pharaoh, is seated in the middle of a marsh which abounds with lotus and papyrus plants (). It thus represents a symbol of rebirth. Kheruef holds superb pectorals in his right hand, within which cartouches carry the kings coronation name "Neb-Ma'at-Ra" and his birth name "Amenhotep". Completing the presents are some gold necklaces as well as pendants formed from a cartouche/s surrounded by two uraei.
The text above Kheruef proclaims: () :
"Providing souvenirs to be placed in the (royal) presence for the Perfect God's inspection. Embellishing objects in accordance with the commands which His Majesty desired to be carried out, until the heart of the Lord of the Two Lands becomes satisfied with the manufacture of great and large mementoes and the decoration of his house with electrum and with unlimited numbers of all sorts of vessels. These being too numerous to be recorded in writing: pectorals, broad collars inlaid with lapis lazuli and with all kinds of costly stones, and treasures which had never been produced before, by the noble, … etc… Kheruef… etc".
Kheruef leads two others
To the right of the scene were Kheruef presents the gifts, the area is divided into three sub-registers. In each the deceased leads two men into the presence of the king. All the men, including Kheruef, of each register have been severly hammered out by the Atenites (). Very little remains visible except for the legs and the bottom of the tunics of those of the lower register (). Two columns of text in front of each register indentifies who it is that Kheruef leads. The text for the top one (although damaged) states:
"Year 37, ushering in the companions to be placed in the royal presence in His Majesty's third jubilee, by the noble, count, great companion of the Lord of the Two Lands, first royal herald of the one who is in the palace, royal scribe, and steward of the principal wife of the king, Tiye, may she live, Kheruef, justified. The identity of those of the middle register is lost, but in the bottom register he ushers in
"the god's fathers, i.e. the king's ancestors, (). In each case Kheruef is bare-footed, whilst the others wear sandals.
This main upper register occupies about the half of the total height of the wall. It is further subdivided into three areas. The first in sequence is in the centre and involves the raising of a djed-pillar. The second, on the left, shows the king making offering before raised, and animated, pillar. Finally, at the right, and divided into two sub-registers, are the princesses who attend these activities.
Kheruef chose to represent the raising of the djedpillar, which is very interesting - and rare. Another well-preserved example of the ceremony is in the temple of Sethy I, at Abydos (). The scene is sub-divided into two parts, to be read from left of right.
The ceremony takes place at dawn, as told in the text. The king is standing, wearing the blue crown, with the Wadjyt cobra, whilst above the crown is the vulture goddess Nekhbet. He holds in his hands the rope attached around the pillar in order to raise it (more symbolically than in actuality). He is helped by three men
"Acquaintances of the king" (theoretically, priests of Memphis) who ensure the main traction with the help of another rope. The text proclaims
"Erecting the djed-pillar by the king himself, that he may achieve the 'gift of life' like Re, forever and eternally". A man stands behind the pillar to help with its erection; above him the text reads:
"[Ptah-Sokar] Osiris" (). This god is also mentioned in the text located above the pillar:
"Erecting the djed-pillar by the king, which he made for his father Sokar-Osiris, the great god who resides in the Shetyt, etc.".
The role of the pillar is a found in the inscription placed in front of it:
"It is every day that the protection of all life shall be around him, like Re". The pillar is probably very large and heavy, and about to topple on to a pedestal. In front, a kneeling servant presents bread and beer in front of the pile of offerings resting on a mat, composed of
"All good and pure things".
In front of the king, at the level of his face, are two men bending very low, who have almost disappeared because of the hammering damage. Kheruef must have been one of them ().
Although apparently standing behind the king in this scene, queen Tiy actually belongs to the scene where the kings presents offerings before the erected djed-pillar, described below.
The scene is located on the left of the previous, and occupies a much smaller space. The king stands before a shrine which contains an animated version of the raised djed-pillar. The king again wears the blue crown with the wadjyt cobra, the reference text for which appears in front of the Nekhbet vulture, positioned once again above his head; it simply states
"Wadjyt, Lady of the Per-nu shrine"; (the Per-nu or Per-neser - is the primitive sanctuary of Lower Egypt). These two symbols again offer him the protection of both south and north. He dedicates an enormous pile of various offerings, notably - as the text confirms - of oxen and oryx ( and ).
In the shrine, standing on a pedestal, is the animated "pillar". Its body is now human, and quite similar to the one of Osiris, sheathed in a tight-fitting dress, from which two arms hold the classic symbols of the god of the dead. A broad necklace hangs around its neck (). In front of the head, a text specifies:
"He gives all life, all joy, and all health, (namely) Osiris, pre-eminent in the Mansion of Sokar, the great god, king of the living". Two udjat eyes and a crown with two hooked feathers, separated by a solar disk, complete the upper part of the "pillar", acting as the neck and head to this assembly. Behind the head can be read:
"You possess life, stability, and dominion that you may rule upon the throne of Geb, 0 Onnophris, the son of Nut, 'He who awakes uninjured' in his house of the netherworld". (Remember: Geb and Nut regenerated Osiris; Wennefer is the remodelled, healed and perfect, form of the god). The divinity (since at this stage it has its new status) is located on a sledge serving to transport it. This in turn stands on a pedestal, similar to the ones found in the chapels, acting as alter of rest for the divine barques. Behind and in front of the divinity are the plants which represent the Two Lands of Egypt, the lotus and the papyrus.
The scene of offering to the Osiris djed-pillar continues to the right of that showing the king raising the pillar. Queen Tiy, who appears to be standing behind the pillar-raising king, actually stands at the side of her husband whilst he makes his offerings. She is wearing a headdress shaped like a vulture, on top of which are the feathers of Amon. Besides holding her usual curved floral sceptre in her right hand, this time she also holds a sekhem sceptre of power in her left. She is identified by the text placed in front of her:
"The hereditary princess, great in favours, mistress of all lands, who fills the palace with love, the principal wife of the king, loved by him, Tiy, may she live and be youthful every day".
Behind her, a vertical line on the wall isolates the eight princesses who are in attendance on two superimposed sub-registers. In the upper register they are:
"The king's children who praise the august djed-pillar" and below:
"The king's children who praise and gain favour from djed-pillar"". The scene is very damaged, but has nevertheless been restored by epigraphists, and it can be seen that the young women are all based on the same model, each holding in her left hand a menat necklace and shaking a sistrum with the right hand. These are the two attributes intended to attract the attention of the goddess of love, Hathor, aided by the upper text:
"To your ka, the sistrum; and to your kindly face, the menat necklaces and sekhem-sistrum as you arise, 0 august djed-pillar, Osiris-Sokar, the Lord of Shetyet".
A fragment of wall, including two heads of princesses, had been previously cut away and it is currently at the Berlin museum ().
These occupy two superimposed registers, located under the much larger one above.
This starts on the left with a group of three male chanters, in front of whom is written a hymn to Ptah ( and ) :
"Ptah appears in glory. Praised are you now; Exalted are you, 0 rudder in the boat. You join with the earth in order that you may travel through it. May Re favour you because of your goodness, inasmuch as you love the great office, 0 Nebmaatre. Come, let us exalt him.
Coming next are male dancers who position themselves, leaning slightly backwards and with one hand raised. Between the two uneven groups (three on the left facing seven on the right) is a small inscription:
"Performing this in front of the djed-pillar". Following another similar hymn, but to Sokar (), are four more male singers, this time facing left. Behind them advance, bending slightly forwards, are four men, each identified as a
"royal acquaintance". They each bring a pedestal piled with food offerings and flowers. Under each pedestal are two djed-pillars (of wood?) (). The first and the third have around their left forearm a loop to which are attached the paws of several birds, while the two others carry a curiously inscribed ankh cross in a circle (). Maybe these latter items are two different objects? The offerings are destined for
"Ptah-Sokar, the djed-pillar of Osiris". The end of the register includes an almost identical dance scene to the first (this time with four facing four). Once again there is a certain impression of stiffness in their posture. It appears to be more about a ritual gesture appropriate to the ceremony than that of an actual festive dance.
The gestural aspect is marked even more than in the preceding register. It starts on the left with a group of female musicians and singers, who are specified as
"The women who have been brought from the oases for the raising of the djed-pillar". The dancers have both arms raised above their heads, while they hit the ground heavily with their feet. Their chests are crossed by two latticed ribbons, which bare their breasts. Behind them, some men also participate in the scene.
Next comes some fight scenes (the text uses a word which signifies hitting with the fist, to box). It is unknown if these are real fights or if the participants are miming. The stick dance which follows is still performed nowadays in Upper Egypt () and consists of two teams. Similar dances are still performed in England, these are referred to as Morris dances. The first group is designated as
"The men of Pe" and the second as
"The men of Dep". The "dance" had to be quite violent because the text encourages the protagonists to
This occupies the whole width of the wall, even under the royal kiosk. It includes the only image of Kheruef. The transport of food for the festival and herding of animals were activities for which Kheruef was responsible. The register is effectively sub-divided into three sections.
It is in this section that we find the only remaining image of Kheruef (). It had been protected by the collapse of the roof, the rubble of which accumulated in front of the wall. The text, located in front of him, has also preserved his name and some of his titles:
"The companions of Pharaoh, life - prosperity - health, and attendants of the Lord of the Two Lands who are in the following of the Perfect God. The true scribe of the king, loved by him, excellent confidant of the Lord of the Two Lands, and steward of the principal wife of the king, Kheruef, justified". Immediately behind him advances a man with a younger looking face, in an attitude usually associated with respect, with his right hand on his shoulder and the left hand holding the right forearm. Next come seven men bent forwards, who all seem to have a connection with the army or perhaps the king's body-guard, and are designated as
"The followers of the Lord of the Two Lands, who serve the mighty sovereign". They carry bows and quivers, shields, other forms of weaponry. Two carry fans and another a papyriform sceptre ().
The scene represents an abundance of offerings which are heaped on three river craft, the one on the right being separated from the others by a scene of butchery. These frail skiffs all have the same design. The two on the left are separated from each other by a clump of papyrus. The right one of this pair is in the process of being loaded, while, in an typical abridgement of Egyptian art, the one on the left has already set off towards its destination. From the butchery scene, a porter brings of the pieces of meat, described as:
"choice cuts… twice pure", coming from the ox which lies on the ground, and on which butchery work is still being carried out. Further to the right, more porters head towards this same boat (). To their right, two men, the right-most of which is designated as
"Father of the god", stack commodities on the third vessel (). Behind this final boat, two porters bring more goods. A vertical line on the wall separates this sequence from the final part of the register.
Here drovers herd groups of oxen and donkeys. They don't direct them toward the butcher shop, but guide them (with the command
"Move yourselves!") to accomplish a specific mission on this day of sed-festival:
"They circle four times around the walls on this day to erect the august djed-pillar of Ptah-Sokar-Osiris" ().