Fig 2 - uploaded by Muhammad Ragab
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Four types of the ram-headed Amun-Re depictions (type A: 2191, type B: 2472, type C: 2127, type D: 788) (drawings of graffiti 2127, 2191, and 2472 after Černý, et al., Graffiti de la Montagne Thébaine; drawing of graffito 788 after Spiegelberg, Graffiti aus der thebanischen Nekropolis).
Source publication
More than 4000 graffiti are scattered throughout the Theban necropolis. Among them, around 2500 graffiti can be dated to Nineteenth, Twentieth, and Twenty-First Dynasties. These New Kingdom graffiti were made by members of the community of workmen from Deir el-Medina. Only a small group of no more than 120 graffiti consist of depictions of deities...
Contexts in source publication
Context 1
... ram-headed Amun-Re is the most depicted form of the god in the graffiti of the Valley of the Kings. The god is present as ram-headed in sixteen graffiti in six sectors. These graffiti are classified into four types, according to the style. Each of them shares common features; the first type of ram-headed Amun-Re graffiti ( fig. 2, type A) depicts the god adorned with the solar disk and uraeus with the name of the god inscribed in one column of hieroglyphs in front of his face. Graffiti of this type are always executed in fine detail and include graffiti 280, 307, 349, 2172, and 2191. The second type of the ram-headed god graffiti ( fig. 2, type B) also shows a ...
Context 2
... of ram-headed Amun-Re graffiti ( fig. 2, type A) depicts the god adorned with the solar disk and uraeus with the name of the god inscribed in one column of hieroglyphs in front of his face. Graffiti of this type are always executed in fine detail and include graffiti 280, 307, 349, 2172, and 2191. The second type of the ram-headed god graffiti ( fig. 2, type B) also shows a detailed god adorned with the solar disk and/or uraeus. The main characteristic of this type of graffiti is that the god always rests on a chapel with offerings in front of him. This type includes graffiti 507, 593, 1454, 2458, 2464, and 2472. The third type ( fig. 2, type C) records fewer details and is of lower ...
Context 3
... and 2191. The second type of the ram-headed god graffiti ( fig. 2, type B) also shows a detailed god adorned with the solar disk and/or uraeus. The main characteristic of this type of graffiti is that the god always rests on a chapel with offerings in front of him. This type includes graffiti 507, 593, 1454, 2458, 2464, and 2472. The third type ( fig. 2, type C) records fewer details and is of lower quality than the previous two (A and B). Type C graffiti depict the ram-headed fig. 2, type D) is the simplest and the most crudely done. Graffiti of type D only outline the head of the god with a solar disk and uraeus on top of it such as graffiti 788 and 3976. The earliest graffito of ...
Context 4
... uraeus. The main characteristic of this type of graffiti is that the god always rests on a chapel with offerings in front of him. This type includes graffiti 507, 593, 1454, 2458, 2464, and 2472. The third type ( fig. 2, type C) records fewer details and is of lower quality than the previous two (A and B). Type C graffiti depict the ram-headed fig. 2, type D) is the simplest and the most crudely done. Graffiti of type D only outline the head of the god with a solar disk and uraeus on top of it such as graffiti 788 and 3976. The earliest graffito of the ram-headed god and of all Amun-Re graffiti in the Valley of the Kings was made during the mid-Nineteenth Dynasty, somewhat ...
Context 5
... the god with a solar disk and uraeus on top of it such as graffiti 788 and 3976. The earliest graffito of the ram-headed god and of all Amun-Re graffiti in the Valley of the Kings was made during the mid-Nineteenth Dynasty, somewhat contemporary to the depiction of Amun-Re in the tomb of Ramose TT 7 (see above). This graffito is numbered 788 (see fig. 2, type D), in section 140 on the eastern face of the Theban mountain peak (CEDAE sector A10). The eastern peak of el-Qurn was considered a sacred area as demonstrated by the presence of small votive shrines, which were erected there during the Ramesside Period. 19 The rock surface of the eastern face of el-Qurn near the 'station du col' ...
Context 6
... A7). Two of the four graffiti (2172 and 2191) are located on the wall of the U-shaped section 50 with many Twentieth Dynasty graffiti. Graffito 2172 is placed on the wall of a natural crevice that could have served as a resting place for one workman at a time. The two graffiti 2172 and 2191 are typical type A ramheaded Amun-Re graffiti (see fig. 2), with a small addition in graffito 2172 in the form of two lotus flowers in front of the god. 38 Another graffito of the ram-headed Amun-Re in the valley of the tomb of Seti II is graffito 507. 39 It is a type B ramheaded Amun-Re graffito depicted with a chapel, offering table, and solar disk. In addition, the god Amun-Re is followed ...
Context 7
... the god Amun-Re is followed by the goddess Meresger, who is also adorned with the solar disk, and the name of the graffito's author Ramose is inscribed in one horizontal hieroglyphic line under the deities' depiction. 40 The precise identity of this author is unclear, as only his name appears, with no title or filiation. 41 Graffito 2127 (see fig. 2) is the last graffito of the ramheaded Amun-Re in this sector (A7). It is located on the cliff above the tomb of Seti II (section 49) with late Nineteenth and Twentieth Dynasty graffiti. 42 ...
Citations
Los grafitos figurativos realizados por las culturas antiguas pueden ser considerados como una fuente de información de los sectores más bajos de la sociedad, gentes iletradas incapaces de producir textos escritos, y también reflejo de una población mayoritariamente analfabeta. Los autores invisibles de esos dibujos nos han legado una evidencia compleja, pero que resulta una excepcional muestra del deseo de dejar constancia de su presencia en un lugar. A partir de dos estudios de caso de grafitos figurativos del llamado Royal Cachette wadi o wadi C2 en la antigua Tebas (Luxor, Egipto), se plantea un análisis holístico que tenga en cuenta su iconografía, su función y la ubicación exacta en el contexto del paisaje. Todo ello servirá para mostrar la importancia del wadi C2, el carácter liminal de la ubicación de ambos grafitos y el papel sagrado del lugar que presenta una excepcional concentración de grafitos en el contexto de la montaña tebana.
