The Rock Tombs of El Amarna. I: The Tomb of Meryra
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| Tomb of Huya |
"Exploring the Distinguished Tomb of Huya: Insights from El Amarna's Rock Tombs"
The tomb of Huya, designated as No. 1 on the list, offers a captivating glimpse into ancient history. According to inscriptions found within, Huya held esteemed positions such as Superintendent of the Royal Harem, Superintendent of the Treasury, and Superintendent of the House, all associated with the household of Queen Tiy, rather than the Pharaoh .
Architectural Characteristics:
Situated adjacent to the tomb of Meryra II, the tomb of Huya shares a similar layout, aligned in a north-south direction. It likely predates its neighboring tomb by a year or two, evident from its slightly earlier excavation or decoration. While weathering has affected its facade, Huya's tomb stands out as the sole structure in the entire necropolis to have been fully completed.
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| Tomb of Huya |
The outer hall originally featured two clustered columns supporting a low-pitched gable roof with rock architraves. This design accentuated the division of the hall into a central passage flanked by side aisles. Unfortunately, one column suffered extensive damage, while the remaining column, located on the left side upon entry, still stands but has lost its base.
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Exploring the Architectural Marvels of El Amarna's Rock Tombs: Unveiling the Tomb of Huya
Introduction:
Nestled within the ancient wonders of El Amarna lies the remarkable tomb of Huya, a testament to the architectural prowess and artistic finesse of ancient Egypt. This article delves deep into the intricate details of this historical treasure, shedding light on its architectural features and preservation challenges.
Architectural Insights:
The outer hall of Huya's tomb boasts two clustered columns that once supported a gable roof of low pitch, creating a distinct division between the central passage and side aisles. Despite the relatively low height, the hall exudes grandeur, with its architectural elements showcasing exquisite craftsmanship.
Detailed Analysis:
The capital of the columns, though displaying a certain squatness, captivates with its intricate design. Notably, the sheathing leaves of the calyx and base bear chisel marks, hinting at the meticulThe capital of the columns, though displaying a certain squatness, captivates with its intricate design. Notably, the sheathing leaves of the calyx and base bear chisel marks, hinting at the meticulous handiwork of ancient artisans. The adornment of the capital with sixteen sets of sheaths, while aesthetically pleasing, raises questions about the balance between scientific accuracy and artistic expression.
Preservation Challenges:
Over time, the elements have taken their toll on Huya's tomb. The weathered facade and deteriorating wall surfaces speak volumes about the challenges of preserving ancient heritage. Despite its current state, the original bright coloring of the hall hints at its former splendor, offering a glimpse into Egypt's rich architectural history.
Conclusion:
The tomb of Huya stands as a testament to the ingenuity and artistic vision of ancient Egyptian architects. As we navigate the challenges of preservation, let us continue to unravel the mysteries of El Amarna's rock tombs, ensuring that these architectural marvels endure for generations to come.
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Tomb of Huya
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The second chamber lacks columns but is furnished with shallow architraves. At its eastern end, the mouth of the burial shaft emerges onto a ledge of rock, cleverly repurposed as a protective parapet. The well, nearly empty, extends approximately 36 feet deep. Looking down from the bottom, the chamber extends westward. Another ledge of rock remains at the western end of the room; however, it is rough and too narrow to accommodate a shaft.
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Tomb of Huya
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The Shrine The Shrine (Plates 1, 19, 36) - The doorway leading to the terminal chamber is typically left undecorated in this necropolis, perhaps due to time constraints. However, here it is intricately described. The design of the doorway is also unusual, though occasionally encountered in earlier tombs, resembling main doorways found in private houses. This suggests that the original construction may have been in wood, although the arch of the upper part indicates that the prototype was likely in brickwork. The superstructure appears to mimic a paneled wall in two stages, each adorned with a cornice of uraei. Within the lower wall, two openings are present (represented as columns in the paintings here).Presumably, the purpose of this fan-shaped lattice was to facilitate the passage of light and air, with the panels left open or filled with fretwork designs. The designs employed for this purpose are diverse, including motifs derived from the papyrus, cartouches, and columns.
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Tomb of Huya
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The jambs are adorned The jambs are adorned with blue hieroglyphs against a wine-colored background, possibly representing rose-granite. However, they have suffered significant mutilation in recent times. The drum is crafted to resemble a bundle of reeds, featuring blue coloring with red bands. Such a fragile material would typically be used only for lintels in rudimentary structures, possibly symbolizing the rolled-up mat commonly used to seal the doorways of mud-brick huts in Egypt.
Within the shrine, Within the shrine, a seated statue of the deceased man dominates the space, its pedestal occupying nearly the entire height and length. Unfortunately, the statue has endured extensive modification, with the face completely defaced. The shrine's doorway is intricately decorated and inscribed with blue hieroglyphs against a wine-colored background.Although the shrine originally housed a seated statue of Huya, it too has suffered significant damage, with the face entirely obliterated.
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Tomb of Huya
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The Sculpture - The three portals, The Sculpture - The three portals, the thicknesses of the three cross walls, and the entire wall surface of the main hall and shrine were adorned with scenes and inscriptions. While the quality of the work may not have been top-tier, it perhaps exceeded expectations considering its current condition. Although the meticulous craftsmanship of scenes like the one depicted on Plate 18 illustrates the dedication and effort invested, much of the smaller details are crudely executed.The scenes extend to within a short distance from the floor, and where space allowed, they were bordered by parallel lines in shades of blue and red.
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The open area surrounding the altar on the east wall has been utilized by Greek visitors, including M. Seymour de Ricci, who left graffiti scrawled in black ink (see Plate 25, B – D – E). Among the graffiti, two prominent figures of Anubis stand out, utilizing the two porticoes of the temple as pedestals (refer to Plate 10). One of the figures is depicted seated on a throne, while the other stands upright. The latter is depicted wearing a shirt, with a hat or halo atop his head, and boots on his feet. However, the object held in his hand is not clearly discernible.
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Tomb of Huya
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Tomb of Huya
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On the west wall, a scene is meticulously dated and described: "Year 12, the second month of winter, the eighth day – Life to the Father, the Double Ruler, Ra-Aten, who gives life forever and ever. The King of South and North, Neferkhepru-re, and the Queen Nefertiti, living forever and ever, made a public appearance on the great palanquin of gold, to receive the tribute of Syria [Kharu] and Ethiopia [Kush], the West and the East; all the countries collected at one time, and the islands in the heart of the sea, bringing offerings to the King on the great throne of Akhetaten for receiving the imposts of every land, granting to them the breath of life".
It's reasonable to assume that the extent of dominion attributed to Akhenaten here reflects what was deemed appropriate rather than what actually existed; by his twelfth year, conditions in Syria, at least, were likely deteriorating.
In the scene, the king and queen are transported on a grand state palanquin, seated side by side with Nefertiti's arm around her husband's waist. Officials, troops, and attendants surround them. A priest offers incense before the palanquin, and a ceremonial dance unfolds. The tribute from the north is paraded, featuring two chariots and an array of intricate vases. The southern tribute includes engraved Negroes, tusks, bags of gold-dust, monkeys, leopards, and antelopes.
Huya Huya manages to garner credit for himself from this event as well, receiving congratulations from his household upon his return with honors from the ceremony.
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Tomb of Huya
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Tomb of Huya
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The north wall of Huya's tomb is adorned with scenes portraying his appointment to office, his duties, and the rewards he received. Notably, there is a depiction of the studio of Auta, the sculptor to Queen Tiy, with Auta diligently working on a statue of Beketaten, the daughter of the queen-mother. The lintel of the doorway leading to the inner room features two royal groups: Amenhotep III and Queen Tiy, as well as Akhenaten and Nefertiti. Within the shrine, scenes depict the funeral rites, funeral procession, and burial furnishings of the esteemed Superintendent of the Harem.
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Tomb of Huya
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Tomb of Huya
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Tomb of Huya
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Tomb of Huya
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Each jamb of the doorway leading to the inner rooms is adorned with four columns of inscriptions, along with a figure and prayer of Huya at the base. Surprisingly, the lintel features two royal groups instead of the typical formal device. Unfortunately, the entire ensemble is heavily defaced by incrustations. Initially, the jambs appeared to repeat the familiar salutation of the three worshipful powers—the Aten, the King, and the Queen—prompting little further attention from observers. However, upon closer examination of the dirty and mutilated cartouches, it became evident that while the expected formula was found on the left-hand side, the powers saluted on the right included Akhenaten, his father Amenhotep III, and his mother Tiy.
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The depiction is divided into two halves: the left side portrays the household of Akhenaten, while the right side depicts the household of his predecessor, Amenhotep III.
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In the scene depictingIn the scene depicting Akhenaten's household, the king and Nefertiti, adorned with royal regalia, sit together on a couch. The king affectionately drapes his arm around the queen's shoulders, while she rests her arm on his knee and gazes up at him with lively expression. Through her hand gesture, she seems to extend her affection to their four daughters, who stand before the couch, waving fans.
On the contrary, the scene featuring Amenhotep III shows him wearing the close-fitting nems cap, seated in a chair, apparently engaged in conversation with his wife, who sits facing him in another chair, with Princess Beketaten beside her. The Aten symbol of life is uniquely offered to both the king and queen. To balance the composition, three female attendants accompany the four princesses.
The depiction significantly reinforces known or suspected historical facts. It vividly portrays the deep sympathy between the conforming King and his nonconforming son—a sympathy that, while acknowledging differences, must have been rooted in an essential unity of thought and policy. This alignment likely materialized into a practical co-regency, of which these juxtaposed images may serve as a reflection.
Moreover, the illustration highlights the significant influence that historical attributes to Queen Tiy over both her husband and son. Even after Amenhotep's passing, as long as his capable Queen remained, his reign could hardly be considered concluded. In this light, the idea of a co-regency during this period may not be entirely unfounded.
Ultimately, the depiction dispels any lingering doubts regarding Beketaten's parentage, affirming her as the youngest child of Amenhotep III and Tiy, rather than one of Nefertiti's daughters. Her name suggests Tiy's unapologetic adherence to the new faith.
However, neither these considerations nor Huya's own allegiance to both households, which he sought to honor and please equally, suffice to explain the formal conjunction of names on the jambs. It must be seen as a solemn declaration by the King that, in relocating the capital of Egypt and instituting changes in its religion, he had not severed ties with the past or distanced himself from the lineage of Kings whose continuity, beginning with his father Amenhotep III, was undisputed. Through that King, he asserted his vital unity—politically, religiously, and dynastically—with the long line of Ra's sons who had occupied his earthly throne.
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Tomb of Huya
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Tomb of Huya
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