Saqqara-one of the necropolises located in the area of the first capital of ancient Egypt, Memphis-is well known primarily for the monuments of the Ancient Kingdom (the first half of the III millennium BC). Among them - the Step pyramid of the Pharaoh of the III dynasty Djoser, the mastaba tombs of officials and courtiers, the pyramids of the VI dynasty. The first flourishing of this necropolis is connected, of course, with the neighborhood of the royal residence, which later, due to historical circumstances, moved to the south - first to Ittaui, and then to Thebes. So Memphis and Saqqara gradually faded into the shadows. However, after the destruction of the city by the Hyksos during the Second Transitional Period, from the very beginning of the New Kingdom (c. 1560 BC), the revival of Memphis began. It is possible that the first pharaoh of the XVIII dynasty, Yahmose, was crowned according to ancient tradition in the temple of the god Ptah, and Thutmose I (1496-1481 BC ) restored one of the residences in the city. The role of Memphis grew steadily: an heir was brought up in it, an army was stationed, and trade grew stronger. The most important event for Memphis was the division of the Vezirate into North and South, which occurred under Thutmose III. From now on, the ancient capital became the seat of the Vezir of the North.

The consensus on the significance of Memphis in the New Kingdom period is relatively recent in Egyptology2 . Due to the negligible amount of material evidence, the role of the city remained unclear for a long time. The reason for this was the intensive use of stone from the settlement and necropolis in ancient times, and then during the construction of Cairo, and as a result - the destruction of monuments. Only gradually did a more or less clear picture of the existence of a fairly significant political and administrative center of the country emerge from scattered evidence.

The culmination point in the history of Memphis during the New Kingdom era was the transfer of the residence here from Akhetaten-the capital of the"heretic" Pharaoh Akhenaten. This happened at the beginning of Tutankhamun's reign. The reasons for moving to Memphis, rather than Thebes, are not always confirmed by documentary evidence, although they are relatively clear. A big role here was played by the former importance of the northern capital, which retained its aura of an enduring model of state unity. Political considerations to improve the country's very shaky foreign policy situation during the Amarna period required moving the capital closer to the troubled Asian border. In the context of the revival of Osiric ideas after the defeat of Akhenaten's reform, the strengthening of the Memphis local cult of the god Ptah-Sokar-Osiris became no less important. The relocation of the residence was the main reason for the new flourishing of the Saqqara necropolis, where tombs were built by both the highest-ranking officials of the state, as well as minor officials and artisans. This rise lasted for about 50 years - under Tutankhamun, Horemheb and Seti I (the second half of the XIV century BC). Ramesses II already founded a new capital in the Delta - Per Ramesses. However, a fairly large number of burials found in different parts of the necropolis suggests that Saqqara

1 Here and further, the chronology is given from the book: Beckerath J. van. Chronologic des agyptischen Neuen Reiches. Hildesheim, 1994.

2 For a bibliography on the discussion of the meaning of Memphis at the end of the 18th dynasty, see Lohr V. Ahanjati in Memphis / / SAK. 1975. 2. P. 139-188. Anm. 13; Eaton-Krauss M., Murnane W. J. Tutankhamun, Ay and the Avenue of Sphinxes between Pylon X and the Mut Presinct at Karnak / / BSEG. 1991. 15. P. 31-38. Not. 35.

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it still retained its authority as a resting place. The last single burials date back to the time of Ramesses IV. In the future, the importance of the region gradually decreases, with the exception of a brief period of the XXVI (Sais) dynasty (VII-VI centuries BC), when the pharaohs were crowned again in Memphis. Later, under the Ptolemies, cults of sacred animals were popular here, as evidenced by the flourishing of such shrines as the Anubeion, Bubasteion and Serapeum. The ancient history of Memphis ended in the fifth century with the construction of the Coptic monastery of St. Jeremiah.

Historical information about Memphis is based mainly on materials from several necropolises stretching about 30 km from north to south, from Abu Roash through Giza, Abusir and Saqqara to Dahshur. The main archaeological discoveries were made here in the first half of the XX century, when the temple of Ptah, the sanctuary of Apis and some other objects were localized. Excavations are still being carried out by the British Society for the Exploration of Egypt (Egypt Exploration Society). However, the archaeological record is still very incomplete. The Saqqara necropolis is also insufficiently explored, although it was well-known in ancient times and provides many materials on the history of Memphis. This situation is caused by two reasons. First, the necropolis has developed over 3 thousand years and therefore is a rather complex conglomerate of burials, often located on top of each other, so it is not surprising if their research is quite slow. Secondly, Saqqara suffered greatly from looting, especially during the construction of Cairo. Thus, discovered and described by the German Egyptologist K.-R. Lepsius during the Prussian expedition of 1842-1845. the tombs were later covered with sand and completely forgotten, and numerous relief fragments, easily separated from the mud brick walls, were taken out of Egypt and distributed to various museums and private collections around the world. Many architectural details were reused, including in the construction of residential buildings in Cairo. After separate expeditions in the late 19th and early 20th centuries, systematic excavations of the Saqqara necropolis based on modern scientific experience were resumed only in 1975 by the Egyptian Research Society (London) and the National Museum of Antiquities (Leiden). Five groups of researchers are currently working in different parts of Saqqara: the British and Dutch-to the south of the" ascent path "of the Unis pyramid, the French-in the Bubasteyon area, the Egyptians-along the "ascent path" of the Unis pyramid, the Australians-to the north of the Teti pyramid and the Japanese-in the Serapeum area.

One of the most significant results of the Anglo-Dutch expedition was the discovery of the largest tombs - the commander-in-chief, then the last Pharaoh of the XVIII dynasty Horemheb, "chief of the treasury" Maia, "chief of the treasury in the temple of Ramesses II" Tia and his wife Tia. Smaller tombs were also cleared, including several rock ones located in the area of Bubasteyon, the necropolis of the sacred cats of the goddess Bastet (the area of activity of the French Mission) .3

As a result of the excavations, it became clear that the Saqqara necropolis of the New Kingdom included both rock and ground tombs. For the end of the XVIII and XIX dynasties, free-standing ground burial structures are characteristic, the structure of which, with obvious general signs, could be very diverse. The first attempt to classify the Saqqara tombs of the New Kingdom was made by K. Kitchen in 1979.4 Due to their similarity to the Pharaonic funeral temples of the New Kingdom, they were named "tomb-chapel". Their main architectural features, taking into account the orientation from east to west, were named: an open courtyard (with columns in large tombs), religious rooms in the western part, rooms for stocks and statues. Further excavations have clarified the structure of the tombs. The core of each of them was formed by the western oratory with two columns and a stele. Various variants could contain an additional one or two open courtyards (in the east), two oratory buildings (in the north and south), columned porticos, and other rooms (Figure 1). Access to the underground part with the burial site was carried out through one or more shafts. However, it is not yet necessary to talk about the universal type of burial for the entire necropolis. So, for example, uni are already known-

3 For the discoveries of the Anglo-Dutch expedition, see Martin G. Tfi. The Hidden Tombs of Memphis: New Discoveries from the Time of Tutankhamun and Harnesses the Great. L., 1991. For the work of the French mission, see Zivie A.-P. Decouverte a Saqqarah: Le visir oublie. P., 1990. All the material related to the Saqqara tombs was collected in RM. III. 2.

Kitchen К. 4 Memphite Tomb-Chapels in the New Kingdom and Later // Festschrift Е. Edel (Agypten und Altes Testament, 1). Bamberg, 1979. P. 272-284.

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There are extreme cases where the entrance to the north-western oratory is located from the south, rather than from the east (the tomb of the" chief of the herds of Amon "Iniuia) or a double burial for the father and son (the tomb of the" chief of the royal harem "Pai and the" horse master " Raia). In short, the ongoing work in Saqqara is constantly updating our understanding of this complex, revealing more and more monuments.

Among the highest-ranking dignitaries at the court of Horemheb was the military commander Imenemint, like his contemporaries, who ordered the construction of his own tomb in Saqqara and decorated it with relief blocks. 5 The burial site suffered the usual fate for the region: probably still available in the XIX century, it was gradually covered with sand and completely forgotten, and the reliefs extracted from it were scattered in various museums. Now fourteen fragments with the name and titles of Imenemint are kept in the Egyptian collections of Bologna, Parma, Copenhagen, Paris, Heidelberg, Cairo, Lisbon, private collections in Brussels and in Winston Salem (USA). In addition, there are five other blocks that can only be assumed to belong to this complex with a greater or lesser degree of probability, since the name of the military commander is not on them. Almost all reliefs are of exceptionally high technical and artistic quality. Some of them, in addition to the traditional images of sacrifices before the deceased or standing before the gods, contain quite rare scenes or individual iconographic motifs. Without a doubt, the tomb of Imenemint was comparable to the largest burial complexes of the late XVIII dynasty, such as the tombs of Horemheb and Maia.

Unfortunately, her exact location is still unknown. One of the two possible localization options may be associated with the burial of Horemheb himself, located to the south of the" ascent path " of the pyramid of Unis. As you know, it was not used for its intended purpose, since Horemheb is traditionally buried in the Valley of the Kings of Thebes. However, it was associated with the cult of the deceased ruler, the presence of which is indicated by one find from the tomb's statue room. We are talking about the pedestal for the statue of the god Anubis, on the sides of which are made relief images of priests of the time of Ramesses II, responsible for the administration of the funeral cult of Horemheb . Since the military commander Imenemint moved out precisely at Horemheb, it can be assumed that his tomb was located near Horemheb. However, the second possibility of localization is more likely, related to the area near the pyramid of Teti, a pharaoh of the VI dynasty. In this northern part of Saqqara, burials were grouped according to "professional" criteria and belonged to goldsmiths, royal managers, as well as military personnel (in total, four names of the latter are known) .7 This assumption is also supported by the fact that the Imenemint reliefs, now located in Copenhagen, were found, according to the description of K.-R. Lepsius, in the village of Abusir, located near this part of the necropolis. 8 In addition, in 1993, a rock tomb of a previously unknown soldier named Nachtmin, who lived under Ramesses II, was discovered in a rocky slope near the village of Abusir .9 Therefore, it is more likely to expect the re-opening of the tomb of the military leader in the northern part of Saqqara.

Despite the difficulties associated with locating the burial of Imenemint, the reliefs belonging to him deserve the closest attention. Their formal diversity (fragments of architectural details and facings) and high quality leave no doubt about the impressive size of the structure that they once decorated, and make us dare to reconstruct their original location in the tomb. Of course,in this case it is hardly possible to talk about the restoration of the architectural structure of the entire burial. We do not even have a schematic plan of it, as was the case, for example, with the tombs of the" chief of the treasury "of the Maia and the "chief of goldsmiths"

5 RM. III. 2. p. 701-702.

Martin G.Th. 6 The Memphite Tomb of Horemheb, Commander-in-Chief of Tutankhamun. V. I. L., 1989 (далее - Martin. Horemheb...). P. 72-73; idem. The Hidden Tombs... P. 62-63; Scfmeider H.D. The Memphite Tomb of Horemheb, Commander-in-chief of Tut'Ankhamun, II. A Catalogue of Finds. L.,'1996 (далее - Schneider. Horemheb...). P. 1.

Mulek J. 7 The Tomb Chapel of Hekamaetra-Neheh at Northern Saqqara // SAK. 1985. 12. P. 50.

8 Inventory N AEIN 714, 715, see Lepsius R. Denkmaeler aus Aegypten und Aethiopien. V., 1849-1858. Text, I. S. 138.

Pane D. 9 Zum memphitischen Privatgrab im Neuen Reich // MDAIK. 1995. 51. P. 263. Anm. 67; P. 265. Anm. 79.

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Imenemint (I), reconstructed by E. Grefe based on the materials of K.-R. Lepsius and V. Lore 10 . By the way, the usefulness and relevance of such reconstructions was confirmed by the subsequent discovery of these tombs 11 . The attempt to present the original arrangement of the decorated blocks in the tomb of our Namemint is also important because, when put together and considered in relation to each other, the reliefs will appear in a more favorable light and thus emphasize the high quality and artistic significance of the tomb decoration as a whole. From this point of view, this material has not been considered before, although most of the blocks have long been published in the catalogues of the corresponding collections .12 The reconstruction below is based on the general plan of the Saqqara ground tombs with three oratory buildings in the western part and at least one open courtyard with columns located in front of them.

First of all, you must submit all reliefs that belong to Namemint. For the convenience of further reconstruction, it is advisable to bring the main data about them together 13 (below, each individual artifact related to the decor of the Imenemint tomb is numbered as a special "document"; see also Appendix).

Doc. 1

Fragment of a papyrus-shaped column with a panel depicting the deceased in an adoration pose in front of the enthroned goddess Maat.

Bologna, Municipal Archaeological Museum, N 1894 14 .

Embedded relief; panel height 25 cm, panel width 29 cm, column width 35 cm.

Doc. 2

Fragment of a door beam with the image of the deceased kneeling before the cartouches of the Pharaoh.

Heidelberg, Collection of the Egyptological Institute of the University of Heidelberg, N 559 15 .

Embedded relief. High. 45,7 cm, width. 56,5 cm.

Doc. 3

Fragment of a door beam depicting a complex composition of worship of the rising sun on a jed pillar.

Cairo, Egyptian Museum, N 27.6.24.10 16 .

Bas-relief, embedded hieroglyphs. You. 35 cm, width 160 cm.

Doc. 4

Fragment of a relief with an image on both sides: the deceased standing in the adoration pose in front of Osiris sitting under a canopy (side a), the upper part of the figures of the deceased with his wife (side b).

Copenhagen, New Karlsberg Glyptothek, N AEIN 714 17 .

Bas-relief, embedded hieroglyphs. You. 44 cm, width 71 cm.

Graefe E. 10 Das Grab des Schatzhausvorstehers und Bauleiters Maya in Sakkara // MDAIK. 1975. 31/2 (далее - Graefe. Maya...). S. 187-220; idem. Das Grab des Vorstehers der Kunsthandwerker und Vorstehers der Goldschmiede, Ameneminet in Sakkara // Zivie A.-P. Memphis et ses necropoles au Nouvel Empire: Nouvelles donnee, nouvelles questions. Actes du colloque international CNRS / Ed. par Zivie A.- P. P., 1988. P. 49-53.

11 The tomb of Maia was completely cleared by the Anglo-Dutch expedition, see Martin J. Sakkarskaya tomb of Maia, treasurer of Pharaoh Tutankhamun: A new discovery / / VDI. 1991. N 3; Martin. The Hidden Tombs ... P. 147-188; the burial of Amenemint (I) is still partially cleared by the Australians; see Ockinga B. G. An Ancient Egyptian Puzzle: Piecing Together the Saqqara Tomb of the Overseer of Craftsmen and Chief Goldworker Amenemone / / BACE. 1998. 9. P. 73-87.

12 With the exception of one fragment (Private collection, Brussels), the reliefs were collected in an unpublished dissertation by the French researcher J. Berlandini (Berlandini-Grenier J.). La necropole Memphite du Nouvel Empire (De l' epoque post- amarnienne a la fin de la XIX Dynastie). P., 1973. P. 130-175. The dissertation is kept in the National Library of Paris. The author collected reliefs from the tombs of 14 officials (except Imenemint), translated and briefly commented on the inscriptions on them. There are no illustrations in the work.

13 The following references contain only the latest publications of monuments, which contain further bibliography.

14 II senso dell'arte nell'Antico Egitto. Bologna, Museo Civico Archeologico 25 marzo-15 luglio 1990. Catalogo dellamostra. Milano, 1990. P. 119-120.

Feucht Ye 15 Vom Nil zum Neckar. Heidelberg, 1986. S. 72-73. N 188.

Mysliwiec To. 16 Studien zum Gott Atum. Hildesheim, 1978-1979. S. 182. N 114.

Martin G.Th. 17 Corpus of Reliefs of the New Kingdom from the Memphite Necropolis and Lower Egypt. L., 1987. Cat. 1.

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Doc. 5

Fragment of the wall covering with the image of the deceased sitting on the throne with his wife Taha (?).

Copenhagen, New Karlsberg Glyptothek, N AEIN 715 18 .

Bas-relief, embedded hieroglyphs. Height 65 cm, width 15.9 cm.

Doc. 6

Fragment of the wall covering with the image of the deceased sitting on the throne with his mother Depet.

Paris, Rodin Museum (permanent storage in the Louvre), N 237 19 .

Bas-relief, embedded hieroglyphs. Height 41,2 cm, width 38 cm.

Doc. 7

Fragment of a wall covering with the image of the deceased standing in the adoration pose in front of the altar.

Lisbon, K. Gulbenkian collection, N 205 20 .

Bas-relief, embedded hieroglyphs. Height 64.5 cm, width 35.8 cm.

Doc. 8

Fragment of a wall covering with the image of a kneeling deceased before the god Ra-Horakhti sitting on a throne.

Winston Salem (North Carolina, USA), private collection 21 .

Bas-relief, embedded hieroglyphs. Height 32 cm, width 57 cm.

Doc. 9

Fragment of a wall covering with the image of a kneeling deceased before the god Khepri sitting on a throne.

Brussels, private collection. Not published 22 .

Bas-relief, embedded hieroglyphs. Dimensions are unknown.

Doc. 10

Fragment of a wall covering with the image of a deceased person standing with his hand raised in a gesture of receiving gifts.

Parma, National Museum of Antiquities, N E 108 23 .

Bas-relief. Height 51 cm, width 79 cm.

Doc. 11

Fragment of a wall covering with the image of the deceased's father Imenmes sitting and mother Depet standing next to him.

Paris, Louvre, N At 6 24 .

Bas-relief, embedded hieroglyphs. Height 56 cm, width 66 cm.

Doc. 12

Fragment of a wall covering with the image of the deceased standing and his wife Taha sitting at his feet.

Paris, Louvre, N At 8 25 .

Bas-relief, embedded hieroglyphs. Height 69 cm, width 73 cm.

Doc. 13

Fragment of a wall covering depicting a deceased person floating on a boat in a thicket of papyrus accompanied by his wife Taha and daughter Ai (possibly associated with the goddess Hathor ritual of "shaking / pulling papyrus").

Strasbourg, Collection of the Egyptological Institute of the University of Strasbourg, N 2439 A 26 .

Embedded terrain. Vye. 27 cm, width 102 cm.

Doc. 14

Fragment of a wall covering with the image of the wife of the deceased Taha sitting near a chair.

Leiden Museum of Antiquities. The relief is known only from a facsimile copy kept in the museum. It sank at sea while being transported from Egypt to Leiden 27 .

The technique and dimensions are unknown.

Koefoed-Petersen О. 18 Catalogue des bas-reliefs et peintures egyptiennes. Copenhague, 1956. P. 36. N 715.

"Rodin collectionneur". 19 Musee Rodin. P., 1967. N 51. PI. 1.

Assam М.Н. 20 Collecao Calouste Gulbenkian. Arte Egipcia. Lisboa, 1991. P. 62, N 15.

21 Given only: Berlandini-Grenier. Op. cit. P. 160-162. Cat. D 13. Photo from the old collection of the Heidelberg Institute of Egyptology. Courtesy of Dr. B. Gessler-Lehr.

22 photos from the collection of the Heidelberg Institute of Egyptology. Permission to use - Prof. E. Feucht.

Yoyotte 23 ./., Desroches-Noblecourt С. Treasures of the Pharaohs. Geneva, 1968. P. 133-134.

Ziegler Ch. 24 Le Louvre, Les Antiquites egyptiennes. P., 1990. P. 55.

Vandier J. 25 Le department des Antiquites egyptiennes au Musee du Louvre. P., 1973. P. 28. PI. XI, 2.

26 Antiquites egyptiennes. Strasbourg, Exposition a l' ancienne douane. 12 jul. - 15 oct. 1973. Strasbourg, 1973. P. 37. Cat. 133. Fig. 19.

Sclmeider H.D. 27 De Laudibus Aegyptologiae. C.J.C. Reuvens als verzamelaar van Aegyptiaca. Rede 14. Juni 1985. Leiden, 1985. S. 22. Afb. 6.

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All the fragments listed above contain in a short inscription (usually the text of a sacrificial formula or an appeal to the deity " Praise you...") the name and a combination of titles of the deceased. All 16 Imenemint titles can be divided into three groups: administrative, military, and religious. Among them are quite common for dignitaries of the New Kingdom, such as "hereditary prince" " manager of the house (estate)" "royal scribe" The titles of "chief of construction works in the temple of Ra" "chief of construction works of the king" "chief of every post (i.e., all officials-O. D.) in Upper and Lower Egypt" "administrator of the possessions of the temple of Thutmose III" "head of the feast of Ma'at" "head of the feast of all the gods" are extremely rare These are the titles of" the most important in Memphis ""the first royal speaker" and, what is especially important for the idea of Imenemint's career, his military ranks: "commander-in-chief, chief of the army" "military commander" "scribe of selected troops"

The combination of administrative and military titles in Imenemint reflects the new social situation in Egypt under Horemheb (1347-1318 BC). In the key manifesto of his reign - the so - called "Coronation Decree" - this pharaoh proclaimed a reform of the state apparatus, the essence of which was to promote people of non-noble origin to positions, including the highest ones and the military 30 . Due to the lack of data on Namemint dating back to the time before Horemheb's reign, it is hardly possible to clearly understand his origin and career. Most likely, he was formerly a combat officer, and not an official or a scribe. Upon Horemheb's accession to the throne, he succeeded him as commander-in-chief of the army. Probably, not the least role was played here by the particularly confidential position of Imenemint as the ruler's favorite. So, on the relief from Parma (doc. 10) he is called " the favorite of the king's heart." In the same place, as in the fragments from Copenhagen (doc. 4, 5), his rare title "first tsarist speaker" stands precisely between two military titles - "commander-in-chief" and "military commander". It can be assumed that the life path of Imenemint demonstrates a rather rare military career in the strict sense of the word for ancient Egyptian history, comparable to the biography of Horemheb himself. Some titles also clearly indicate the participation of Namemint in the administration of Memphis, indicating either his origin in this royal residence, or his permanent residence here on duty. His consort Taha (t) held the title of "singer of Hathor, Lady of Sycamore", common to the noble women of the New Kingdom. This hypostasis of the goddess Hathor was associated with the Memphis region, and this epithet may indirectly indicate the close connection of the military commander's family with Memphis.

Monuments from the tomb of Imenemint include several fragments, the attribution of which remains questionable due to the absence of his name on them:

Doc. 15

Fragment of the wall covering with the image of the tabernacles.

Boston, Museum of Fine Arts, N 1974. 468 31 .

Bas-relief. Height 36.8 cm, width .

28 The presence of this title indicates the role of the cult of Thutmose III at the end of the eighteenth dynasty. It is under this Pharaoh that Memphis is reborn after a long period of oblivion. Although various authors have offered their own versions about the location of his temple (Gurob, Thebes, Memphis harbor Perunefer), the question remains open.

29 For the military titles of the Namemint, see Gnirs A.M. Militar und Gesellschaft. (SAGA 17). Heidelberg, 1996. P. 37,53- 54,175-178.

Gnirs A. 30 Haremhab - ein Staatsreformator? Neue Betrachtungen zum Haremhab-Dekret // SAK. 1989. 16. S. 83-100.

31 "Mummies and Magic. The Funerary Arts of Ancient Egypt". Museum of Fine Arts, Boston. Boston, 1988. p. 144-145. Cat. 85. Not. 4.

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Doc. 16

Fragment of the wall covering with the image of the tabernacles.

Copenhagen, New Karlsberg Glyptothek, N AEIN 716 32 .

Bas-relief. Height 38 cm, dash 73.7 cm.

The dock. 17

Fragment of the door jamb (?) with the image of the deceased standing.

Hanover, Kestner-Museum, N 1935. 200. 186 33 .

Bas-relief, embedded hieroglyphs. Height 50 cm, width 43,5 cm.

Doc. 18

Fragment of the wall covering with the image of the deceased standing in the pose of adoration.

Paris, private collection 34 .

Bas-relief, embedded hieroglyphs. Height 32.4 cm, width 23.3 cm.

Doc. 19

Fragment of a wall covering with the image of a woman walking with a bouquet and a musical instrument "menit" in her hands.

Essen, Folkwang Museum, N R 143 35 .

Bas-relief. Height 64 cm, width 36.2 cm.

Documents 15-17 are attributed to the tomb named after Mint by J. T. Martin, and he repeats the attribution of fragments from Boston and Copenhagen after the prominent Egyptologist W. K. Simpson .36 Unfortunately, some notable details do not allow us to agree with this unconditionally. Thus, the lower parts of the figures of the main characters preserved in the discussed fragments indicate a scene with the reception of gifts, which is also confirmed by the procession of gift-bearers depicted below. Apparently, the figures were quite large and comparable in size to the reliefs from the Louvre (doc. 11, 12). The latter are made with careful detail, while the blocks under consideration do not even indicate the big toes. The figures of the tabernacles themselves do not find analogies in the undoubted monuments of Imenemint. Of course, we do not have all the blocks from the tomb, however, the ownership of these reliefs remains questionable. No less doubtful is the origin of the Hanoverian fragment from the tomb of Imenemint (doc. 17). On the one hand, on the relief from Brussels (doc. 9) we see a similar wig, on the blocks from Heidelberg and Copenhagen (doc. 2, 4) the inscription of some hieroglyphs is similar. However, no image of Imenemint shows such an upturned nose and an obliquely placed eye.

Dock 18 looks almost like a mirror image of the topography from Lisbon (doc. 7). The rest of the inscription (the end of the name of the deceased) is located identically-just below the waist, behind the back. In favor of the tomb of Imenemint, the writing of the hieroglyph "pravoglasny" with a lotus flower also speaks, which is found on its undoubted monuments repeatedly (doc. 2, 4, 6, 7, 12) 37 . A woman depicted in a relief from Essen (doc. 19), shows striking similarities with other female images from the tomb, especially in the interpretation of a straight nose with a blunt tip, a plastic mouth, and a rounded chin. The lotus bouquet in the hand pressed to the chest is reminiscent of reliefs from the Rodin Museum, the Louvre and Copenhagen (doc. 5, 6, 11). But most importantly, it is a very peculiar type of drapery on the chest, indicating the work of only one particular artist (cf. doc. 6, 11). The musical instrument "menit" in the hand of the pictured may allude to the wife Imenemint Taha (t), who was the "singer of Hathor". So, doc. 18 and 19 with a high degree of probability can be attributed to the group of monuments Named Mint 38 .

Martin. 32 Corpus... Cat. 5.

Drenkhahn R. 33 Agyptische Reliefs im Kestner-Museum, Hannover. Hannover, 1989. S. 102-103. N 33.

Carpano V. 34 Une collection particuliere // BIFAO. 1994. 94. P. 63. N 46. Fig. 29.

35 "Echt. Antiken aus offentlichem und privatem Besitz". Eine Ausstellung des Archaologischen Museums Altenessen im Ruhrlandmuseum der Stadt Essen. 28. Mai bis 12. September 1993. Oberhausen, 1993. S. 34, 50. Abb.54.

Martin. 36 Corpus... Cat. 5-6, 12; see note 25.

37 For the spelling of "pravoglasny" with a lotus flower, see Gefiler-Lohr V. Zur Schreibung von mohc-hrw mit der Blume / / GM. 1990. 116. S. 25-43.

38 Unfortunately, attribution of any ancient Egyptian monument that does not contain an inscription solely on the basis of iconographic and stylistic similarities cannot be absolutely reliable. This is primarily due to the fact that several groups of craftsmen worked in each tomb, often with completely different artistic orientations.

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Reliefs from the tomb of Imenemint are dominated by scenes of worship of deities, including Osiris, Hathor, Ra-Horakhti, Atum, as well as cartouches of the Pharaoh and the sun in the form of a disk on the jed pillar, and the latter plot is unique for the time preceding the XIX dynasty 39 (doc. 1, 2, 3, 4, 7, 8, 9, 18). Some images are undoubtedly associated with the reception of sacrificial gifts (doc. 5, 6). The semantic context of other fragments is not fully understood (doc. 10, 11, 12, 13, 18). Perhaps they are included in the circle of scenes of transition to the afterlife. It is noteworthy that there are absolutely no "autobiographical" images typical of the XVIII dynasty and well-known from the Theban and Amarna tombs (the owner of the tomb in the performance of official duties or being awarded by the Pharaoh). Of course, this is primarily due to an archaeological gap, as well as the difficulty of identifying many reliefs only by style, in the absence of inscriptions. Nevertheless, I would like to emphasize that the set of plots, for all its incompleteness, is symptomatic. It is associated with important religious changes at the turn of the XVIII-XIX dynasties, which are designated in Egyptology by the word "sacralization". These changes were caused by a shift in emphasis in relation to the tomb: now it becomes a kind of temple where the deceased can directly worship the gods, where a person is depicted among the deities who are treated from their altars. In accordance with this, both the architectural structure of tombs is changing (complication of the plan and spatial organization, the appearance of the so - called "winding descent" to the underground part, symbolizing the path to the afterlife and staying in it), and the decorative program (the spread of a new system of decoration-the so-called "filmstrip style", reducing the number of scenes of "real life")."life, an increase in the number of sacred texts, the spread of statues of the gods and the deceased himself) 40 .

The choice of scenes can reflect the individual wishes of the customer for the arrangement and decoration of his tomb in accordance with the latest trends of the time. The number of decorated architectural details (a fragment of a column, door beams, blocks for lining the inner surface of the passage from one room to another, a two-sided relief as a partition of the chapel), as well as the very high skill of their execution, suggest that the tomb was comparable in size to the largest burial complexes of Saqqara, such as burials Horemheb and Maia. However, this is not surprising: the high social position of Imenemint, as evidenced by his numerous titles and titles, as well as the position of head of construction works, fully allowed him to attract the best forces to the construction of the tomb.

The evaluation of architectural details should begin with a panel of columns from the Municipal Archaeological Museum of Bologna (doc. 1). Such columns with panels appeared in Amarna and then spread widely in Saqqara, where they are found in situ 41 . Columns have become an integral structural and artistic element of the Sakkar "tomb-chapels". They supported the roof of the portico that ran along the inner perimeter of the open courtyard, and gave the surface burial structures an external resemblance to the funeral temples of the New Kingdom. The dimensions of the panel (25 x 29 cm) are comparable to the similar details of the columns of the second courtyard of the tomb of Horemheb, which, due to the increase in the floor level, are lower and thinner than the columns of the First courtyard. Consequently, the panel belongs to a column that was most likely located in the courtyard immediately preceding the sacral western part of the tomb, or just before the entrance to the oratory.

39 Only one image of a similar scene from the tomb of Amenemipet in Thebes dates back to the end of the eighteenth dynasty (TT 41). See Assmann J. Das Grab des Amenemope (TT 41) (Theben, 3). Mainz, 1991. Scene 165, Taf. 68. All others are of Ramessid time. These images are especially widely distributed on sarcophagi and papyri of the Theban priests of Amun of the XXI dynasty (see Niwinski A. 21 st Dynasty Coffins from Thebes: Chronological and Typological Studies. Theben 5. Mainz, 1988).

40 For the" sacralization " of Theban tombs, see Assmann J. Prioritat und Interesse: Das Problem der Ramessidi-schen Beamtengraber, Problems and Priorities in Egyptian Archaeology, L.-N.Y., 1987, pp. 37-41. Almost all elements of this phenomenon are also observed in Memphis burials (the architectural form of the "tomb-chapel", i.e. a miniature temple, a developed underground structure, the presence of statues, an increase in the number of religious subjects and texts).

41 Tombs of Horemheb (Martin. Horemheb... P. 18-19, 45-49), named Mint (I) (in situ). Shares (Schneider. Horemheb... Cat. NK 9 + 10. P. 93. PI. 101). For a list of columns, see Berlanilini J. Vari Memphitica V. Monuments de la chaoelle funeraire du gouverneur Ptahmes / / BIFAO. 1982. 82. P. 99. Not. 3.

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The presence in the tomb of two door beams (doc. 2, 3), which contain rather rare images for the decoration of these architectural details - the worship of the deceased to the cartouches of the Pharaoh and the solar deity - again and again testifies to the special interest of Imenemint in the visual repertoire of his own tomb. The width of the beams as a whole should be at least 1.5 m (doc. 2) and approx. 2 m (dock) 42 . Comparing these dimensions with the width of the doorways and jambs in the tombs of Horemheb, Maia and Mesa 43 , we conclude that the size of the rooms in the tomb of Imenemint is significant, since the width of the passages must have been at least 1 m. Unfortunately, the basic arrangement of the beams above the doorways, columns, or perhaps above the partition wall in the western chapel does not yet provide a clue to the actual placement of the fragments in question. The situation is further complicated by the fact that only a few lintels are found in tombs, but not strictly in situ, and most of them are completely disconnected from the architectural context. The situation in the Theban tombs of the New Kingdom is much better: they simply have fewer passages, and the decoration is preserved more fully. The doorway there is always the border between the earthly and otherworldly worlds, and images of the deceased entering and leaving, worshipping deities, and receiving victims are strictly tied to it. Of course, this principle is mostly preserved in Saqqara tombs, but due to the large number of differentiated rooms, it is very difficult to determine the dependence of the plot on the purpose of the room. The execution of the image and text in the bas-relief or embedded relief technique can only indirectly and very presumably indicate the internal or external location 44, respectively . Nevertheless, the placement of a beam depicting the worship of the Pharaoh's cartouches (doc. 2) in an open courtyard, possibly in close proximity to the most sacred western part. This is supported by its considerable height, as well as the technique of a fairly deep relief, whose clear and at the same time rounded outlines should have been particularly advantageous when exposed to sunlight. It is also possible to place the relief directly above the columns, which is found in some Theban tombs of the Ramessid era .45

On the contrary, the Cairo bas-relief (doc. 3) has a place in some closed space. Its proportions and smaller height did not seem to suggest a cornice-like finish. It could be located above the passage in the portico, behind the columns, and the remains of architecture on the right may indicate its continuation even to the end of wall 46 . In this case, we are no longer dealing with a lintel, but with a kind of relief frieze. If we assume the location of the relief in the oratory, then it is almost certainly on its eastern wall - after all, the sun rises in the east, which is greeted by the depicted characters and the deceased himself. The question of whether this was the main Western oratory or another one specifically dedicated to the solar cult (there are no analogies to this in private tombs!) remains unsolvable. In any case, the composition of the scene, which is very rich and unusually well developed for the end of the XVIII dynasty, speaks of its great significance in the context of the tomb.

Probably associated with the passage area are the topography from Lisbon (doc. 7) and its mirror image.

42 Doc. 2 represents almost exactly the third part of the beam: on the dock. 3 on the right and left, you can see the remains of lines that indicate the presence of some architectural images (on the map with the figure of a deity?).

43 Horemheb: 0.74-1 m (Martin. Horemheb... P. 20. Fig. 12); Maia: 1.1-1.5 m (Schneider et al. The Tomb of Maya and Meryt: Preliminary Report on the Saqqara Excavations, 1990-1991 // JEA. 1991. 77. P. 9, далее - Sciuieider et al. Maya and Meryt...); Mec: 0,8 м (Gahulla G.A. The Memphite Tomb Chapel of Mose. Warminster, 1977. PI. I); Tia and Tia: 1-1. 5 m (Martin. The Hidden Tombs... P. 102). The width of the jambs of the entrance to the room for statues at Horemheb is 56 cm each (Martin. Horemheb... Scenes [57-58]).

44 For the relationship between the terrain technique and its external or internal location in a structure, see Schdfer N. Von agyptischer Kunst. Eine Grundlage. 4. Aufl. Wiesbaden, 1963. S. 84-85; Vandersleyen C. Das Alte Agypten (Propylaen Kunstgeschichte. 15). В., 1975. S. 310.

45 Oral proposal by Dr. E. Hoffman (Institute of Egyptology, Heidelberg).

46 Oral proposal by Dr. P. Barthelmes (Institute of Egyptology, Heidelberg). We add that an additional option is possible here, namely: the position of the beam as an architrave of two columns in front of the entrance to the oratory, as for example, in the tomb of Imenemint (I) (Ockinga. Op. cit. Fig. 1), Pasera (Martin. The Hidden Tombs... P. 120), Raia (Ibid. P. 125), Tia and Tia (Ibid. P. 102). Such an architrave depicting the worship of the deceased to Osiris and Ra-Horakhti was found in the tomb of Iniuia (Schneider et al. The Tomb of Iniuia: Preliminary Report on the Saqqara Excavations, 1993 // JEA. 1993. 79. P. 1-9; далее - Schneider et al. Iniuia...).

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reflection (although with a slight discrepancy in size) - a fragment from the Paris private collection (doc. 18). The pose of the Imenemint depicted here with a slightly bowed torso, raised hands (in the left - a large lotus bouquet, the right-in a gesture of adoration), standing in front of a sacrificial table full of food and decorated with a similar lotus bouquet, suggests some god as a vis-a-vis. The closest, strikingly similar analogy to these fragments is the relief from the tomb of Ria (Berlin, State Museums, N 7275) 47 . On it, the deceased is presented in an identical pose, with half a female figure behind him, and in front of him in a naos stands Ra-Horakhti, who is intended for a nmst libation vessel and a lotus bouquet on a table. In the lower register, which is much smaller in height, a procession of men with gifts moves. The blocks are almost the same even in height 48 . The localization problem is related to the lack of direct parallels in situ. The starting point is undoubtedly the figure of a god, even if it is not preserved in the reliefs of Imenemint. This indicates, first of all, the proximity of the fragment to the chapel, and also does not exclude its presence inside it. The scene of the deceased standing before God in the passage area is known in the tomb of Horemheb (passage from the statue room to the second courtyard, left side-the deceased before Osiris, unique for Saqqara text of the hymn to Osiris) 49 . In the vast majority of cases, the walls of the aisles contain scenes of the deceased and his wife receiving sacrificial gifts .50 The compact composition of the relief located in Lisbon (on the left - a restrictive ornamental line indicating the edge of the wall, on the right - a supposed figure of a god) suggests that we are looking at an independent scene that could only adorn the surface of the passage, most likely from the courtyard to the western chapel. Since the gods were always depicted on the side facing the most sacred part of the tomb, where the "kingdom of the dead" was conceived, with the traditional orientation of the tombs from east to west for Saqqara, we are talking about the southern wall of the passage. A symmetrical relief in Paris (doc. 18), which almost certainly comes from the tomb of Imenemint, could have been located on the north wall of the same or another oratory.

One of the most interesting monuments originating from the Imenemint tomb is a two-sided relief, now located in Copenhagen (doc. 4). It is, without any doubt, a fragment of the wall-partition ("screen-wall") that divided the space of the central oratory into a kind of" pronaos " and the sanctuary itself. This purely local architectural detail is archaeologically attested in all the major tombs of Saqqara of the late XVIII-early XIX dynasties - Horemheb, Maia, Iniuia, Paser, Tia and Tia. Unfortunately, very few real fragments have been preserved. The only specimen found in situ was in the central oratory of Pai's tomb: two fragments preserved the lower parts of the deceased's standing figures, symmetrically facing the central axis 51 . Another example comes from the tomb of Imenemint (I) (Munich, State Collection of Egyptian Art, N Gl. 298) 52 . On the side facing outward, towards the courtyard, the funeral procession is depicted at the top in front of the tomb portico, at the bottom - the son of the deceased Ptahmes with a lengthy text of the funeral prayer. The inner surface shows the son of the deceased Nebmehi with a woman in front of the tree goddess and two drinking water ba as a quote from the Book of the Dead, the priest with the text of the prayer and the deceased sitting on the right with his wife Nefertari in front of the altar. This part of the wall is located on the right, on the northern side, since the scenes directly related to the funeral cult and afterlife are turned to the" holy of holies " of the tomb. The next example of a partition wall comes from the tomb of Horemheb. First in mine I was

Friinat Е. 47 Eine Gruppe memphitischer Grabreliefs des Neuen Reiches // Staatliche Museen zu Berlin. Forschungen und Berichte. Bd 3/4. V., 1961. S. 27. Abb. 2.

48 The height of the figure on the Berlin relief is 93 cm, on the Lisbon relief-64.5 cm (without the lower part of the legs and the upper part of the text). Thus, the figure together with the text will probably be at least 90 cm.

Martin. 49 Horemheb... Scene 64.

50 Horemheb (Martin. Horemheb... Scenes 56, 113, 114); Maia (Martin. The Hidden Tombs... Fig. 106); Паатонемхеб (Boeser P.A.A. Beschreibung der Aegyptischen Sammlung des Niederlandischen Reichsmuseums der Altertiimer in Leiden. Bd IV. Haag, 1909. PI. III-IV, e-f).

Schneider H.D. 51 Pay en Raia: Haremdirecteuren van de heer der beide landen - Recente opgravingen in de memphitische begraatplaats van het Nieuwe Rijk te Sakkara // Phoenix. 1995. 41 (1). S. 10. Fig. 3.

52 Relief height 94 cm, width 83 cm Lohr V. Bin memphitisches Grab vom Ende der 18. Dynastie (urn 1320 v. Chr.) / / Pantheon. Jg. 28. VI. Miinchen, 1970. S. 467-474; Ockinga. Op. cit. P. 80, F.

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a small fragment of a two-sided relief depicting part of the crown of Osiris on one side and the figure of the tabernacle bearer on the other was found 53 . Then, during the excavation of the Maia tomb, they found a reused and heavily damaged block from the Horemheb 54 complex in the Late period . It was the continuation of the first one, given in the publication of 1989 without specifying the place. On the outside, the deceased makes a libation before Osiris, and the accompanying text also mentions Isis, who was supposed to stand in front of Osiris (her figure is completely painted). On the inner side to the right, i.e. in the direction of the central stele, a procession with gifts moves, the continuation of which probably took place on the adjacent southern wall of the chapel. In the upper part of both surfaces there is a decorative frieze "hecker", but on the inside it is located lower. This suggests that the floor level of the western part of the chapel was higher, and the ceiling was lowered, which is typical for the structure of the temple and is repeated in private tombs of Saqqara.

The Copenhagen relief from the Imenemint tomb is thus the fourth current example of a wall-partition. On its outer side, facing the courtyard, there is an image of the deceased standing before Osiris sitting under a canopy. There must have been another register below, otherwise this scene would not have been consistent in size with the inner side of the oratory, where the heads of Imenemint and his consort Taha(t) are depicted, possibly sitting in front of the sacrificial table. It is also possible that they stand in the pose of adoration in front of some deity. Above the columns of hieroglyphs, the frieze "hecker" has not been preserved to its full height, the presence of which only on the inner side indicates a decrease in the ceiling level in this part of the chapel. Judging by the direction of the figures, hieroglyphs, and geometric ornaments surrounding the block, the partition wall was located on the right (if viewed from the courtyard), near the northern wall of the western chapel. Its thickness (19.5 cm) is consistent with the data found in situ (Horemheb-17.5 cm, Paser - 16 cm).

The next two blocks, which undoubtedly fit together in size, plot, technique, and quality of execution, are preserved in the private collections of Winston Salem and Brussels (doc. 8, 9). The kneeling deceased worships Ra-Horakhti and Khepri, depicted in an exceptionally rare anthropomorphic form. In addition, the first relief in the sacrificial formula mentions the lunar deity Iah, whose name is written with the determinative "god", which also does not find analogies in modern and later monuments. Joined together, the fragments form a symmetrical composition typical of door beams. However, the unusual way of dividing the relief surfaces into four fields (the central one with the main image, two at the top and side with text, and one empty in the corner) makes us doubt that this particular architectural detail is in front of us. It seems more likely that we are talking about fragments of ordinary wall cladding, but where could they be located? Comparison with similar scenes of deity worship (minus, of course, the door lintels) suggests the localization of reliefs in one of the western chapels. Unfortunately, you can only attract a few similar songs. First, a relief from Horemheb's tomb, preserved in the Leiden Museum of Antiquities (N C I) 55 . It shows the deceased standing in prayer in front of Ra-Horakhti sitting on a throne (identical to the Winston-Salem relief, only in the opposite direction). The text, made in contrast to the image in the embedded relief, is the formula "Praise you..." which is similar to the formula present on both blocks from the tomb of Imenemint.

It is quite obvious that the three fragments are similar to each other. However, the localization of the Leiden block is not absolutely accurate. Therefore, as a second analogy, we should mention an in situ monument, namely the painting of the western wall of the north-western oratory And tomb of Iniuia 56 . The symmetrical composition shows the deceased standing in front of Osiris (left) and Sokar (right) standing in kiosks. Finally, in Oratory III of the Tomb of Mesa (time of Ramesses II), on the western wall, there is a two-register symmetrical scene with the image of the dead.-

Martin. 53 Horemheb... Scene 48, pl. 44.

Schneider. 54 Maya and Meryt. P. 17-18. PI. II, 3-4.

55 Height 58.5 cm against 32 cm reliefs Imenemint. However, the deceased is standing here! (Boeser. Op. cit. PI. XXV; Martin. Horemheb... P. 127-128, scene 124. Likely attribution to oratory D belongs to J. T. Martin).

Schneider. 56 Iniuia... P. 2, pl. I, 3.

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obeisance of the deceased to the goddesses (above) and to the gods Horu and Upuaut (below) 57 . By the way, the other walls of this oratory are covered with images of deities who will die together with their spouse. Similarly, in the tomb of Iniuia, on the southern and northern walls of the oratory, the deceased and his wife worship the gods. Similar examples come from the tomb of Pai: even in two oratories (north-west and north-east) there are painted images of gods, including Osiris and Anubis .58 In the tomb of Tia and Tia, the southwestern oratory is specially dedicated to Apis, but it also depicts other deities - Osiris, Horus, and Isis .59 It should be noted that this room is completely decorated with reliefs, while the side chapels of the Horemheb and Maia burials were apparently painted 60 . Consequently, these rooms are dedicated to the cult of deities of the afterlife, with whom the deceased communicate directly. This is perhaps the most vivid evidence of the turning point in religious life and ideas about burial that marked the turn of the XVIII-XIX dynasties, moreover, we are talking about the Memphis region, which is practically unexplored in this sense compared to Thebes.

Thus, the localization of fragments from Winston Salem and Brussels on the western wall of one of the western chapels is almost beyond doubt. The juxtaposition in the images of the two manifestations of the solar deity - in the images of Khepri (morning) and Ra-Horakhti (daytime), as well as the mention of the moon god Iah as the sun's substitute in the afterlife symbolically forms a picture of the continuous movement of the sun and constant rebirth, guaranteeing eternal life to the deceased 61 . Relief from Cairo (doc. 3) with the image of sun worship, it now appears in a completely definite form. It must have been included in the decoration of the same oratory, perhaps specifically dedicated to the solar cult. The sequence with which Imenemint probably thought out the decoration of his own tomb is simply amazing! The blocks assigned above to the area of the passage to the oratory, which are now located in Lisbon and Paris, could also have belonged to this particular room.

Another pair is formed by fragments from Copenhagen (N AEIN 715, doc. 5) and Paris (Rodin Museum; doc. 6). The technique of their execution is the same: figures - in bas-relief, hieroglyphs-in embedded relief. Their compositions are identical: the deceased is sitting on a chair with a woman (in the relief from Paris - this is his mother Depet, in Copenhagen the name of the depicted person has not been preserved, but most likely it is his wife Taha[t]), one of his hands is stretched out in a gesture of receiving sacrificial gifts. The scene is absolutely common for any tomb, the purpose of most of the images of which is to magically supply the deceased with food. In Saqqara tombs, it could be present on the inner surface of the passage from one room to another, and on the walls of an open courtyard or chapel. In our reconstruction, we should proceed from the very high quality of the reliefs, even if it is not immediately obvious due to their poor preservation, and also take into account the work of a very original master, whose hand is guessed in the interpretation of a woman's clothes and face, a lotus bouquet, a still life under a chair. Most likely, the blocks were located side by side and in a fairly prominent place, and in addition, sitting pairs formed the final part of symmetrical compositions. As an option for placing fragments, we can suggest the western wall of the courtyard in front of the sacred part, on either side of the entrance to the central chapel. In this case, the Paris block is on the left, and the Copenhagen block is on the right. The presence of the figures of Imenemint with his wife and, probably, already deceased mother right at the entrance to the chapel seems quite logical - they are as close to the other world as possible, and the procession with the victims moves, as usual, towards the most sacred part, i.e. to the west. The closest analogy to the proposed localization is found in the Maia tomb-the large two-register composition 62 reconstructed by E. Grefe also for the western wall from the central to the northern chapel (Fig. 2). In the upper case on the left, a married couple is seated, receiving incense and gifts from the three

Gaballa. 57 Op. cit. PI. XXV-XXV1, /5; XXVII, 16.

Schneider. 58 Pai en Raia... Fig. 4, 10, 11.

Martin. 59 The Hidden Tombs... P. 109-112.

60 Ibid. P. 88, 156.

61 In the tomb of Maia, there is a similar juxtaposition of texts-hymns to the Sun and Moon on the two jambs of the passage to the second courtyard on the side of the latter (Graefe. Maya... S. 211-213).

62 Reliefs are in the Egyptian Museum of Cairo, N JdE 43274 (Graefe. Maya... S. 204. Fig. 7).

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There are several outstanding characters, among which the first is his brother Nahuher, who is constantly found in the tomb and probably responsible for the cult of the deceased. The width of the entire stage is approx. 2.6 m, the height of the upper case is approx. 80 cm. In Pai's tomb, to the left of the entrance to the central oratory, a similar composition is presented-only smaller, with the deceased without a spouse and one priest in front of the altar 63 . Together with the above option, it is possible to place both pairs in the opposite direction at the end of the mirror compositions with the procession of the tabernacles on the eastern side of the courtyard, namely on its northern (dock 6) and southern (dock 5) segments, on either side of the passage.

If the considered blocks are more or less likely to find their place in the proposed architectural structure (primarily due to a certain composition and stable iconographic elements), then the last group will have to include monuments, the placement of which remains a big question. This is all the more unfortunate because three of them are of exceptionally high quality (reliefs from Parma and the Louvre, doc. 10, 11, 12). Because of their fragmentary nature, it is extremely difficult to single out anything as a decisive argument for reconstruction. So, the upper part of the figure of Imenemint, masterfully executed in very low relief, with an ostrich fan in his hand and the accompanying text of the formula htp-di-njswt, whose bas-relief hieroglyphs are carefully detailed and very plastic (doc. 10), should have been located in a fairly prominent place. Attention is drawn to the rather significant height of the figure-approx. 40 cm, but it has been preserved only to the shoulders. The closest image of similar dimensions comes from the same tomb-a relief with the father and mother Named Minta from the Louvre (N In 6, doc. 11). Further, on the northern wall of the entrance pylon of the Maia tomb, there is a standing figure of the deceased with a waist height of 65 cm, which is quite comparable to the size of the Parma block 64 . On the New York relief of an unknown grandee (Buffalo, Academy of Fine Arts), the deceased is presented in a pose almost identical to that in which the Namemint is depicted, and the height of the figure cut to the shoulders is 30.5 cm. 65 All of these fragments also have striking stylistic similarities. They are united primarily by the surprisingly soft modeling of the face, made in a very low bas-relief. Almost flat, with only a barely perceptible increase in the chin, nose, corner of the mouth, cheeks and eyebrows, it is as if enclosed in a lush frame optically more voluminous wig and necklace. The substance of the curls is emphasized by drilled holes in the lower part of the curls. The profile of the face with a thin, clearly concave nose with a blunt tip and a high-cut nostrils, a small, plump mouth and a completely even, without signs of aging, jawline impresses with exquisite nobility. The same features can be seen in the image of Horemheb and his secretary Sementaui (or Ramose) on the relief of the southern wall of the passage from the first courtyard to the statue room of the tomb of Horemheb 66 . In the above analogies, the hand of a master of the highest qualification is obvious, who was probably trusted to perform the most important and visible scenes.

However, a certain difficulty in localizing the Parma relief is caused by the restrictive decorative line along the left edge of the block. It makes it impossible to continue the scene in which the deceased, in all likelihood, sat before the altar, as indicated by the gesture of his right hand, traditionally stretched out over the gifts. Thus, the composition was rather narrow and could only be tied to the passageway area. But here, too, there are obstacles. The block is too wide for the door jamb surface: if you add another column with the name and a bounding line on the right, you will get approximately 86 cm, and the width of the discussed area usually does not exceed 60 cm67 . For another option-the inner wall of the passage-the relief is rather narrow and unusual in composition. As a rule, in this case, at least one more character is present in front of the deceased and the sacrificial table - a priest with an incense burner, and often several tabernacles. Still, this suggestion seems preferable. The passage to the central western oratory of the tomb of Maia is 90 cm deep - similar dimensions could well have been in the tomb of Imeneminta, and then the relief from Parma could just

Schneider. 63 Pay en Raia... S. 18. Fig. 7.

Martin. 64 The Hidden Tombs... PI. VII.

65 Used photo from the archive of the Heidelberg Institute of Egyptology, N 45 a 45.

Martin. 66 Horemheb... Scene 56. PI. 50.

67 Maia: 43 cm (passage to the second courtyard) (Schneider et al. Maya and Meryt... P. 9); Horemheb: 56 cm passage from the first courtyard to the statue room (Martin Horemheb... Scenes 57, 58).

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occupy the surface of the left wall. The very high quality of the image speaks rather in favor of the central oratory, i.e. the main one in the cult sense.

No less difficulties arise when reconstructing the relief from the Louvre (N In 6, doc. 11), which shows the father and mother of the deceased - Imenmes and Depet. The image of parents in the tomb decoration is not an exceptional phenomenon, although it is quite rare for Saqqara in the post-Amarna period .68 These scenes are much better known from the Theban tombs of the New Kingdom.69 Parents meet the deceased in the afterlife, accompany him there, and through them the deceased connects with previous generations. In the mythological aspect, the father acts as the bearer of the conceiving, nurturing and nursing power, and the mother is associated with the image of the Goddess of the West or Hathor. In both cases, the image is based on the idea of the rebirth of the father in the son, just as Osiris was reborn in Horus. Probably, the ritual realization of this idea in Theban tombs is associated with the mines of "false" burials, designed specifically for magical connection with the ancestors. Unfortunately, the Saqqara pictorial material does not yet allow us to draw such analogies. In the case of the Imenemint tomb, it is clear that the relief was intended for an important and clearly visible place: it is enough to compare it with a similar quality fragment from Parma, as well as with the already mentioned image of Maia on the north wall of the entrance pylon of his tomb, where the deceased and his wife are presented in the pose of adoration before Osiris. Given the large size of the block (height 56 cm), and the strikingly thorough and refined manner of execution, it is quite possible to assume that the Louvre fragment also served as the lining of the entrance pylon of the tomb of Imenemint. With a large number of architectural details and the highest level of quality of reliefs, there is almost no doubt that there is a solemn entrance to the miniature temple dedicated to the late Imenemint. The Louvre relief could have been located on the southern (left) wall of the inner space of the pylon, forming a semblance of the lobby 70 . The presence of parents here seems quite logical and emphasizes the funereal nature of the building. The father and mother seemed to greet the incoming deceased son, who was supposed to be opposite them, i.e. closer to the entrance to the tomb, possibly with his wife Taha(t). In this regard, I would like to include the Essen relief (doc. 19), almost certainly originating from the tomb of Imenemint. Perhaps there was a sacrificial table between the two couples, and Imenemint himself performed the duties of the incense-burning priest. The height of the block in its current form (64 cm) is quite suitable for this: in the absence of the upper part of the head and legs below the knees, the full height should be approx.90 cm, which practically corresponds to the size of the figure of Depet, who probably stood next to (or behind) the sitting spouse's chair. Below, the stage could be accompanied by a smaller register with a procession of tabernacles. Since the proposed localization is completely hypothetical until the tomb is discovered, other options are not excluded, for example, placing the scene on the wall of the western chapel. In the ritual sense, this room is closest to the afterlife, where it is also quite logical to depict a meeting with parents. However, the size of the composition is quite large for a small, as a rule, chapel. Question about the reconstruction of the dock. 11 should be left open for now.

Nor can the original location of the second relief from the Louvre (N In 8, doc. 12) be accurately determined. The large male figure, still less than half its height, probably represented the Namemint himself, who was observing some action taking place in his presence. The most striking example of such a scene, which undoubtedly belongs to the "autobiographical" circle, comes from the tomb of Horemheb. We are talking about a huge multi-figure composition on the eastern wall of the II courtyard with crowds of prisoners brought to the commander, whose figure on the right overlaps several registers in height 71 . Imenemint, who took over the post of Commander-in-Chief from Horemheb-

68 The only analogy I know comes from the tomb of Mesa in the time of Ramesses II: the oratory I, the north wall, a large composition with the reception of victims to the deceased with his wife and his parents Huiyi and Nebet nofret (Fig. 3). Reliefs in the Egyptian Museum of Cairo, N 22.5.25.1 (Gahalla. Op. cit. PI. XI-XI1) and Kestner-Museum Hanover, N 1935. 200. 190-191 (Martin. Corpus... Cat. 79. PI. 29).

69 For this problem, see Seyfried to J. Generationeneinbindung // Thebanische Beamtennekropolen: Neue Perspektiven archaologischer Forschung. Intern. Symposion, Heidelberg 9.-13.6.1993 / Hrsg. von J. Assmann, E. Dziobek, N. Guksch, F. Kampp (SAGA 12). Heidelberg, 1995. S. 219-231 (with bibliography).

70 See about the tomb of Maia: Martin. The Hidden Tombs... P. 170-174.

Martin. 71 Horemheb... Scene 69.

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the commander-in-chief could afford a similar picture to prove his own military success. However, the petite, elegant figure of his wife, perched on a pillow at his feet, does not go well with the demonstration of proper performance of his official duties. It is an almost literal quotation from the so-called " family scenes "that were so well known in the Amarna period. 72 Attention is also drawn to the fact that Imenemint is depicted without sandals, which is unusual for an official event. However, for an intimate family scene, the size of the block is too large (the height of the full-length figure will clearly exceed 1.2 m). So the context of this fragment remains unclear. It should be noted that at least one family scene in the tomb was still there-it is represented on the lost relief from the Leiden Museum of Antiquities (doc. 14) and depicts Taha(t) sitting by her master's chair. The couple could accept sacrificial offerings or enjoy the playing of musicians .73 Since the block size is unknown, it doesn't make sense to talk about its localization.

On the last relief from the tomb of Imenemint (doc. 13) depicts what is probably a very rare papyrus shaking/pulling ritual in the New Kingdom. The location of the only similar block from the tomb of Ptahmes at the beginning of the XIX dynasty is also not determined: the relief is probably located in a tomb awaiting its second discovery, and the current drawing was made by the French traveler A. Rhone in 1885. 74 D. Franke proposed the placement of a group of reliefs of Ptahmes, including the "Rhone wall", on the north wall of the western oratory of the tomb, it is also problematic: it turns out that the composition is too large for this room in four registers instead of the usual three. The author of the reconstruction himself allows for another localization option, namely in yard 75 . The relief depicting swimming in the thickets of papyrus from the tomb of Imenemint strikes first of all with a significant qualitative difference from its other monuments. The figures are made as if in a cursive manner, the lines are careless, there are no details, the facial features are monotonous, the wigs are the same, the clothes look more like robes than luxurious folded robes made of flowing fabric. There are obvious similarities with Ramessid monuments, and above all with reliefs from the tomb of Mesa in the time of Ramesses II: the figures of rowers in the scene of transporting the sarcophagus on the southern wall of the courtyard are almost identical to the same figure in the boat Imenemint. The similarity in the reliefs can be traced down to the physiognomic features: here and there you can see long noses with an overhanging fleshy tip, so uncharacteristic for the time of the end of the XVIII dynasty . Thus, given the possibility of making one, and perhaps more, fragments of the lining of the tomb of Imenemint under Ramesses II, we can assume that Imenemint himself still lived and died under this pharaoh. His tomb may have been designed during the entire period from Horemheb to Ramesses II .77 Assuming that the scene is located in the papyrus thicket on the north wall of the chapel or courtyard (swampy areas have always been thought of as located in the Delta, i.e. in the north), we are forced to leave open the question of its more precise localization.

In conclusion, we will summarize the proposed reconstruction options. The range of fragments under consideration includes only those currently preserved reliefs that are certainly or with a high degree of probability originate from this complex.

72 For example, in the drawing of the princess from the Egyptian Museum of Cairo, N JdE 48035 (Terrace E. L. B., Fischer H. G. Treasures of Egyptian Art from the Cairo Museum. A Centennial Exhibition 1970-71. Museum of Fine Arts, Boston and the Metropolitan Museum of Art. L., 1970. Cat. 27). An earlier analogy, possibly from the very beginning of the Amarna era, comes from the Theban tomb of Ramose (TT 55, southern half of the eastern wall) - although there is a woman sitting on a chair (Davies N. de G. The Tomb of Visier Ramose. L., 1941. PI. IX). Simultaneous analogies: tomb of Iniuia (Schneider H. D. The Rediscovery of Iniuia / / EA. 1993. 3. P. 3-5. PI. II, 2); relief NN from the Cairo Museum, N 27.6.24.2 (RM. III. 2. 755). A more common variant in the New Kingdom is images of a woman, child, or monkey sitting under or near a chair.

73 Cf. reliefs from the tomb of Paatonemheb-Boeser. Op. cit. Bd. IV. Scenes h (pl. VI), m (pl. VIII).

Berlandini J. 74 Varia memphitica V. Monuments de la chapelle funeraire du gouverneur Ptahmes // BIFAO. 1982. 82. P. 85-103. Not. 1.

75 Liebieghaus - Museum Alter Plastik. Agyptische Bildwerke. Bd HI. Melsungen, 1993. S. 171-172.

Gahalla. 76 Op. cit. PI. XXXIV-XXXV.

77 A similar case is known with the monuments of the chief sculptor under Tutankhamun Userkhat-Khatiai, which are very different from his own stele of a later time, found at the Gizeh sphinx (Cairo, Egyptian Museum, N JdE 72269) (DijkJ. vein. Maya's Chief Sculptor U.serhat-Hatiay. With a Note on the Length of the Reign of Horemheb // GM. 1995. 148. P. 29-34. Not. 2).

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Document

Intended context

Intended localization

1 (Bologna)

Column panel in the form of a bunch of papyri

- Courtyard in front of the western sacral part-Pronaos of the central chapel

2 (Heidelberg)

Symmetrical composition depicting the worship of the deceased cartouches of the Pharaoh

- Beam of the doorway to the chapel

- Architrave over the courtyard columns

3 (Cairo)

Symmetrical composition with the image of worship of the rising sun, on the sides, possibly, figures of deities in naos

- Frieze of the wall in the portico space

- The eastern wall of one of the chapels, possibly dedicated specifically to the solar cult

4 (Copenhagen 714)

Wall-partition of the central chapel (screen-wall). Worship of the deceased to Osiris, the deceased and his wife accept sacrifices or worship the deity

Northern (right) fragment of the partition wall

5 (Copenhagen 715)

The deceased and his wife accept sacrifices-conclusion of the composition with the offering of gifts

Connects to the dock. 6.

- western wall of the courtyard, to the right of the entrance to the central chapel.

- Southern segment of the eastern wall of the courtyard

6 (Paris, Rodin Museum)

Too

Connects to the dock. 5.

- The western wall of the courtyard, to the left of the entrance to the central chapel.

- Northern segment of the eastern wall of the courtyard

7 (Lisbon)

Deity worship

Symmetrical dock. 18, but larger in size. Inner surface of the passage from the courtyard to one of the chapels, south (left) side

8 (Winston Salem)

Symmetrical composition of deity worship

Connects to the dock. 9. The western wall of an oratory, possibly dedicated specifically to the solar cult

9 (Brussels)

Too

Connects to the dock. 8. The western wall of an oratory, possibly dedicated specifically to the solar cult

10 (Parma)

Reception of victims (deceased sitting in front of a table)

- Door jamb - The inner surface of the passage, possibly to the central oratory, south (left) side

11 (Paris, Louvre At 6)

Meeting of the deceased with his parents

- Entrance pylon, inner surface, south (left) side

- Western Oratory

12 (Paris, Louvre At 8)

- Supervision of the deceased over the performance of work (option-bringing prisoners).- "Family scene"

Outdoor courtyard

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13 (Strasbourg)

Swimming in a papyrus thicket, possibly a "shaking/pulling papyrus"ritual

Oratory or courtyard, north wall

18 (Paris, private collection)

Deity worship

Symmetrical to dock 7, but smaller in size, the inner surface of the passage from the courtyard to one of the chapels, north (right) side

19 (Essen)

Offering sacrificial gifts or meeting your parents

It may be connecting to the dock. 11. Appropriate localization

An attempt to reconstruct the location of the reliefs in the Imenemint tomb showed that almost all the blocks must have been grouped in its western part, which may have been still open and quite accessible in the XIX century, when the most significant looting of Saqqara took place. Their origin from other premises is also possible. One thing is clear - the" tomb-chapel " of Imenemint was a rather large structure, the visual program of which was carefully thought out, perhaps not without the participation of the customer himself. The best craftsmen employed in the Saqqara necropolis at the end of the XVIII dynasty were involved in the design of the tomb. The repertoire of scenes in the tomb is quite peculiar, some plots are unique for their time. The decoration shows a great attention to the images of the gods and, in particular, an interest in various images of the solar deity, which can be confidently considered as a manifestation of the process of the so-called "sacralization of a private tomb", which has so far been studied in Egyptology only on the example of Theban burials. It is hoped that further excavations at Saqqara will significantly increase the amount of material and help clarify the positions that are still hypothetical. For this purpose, it is extremely important to publish and evaluate already discovered tombs or groups of reliefs from one burial, scattered in various museums. This form of research of the Sakkara monuments, due to the peculiarities of the archaeological situation, seems to be the most fruitful in the near future.

O. P. Dyuzheva

application

Figure 1. Saqqara. Horemheb Tomb Plans (1), Maia (2), Tia and Tia (3)

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Doc. 1

Doc. 2

Doc. 3

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Dock 4 (sides A, B)

Doc. 5-6. Reconstruction

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2. Maia's tomb, II courtyard, western wall between the central and northern chapels (reconstruction by E. Grefe)

Doc. 7

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Doc. 8-9. Reconstruction

Doc. 10

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Doc. 11, 19. Reconstruction

3. Reliefs from the tomb of Mesa. Hannover, Ketstner Museum (1935. 200. 191)

Doc. 12

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Doc. 13

Doc. 14

Doc. 15-16

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The dock. 17

Doc. 18

THE DECORATION OF GENERAL IMENEMINT'S TOMB IN SAQQARAH

(The Problem of Its Reconstruction)

O.P. Dyuzheva

The aim of this paper is to present a reconstruction of the reliefs on the tomb of a military degnitary Imenemint relating to the time of Horemheb. He was a commander of the Egyptian army bearing the title of "General" and 15 other administrative, military and religious titles, some of them rare or even unique.

Imenemint's tomb was in Saqqarah, a necropolis near Memphis, Egypt's oldest capital whose role increased greatly when the king's residence was transferred here under Tutankhamon. For a short period of time, in the 2nd half of the 14th с. ВС, courtiers, military men, officials and craftsmen had their tombs built in Saqqarah. These constructions, so-called "tomb-chapels", were surface temple-like buildings of raw brick with a complicated underground structure. The tomb of Imenemint belonged to this type. The tomb is known only from its interior reliefs now preserved in the Egyptian collections of Bologna, Parma, Copenhagen, Paris, Heidelberg, Cairo, Lisbon, in private collections in Brussels and Winston

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Salem (USA). In addition to these reliefs with the dead man's name and titles, five other fragments are known, which can be considered parts of the tomb only hypothetically, for there is no name on them. The localization of the tomb is problematic. It could have been situated either near Horemheb's tomb or to the North of Teti's pyramid, where other military leaders' tombs were found.

The reconstruction proposed in the article shows that the greatest part of the reliefs must have been situated in the western part of the tomb-chapel. This part of it could have been still accessible in the 19th c. during the most devastating pillage of Saqqarah. Their being parts of other rooms is quite possible. This tomb-chapel was rather a big construction, its decoration was well thought-out, perhaps with Imenemint's participation. The reliefs were made by the best craftsmen who worked in Saqqarah in the end of the 18th dynasty. The repertoire of scenes in the tomb is rather peculiar, some subjects being unique for their time. The decoration displays a considerable interest in gods' images, especially in those of the solar deity. This fact could be regarded as demonstrating the process called "private tomb sacralization" studied until recently only on the material of Theban tombs.

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