Ms. Karin Kroenke, PhD candidate in Egyptian Archaeology
at UC Berkeley presented a lecture entitled, Living the Good Life in
the Afterlife: Wooden Tomb Models and Servant Statues from the Site of
Naga ed Der in Egypt, at the Northern California Chapter’s August meeting.
Karin opened her lecture by noting that Egyptian funerary statues and models have always been very popular, and are particularly appealing because they resemble children’s toys. In reality, servant statues acted as substitute servants to provide goods and services to the tomb owner in the afterlife. Likewise, model boats assured a means of travel in the afterlife.
Large numbers of models date to Dynasties 7-12 and have been found throughout Egypt. The Hearst collection contains some 450 fragments, and 16 complete models. All are from 35 tombs plus surface finds at Naga ed Der. They were discovered between 1901 and 1904, during excavations at Naga ed Der by George Reisner. Reisner, however, never published any of the First Intermediate Period material from Naga ed Der; therefore, the only source materials available are his field notes and photographs.
The Naga ed Der site includes 15 ancient cemet-eries extending approximately 6 kilometers along the Nile. The material which Ms. Kroenke discussed came from ten tombs located in three cemeteries: Cemetery 9000 North [tomb number 9091]; Cemetery 3500 [tombs numbered 3737, 3795, 4003 and 4172; Cemetery 100 [tombs numbered 43, 96, 89, 202 and 291]. Though all of the tombs were identified at the time of excavation, only three can be positively located today. Four were shaft tombs, which had no superstructure, and 6 were rock cut tombs. Photos of two of the tombs were found among Reisner’s photos [tombs 202 and 3737]. Only two of the tombs were decorated [tombs 89 and 3737]. Based on iconographical and other material, the tombs have been dated to the First Intermediate Period. In nearly every case the models were in the burial chamber and should have been placed to the left of sarcophagus. In reality, most were placed wherever there was space to put them - on one side or the other, at the head, foot, or on top of the sarcophagus. Some were found in secondary contexts, such as in the forecourt of the tomb. Ms. Kroenke suggested that perhaps they were dropped there by tomb robbers.
The owners of the ten tombs with which these models are connected, were all of the titled class, and held positions of authority. For example, tomb #43 was that of the Royal Acquaintance, Chechy, and #3737 was the tomb of Overseer of Priest, Mayor and Hereditary Prince, Meru.
All of the servant statues and boat models in the Hearst Collection are made of wood. Various types of wood, usually of poor grade, were used to make these models. Acacia, sycamore fig and others are known to have been used for model making. The models are made in small pieces, then doweled together, and gesso was used to cover the joins before painting. Often the feet were also made of gesso, but most have been lost over time. Karin noted that those servant statues which had gesso feet, had large “clown” feet, based on the imprint left on the stand by the now missing gesso. Servant statues were positioned in one of three postures: standing upright, leaning forward or squatting on their knees.
In 1998 some of the pigments from the Hearst models were tested to determine content. They were found to include such minerals as iron oxide, red and yellow ochre, charcoal, gypsum, malachite, and fritt. The pigments were combined with plant gums as a binding agent.
Seventeen models were discussed in detail; fifteen from the Hearst collection, one from the Egyptian Museum in Cairo, and one for the Boston Museum of Art. Ms. Kroenke categorized them by function:
Travel By Boat: Most models are in the papyrus raft form and were used in a religious contexts, such as the funerary voyage to Abydos and/or Busirus. The typical model had 3 sets of rowers, a pilot, and a helmsman, as well as a lector priest and the widow of the deceased, all accompanying the coffin which is typically under an awning. Those models with a long straight bow shaped like a papyrus umbal and a shorter, straight stern, are typical of the First Intermediate Period. Early Middle Kingdom origin is indicated when the shape of the stern changes to a bent papyrus umbal. Additionally, some models have more oarsmen or paddlers, and some are very large.
Servants preparing or processing food: Model groups of servants preparing bread and beer are very common. In fact the preparation of these two staples of the ancient Egyptian diet represented the creation of all kinds of food. Bread making scenes relate to beer making as Egyptian beer was a byproduct of bread, being made from partially baked barley bread. The bread and beer making models in the Hearst collection are from the early First Intermediate Period, probably Dynasty 6.
A model of a servant roasting ducks or geese was found in tomb 202. The servant squats before a brazier with the duck on a spit, which he hold over the hot coals with one hand while wielding a fan to keep the charcoal hot with the other.
A granary model made of wood contains five conical silos, each with an opening at the top through which the grain can be poured, and a “hatch” on the side for removing grain. The model probably had a 6th and perhaps a 7th silo when it was originally made. The presence of such a granary in the tomb ensured the deceased would have a continual supply of grain for making the bread and beer which would sustain him in the afterlife.
Servants who carried supplies for the deceased: The Hearst collection contains two models of this type. Such models are often paired, are larger, and better made than other servant statues. Male porters carry water jars, or other loads for the deceased. Female servants carry caskets on their heads, and jars in the hand not being used to support the casket.
Manufacturing scenes: Brick making is a frequent activity. The presence of such a model in the tomb allowed for maintenance of the deceased’s home, and building of new structures for his comfort in the afterlife.
Entertainment: Female dancers, though rare are sometimes of wood as is the statue from tomb 9091 which is now in the Cairo Museum. More often they are made from ivory and are of high quality. Based on the garments, hair style and what the model may be carrying, it is possible to identify the dances, for example, as a participant in a dance in honor of Hathor or some other deity. Such dancers may have had a dual purpose to not only entertain, but perhaps to help the deceased in some way.
For a membership packet either write
- Nancy Corbin
ARCE Northern California ChapterContact Joan Knudsen by email at pakhet@uclink4.berkeley.edu for further information on ARCE/NC events or by mail at P.O. Box 11352, Berkeley, CA., 94704-2352.
P.O. Box 11352
Berkeley, CA 94712-2352or email Membership Director, Betty Bussey
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