El Khadragy Fishing Fowling and Animal Handling in the Tomb of Djefaihapi I at Asyut 2007

Originalveröffentlichung in: The Bulletin ofthe Australian Centre for Egyptology 18, 2007, S. 125-144

FISHING, F O W L I N G A N D A N I M A L - H A N D L I N G IN T H E T O M B O F D J E F A I H A P I I A T A S Y U T * Mahmoud El-Khadragy University o f Sohag, E g y p t T h i s article is the third o f a series o f preliminary reports that present the architectural features and decoration o f the rock-cut t o m b o f the T w e l f t h D y n a s t y nomarch D j e f a i h a p i I ( T o m b I, P I 0 . 1 / Figure 1), w h o m i e d A s y u t during the reign o f Senusret I. 1 A m o n o g r a p h w i t h the f ü l l documentation o f this large rock-cut t o m b w i l l f o l l o w w h e n the difficulties with the r e m o v a l o f m o d e r n concrete covering the original f l o o r h a v e been o v e r c o m e and the excavation o f the c o m p l e x System o f passages and shafts leading to the burial Chambers has been completed. 2 Despite the interest directed towards recording the significant inscriptions o f the chapel since it w a s explored b y the French E x p e d i t i o n to E g y p t in 1799 and e v e n m u c h earlier, 4 little attention has been paid to its brightly coloured representations that display remarkable artistic skill and s o m e rare details. Still unpublished are parts o f the north w a l l o f the great transverse hall as w e l l as the decoration o f the inner passage: pastoral scenes w i t h goats nibbling the leaves o f trees and b o y s in a fig tree p i c k i n g fruit, 5 offering scenes and a scene o f the t o m b owner fishing and f o w l i n g . T h e s e constitute the f o c u s o f this study. T h e chapel w h i c h has lost its facade and the first transverse hall today consists o f an east-west outer passage with vaulted ceiling, a great north-south transverse hall and an east-west inner passage with vaulted ceiling leading to the western-most part o f the chapel f o r m e d o f a U - s h a p e d hall enclosing a statue-shrine in the west. 6 T h e inner passage measures 13.59 m ( E - W ) x 8.15 m ( N - S ) and is connected with the great transverse hall through a d o o r w a y 1.85 m w i d e and 3.24 m deep. T h e d o o r w a y , w h i c h has lost m o s t o f its j a m b s and thicknesses, is surmounted b y a slightly projecting lintel 3.72 m w i d e and 1.66 m high. T h i s lintel is in a g o o d State o f preservation and is decorated w i t h inscriptions in sunken relief with the carved signs filled in w i t h blue paint. T h e socket preserved in this lintel suggests that the passage w a s closed b y a single-leaf door. T h e limestone surface o f both the north and south w a l l s o f the passage is s m o o t h e d and coated with a thin layer o f g y p s u m plaster and decorated with painted scenes and inscriptions, m u c h o f w h i c h has been lost. Into the south w a l l , at a later time, a corridor leading to a subsidiary Chamber was u n e v e n l y cut d a m a g i n g the decoration o f the lower register o f the w a l l . In addition, t w o irregularly

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B A C E 18 (2007) shaped alcoves were forced into the lower part o f the north w a l l damaging parts o f the painted dado. Furthermore, the western ends o f both w a l l s are broken a w a y . Faint traces o f paint on the thin layer o f g y p s u m plaster coating the passage's vaulted ceiling suggest that it w a s decorated like m o s t o f the other ceilings o f the chapel. 7 In the eastern end, both the north and south walls are decorated with a colourful ladder-pattern border in with red, orange-red, blue units separated f r o m each other b y elements painted red-white-red. T h e d a d o o f all the w a l l s is y e l l o w , dotted in red, bordered at the top with t w o red bands. T h e great transverse hall measures 2 3 . 0 0 m ( N - S ) x 10.53 m ( E - W ) . Its uneven north w a l l is cut into poor quality rock. O r i g i n a l l y , the w a l l surface w o u l d have been coated w i t h thin layer o f g y p s u m plaster and decorated with painted scenes and inscriptions. L i k e the w a l l s o f the inner passage, the decoration o n the eastern end o f this w a l l also has a ladder-pattern border, the colours o f w h i c h are n o longer discernible. T h e d a d o is also y e l l o w , dotted in red, and bordered at the top b y o n e red band. Extensive use o f colours characterizes the t o m b decoration. B l u e , green, red, orange-red, b r o w n and black are attested for the c o n v e n t i o n a l l y painted representations. B l a c k occurs regularly for hair; both dark brown and orangered are used for m a l e skin; dark brown for female skin. A variety o f colours and combinations o f colours and patterns is used for the cattle; blue or green occurs for the goats' horns and h o o f s ; red is chosen for the crocodile, and blue for the beaks and w i n g s o f s o m e birds. T h e hieroglyphic inscriptions are in blue and green. Inner Passage - North W a l l (Figures 2, 5 - 6 ) : The Fishing andFowling Scenes T h e wall is f u l l y occupied b y a composite scene o f the t o m b - o w n e r fishing and f o w l i n g in the marshlands, with the fishing o n the left and the f o w l i n g on the right connected b y the papyrus thicket and the traditional m o u n d o f water. T h e top o f the thicket ends in four rows o f open papyrus u m b e l s painted green and outlined in b r o w n , the same colour is used for the stalks. R e c o g n i z a b l e motifs in the rather d a m a g e d papyrus thicket are a nesting d o v e and traces o f further birds standing o n the papyrus umbels. T w o less w e l l preserved animals painted b r o w n w h i c h c l i m b up the papyrus stalks can probably be identified as an Egyptian M o n g o o s e (Herpestes ichneumori) and a C o m m o n G e n e t (Genetta genetta), animals traditionally associated with fishing and f o w l i n g scenes. 8 Traces o f a bird standing on the prow o f the fowler's boat are discernible, w h i l e a brown duck with an orange-red beak is standing on the p r o w o f the fisher's boat (Figure 6). T h e water o f the m o u n d in front o f and beneath the t w o boats is painted in alternating blue and black vertical z i g - z a g lines and teems with fish and green lotus-flowers. There are t w o incompletely preserved

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EL-KHADRAGY, FlSHING, FOWLING AND ANIMAL HANDLING r o w s o f w a d i n g geese in pairs with brownish and orange-red p l u m a g e and orange-red beaks. T w o aquatic animals are partly preserved; a crocodile painted red with black spots lurks under the boat on the left, w h i l e at the extreme right hand side o f the scene there appears the green hind quarters o f an animal w h i c h m a y be an unusually coloured hippopotamus. The Fowling Scene (Figure 5) T o the right o f the m o u n d o f water, the t o m b - o w n e r is depicted in a large green papyrus boat fitted with a b r o w n w o o d e n deck for better footing and distribution o f weight o n the vessel. D j e f a i h a p i Ys head is lost but there are remnants o f his blue fillet, blue collar and a blue bracelet o n his right wrist. O v e r an apron and short shendjit-k\\t in orange-red he wears a s e e m i n g l y transparent wrap-around kilt that extends b e l o w his knee. 9 In one hand he holds d e c o y birds, o f w h i c h little remains, w h i l e in the other, n o w c o m p l e t e l y lost, he w o u l d have h e l d a throw-stick. 1 0 O f the four c o l u m n s o f text in front o f the t o m b - o w n e r o n l y isolated signs can be identified, a m o n g them sh{w)t "marshlands" in the first c o l u m n . D j e f a i h a p i I is a c c o m p a n i e d b y his mother, daughter, and t w o other w o m e n w h o are probably his t w o w i v e s , the s a m e four ladies w h o are depicted with h i m o n the west w a l l o f the s h r i n e . " E x c e p t for the daughter w h o s e head and necklace are not preserved, the ladies w e a r long w i g s , blue necklaces, blue bracelets, anklets and long, tight-fitting dresses with o n e Shoulder strap. A l l these garments are white, except for the daughter's w h i c h is patterned in green, blue and red and w o u l d have been m a d e f r o m cloth o f interwoven colours. H i s mother Stands behind the t o m b - o w n e r w i t h her right hand h o l d i n g a lotus b l o s s o m to her nose and her left arm hanging b y her side. She is labelled mwt~f mrt^fJdjjtn ("his mother, his b e l o v e d , Idyt"). B e h i n d her is another w o m a n squatting in the stern, also holding a lotus b l o s s o m to her nose with her right hand and resting her left hand on her lap. She is identified as one o f the t w o w i v e s b y the fragmentary caption: (1) [hmt]=f ///Hwt-hr /// (2) III jm hz[z]t /// "(l) his [ w i f e ] /// Hathor /// (2) /// w h o does what /// favours ///". In front o f the t o m b - o w n e r , facing h i m , is his daughter, w h o h o l d s a throw-stick in her left hand and a lotus b l o s s o m in her right. T h e caption a b o v e her figure reads (l) zl[t]=f mrt^f hzwt=f nt (2) st-jb=f hm{t)-nt_r Hwt-hr ///' 3 "his daughter, his b e l o v e d , his favoured o n e o f his trust, the priestess o f Hathor". B e t w e e n them is a stand f r o m w h i c h multicoloured captured w a t e r f o w l are suspended. T h e bird o n the extreme left has a beak painted blue. B e h i n d the daughter, in the p r o w o f the boat, another w o m a n is squatting, probably D j e f a i h a p i I's second w i f e . S h e holds a f l y - w h i s k in her left hand and rests her right hand on her lap. O n l y v e r y f e w signs o f the associated caption are preserved: III t^f [Hwt-hr]/// "III [Hathor] ///".

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B A C E 18 (2007) In the top right hand c o m e r o f the scene, are t w o male figures with the same orientation as the tomb-owner. T h e first figure wears a long, "transparent" garment o v e r a short white kilt and apron. W i t h the man's skin painted dark b r o w n , the transparency o f his outer garment is indicated b y painting it orangered when it directly Covers the body and white w h e n hanging free. O f the caption o n l y signs for rr are discernible. F o l l o w i n g h i m is a y o u n g m a l e depicted with the side-lock and a long necklace with an amulet in the f o r m o f the ideogram for jb ü (heart). H e wears a short white kilt and holds a lotus b l o s s o m in his left hand; his right hand is lost. The Fishing Scene (Figure 6) In the fishing scene, the figure o f the t o m b - o w n e r is badly damaged. H e Stands in a green papyrus boat that has a brown w o o d e n deck and holds a spear with w h i c h he has caught one fish, probably either a Tilapia or a Lates niloticus, the t w o fish traditionally depicted in comparable contexts. 14 O n l y traces o f the orange-red skin colour o f the tomb-owner's torso and traces o f a bracelet around his left wrist are preserved. Djefaihapi I is accompanied b y t w o smaller scale male figures standing before his feet; the figure in front has closecropped hair, a blue collar, blue bracelets and wears a short kilt with a pointed apron under a knee-length wrap-around kilt held at the waist b y a sash. W i t h his right hand he grasps his left Shoulder, while his left arm hangs d o w n his side. O n l y the lower parts o f the first three o f four columns o f the caption are preserved: (1) /// mr\j]j['f] (2) /// {jw^w-f5 (3) ///nbt m (4) /// "(l) /// his beloved (2) /// his [heir] (3) /// every /// in (4) ///". A second figure looks back towards the t o m b - o w n e r ; he holds up a spear with his right hand, and grasps his right Shoulder with his left hand. He, too, has close-cropped hair, a long necklace and a short wrap-around kilt and sash. In the prow o f the boat are depicted four large fish, w e l l enough preserved to be identified as three Tilapia and one Mugel.]6 Inner Passage - South W a l l (Figures 7 - 1 0 ) : Offering Scene O n the right, the large-scale figure o f Djefaihapi I is badly damaged: o n l y part o f his hand extended towards an offering table ( n o w lost) and o n e foot resting on a green mat remain. V e r y f e w traces o f the gifts on the offering table are recognizable, but further to the left are Stacks o f f o o d items, including cuts o f meat, poultry, vegetables, different types o f bread and cakes as well as flowers, some o f w h i c h are used as decoration around a tall jar. In a bowl finely decorated with blue cross-hatching on a white background and placed on a stand is an arrangement o f blue lotus flowers alternating with green buds (Figure 7). 17 T h e o n l y remnants o f the offering list above are several small figures o f men kneeling to present items. 128

EL-KHADRAGY, FISHING, FOWLING AND ANIMAL HANDLING In the four registers associated with this scene, the general orientation o f the figures is towards the tomb-owner on the right. T h e person heading the four registers is wringing the neck o f a goose (Figure 7). He has close-cropped hair, and wears a blue collar, blue bracelets and a long wrap-around kilt held b y a sash over a short white kilt. T h e label in t w o lines reads (\)jrj prtjmj-[r hm(w)ntr Pfl=j]-h[rpj]-rilli (2) /// st-jb n Pfi=j-hrpj "(1) the hereditary prince, the overseer o f [priests, D j e f a i ] h a p i - A a (2) /// the favourite one o f Djefaihapi". In the top register only the legs o f ten male figures, seven striding and three kneeling, are represented. A s in other representations o f men performing the offering ceremony the kneeling men clench their fists raising one hand and beating their chests with the other while reciting the glorifications. 19 Here, too, one man faces in the opposite direction; he m a y be dragging a broom along the ground behind h i m and looking back as he performs the ritual k n o w n as jnt rd "bringing the broom". 2 0 T h e second register is devoted to a procession o f nine w o m e n personifying the tomb-owner's ka-chapel. 21 The caption o f three columns reads from right to left: (1) /// htpt dfiw bw (2) /// r III jmj-r hm[w]-ntr (3) [D]ß=j-[hr]pj jn mrt~fprw~f ntrj ntpr-dt22 (1) /// food-offerings and provisions of the place (2) /// the overseer o f priest[s] (3) [Djefaihapi] by his subjects of his own divine houses. T h e w o m e n wear long wigs, long, tight-fitting garments with one Shoulder strap painted white, orange-red, blue or green, as well as blue collars, blue bracelets and anklets. T h e y differ in what they carry on their heads and the animals they are leading. The first w o m a n Supports a tray filled with food items on her head with her left hand and holds a lotus blossom in her right. T h e second w o m a n has a basket on her head and is accompanied b y a small, white animal o n a leash. She is labelled hwt-ki nt pr-dt "(his) o w n ka-chapel". T h e next w o m a n holds a live goose in her right hand, and with her left she Supports a tray o f food on her head; a jar with a rope handle hangs f r o m the crook o f her left arm. T h e fourth w o m a n has a basket o n her head and carries a less w e l l preserved basket (?). She is followed by a w o m a n with a large tray o f f o o d on her head w h o leads a white, horned animal o n a leash. Her action is described as [shp]t rn n m>-[hd jn hwt]-k> [nt] pr-dt "[bringing] a y o u n g [Scimitar-horned oryx 23 b y ] (his) o w n ka-[chapel]". T h e sixth w o m a n , also with a large tray on her head, is accompanied by a small white o x with brown spots on a leash: [shpt] rn n jwi j[n] hwt-k' [nt] pr-dt "[bringing] a young o x b y (his) o w n kachapel". The seventh w o m a n holds a tall bunch o f papyrus stalks in her left hand and two cranes in a basket in the other (Figure 10). T h e eighth w o m a n 129

B A C E 18 (2007) supports with her left hand a cage with live birds and holds a g o o s e b y its w i n g s in her right hand. T h e caption is partially lost but contains the same phrase as the others: /// [f]n hwt-kl nt pr-dt "III b y (his) o w n ka-chapel". T h e last w o m a n , w h o s e action is labelled shpt rn n wndw [/'»] hwt-ki nt pr-dt "bringing a y o u n g short-horned cattle [ b y ] (his) o w n ka-chapel" leads such a c a l f and supports a tray o f f o o d o n her h e a d with her left hand. T h e third register features m e n preparing the o f f e r i n g o f f o w l and meat. T h e first group is handling f o w l : o n e m a n h o l d s a g o o s e b y its w i n g s and a crane under his right arm, behind h i m a m a n takes a g o o s e f r o m a cage that encloses three more geese (Figure 8). N o t e that there is blue o n the beaks o f these geese, t w o o f w h i c h h a v e also b l u e wings. T h e remainder o f the register is taken up b y three groups o f butchery scenes w i t h a short dialogue between the butchers recorded in the captions. 2 4 T h e first butcher carries a foreleg over his left Shoulder and a cut o f meat in his right hand: shpt stpt n kl~fjw wrb "bringing the choice pieces for his ka, it is pure". A l l the butchers h a v e close-cropped hair and w e a r short wrap-around kilts painted white. T h e same colour is used for the animals, but the cuts o f meat and the inner parts o f the animals e x p o s e d b y the butchers' incisions are distinguished with the use o f orange-red paint. A butcher o f the first group is slitting the animal's throat and saying to his c o m p a n i o n wih