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Ikon
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PostPosted: Mon Sep 21, 2020 10:48 am    Post subject: Reply with quote

maat wrote:


Identity of Bearers

The group of five bearers in lead position represent generally all predecessor's of Tutankhamun.

The next group of two figures are grandparents of Tutankhamun.
The second group of two figures from front towards rear represents his parents.
The third group is of two figures is bald with no hair to indicate the pair had no children (no royal heir?). It is Tutankhamun and his queen. If is not the mummy on the bier.

The Lone Figure

The lone final figure is particularly interesting because it is in last position and thereby indicated as surviving the preceding bearers including to have survived the death of Tutankhamun.

The lone figure has hair to represent a parent that outlived Tutankhamun.
The figure represents Nefertiti.

(The tomb speaks. Is it understood?)

The words written above the group of men dragging the bier describe them as "High officials of the palace", not Tutankhamun's predecessors and dead family members. The two men with shaven heads are the viziers of Upper and Lower Egypt. All these men are dressed in simple robes of white, as opposed to the how they would appear in a normal setting. They are arranged in reverse order of rank, as indicated by the position of the two viziers. This indicates that the figure behind them, closest to the bier, is of higher rank than them, or their religious function required them to be in that position. This would be either the sem or lector priest. In a royal burial it may be the king's successor, and as Ay takes the role of sem priest at the opening of the mouth ceremony, it is possible that the figure closest to the bier is Ay. Apart from the two viziers, while the simple dress worn by these men makes precise identification difficult, it does not open the door to the speculation you have engaged in. To re-iterate, the hieroglyphs tell us who they are in general terms, "High officials of the palace".
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PostPosted: Sun Oct 04, 2020 4:37 pm    Post subject: Reply with quote

Hello again.

My screen broke while entering my previous post so I just got a new phone to replace my phone that was only a few weeks old. The earlier phone failed while also while posting in this thread. The Egyptians seem wise to have used stone and gold.

Ikon, I read your reply. Your note that hieroglyphics identify the bearers appears to support the informative constructs.

Your identification of the Sem priest as being the figure nearest the bier is interesting. You observe this from hieroglyphic inscription and I also recognized the same from informative constructs except that >she< (the priestess) is not Ay.

The involved constructs that establish and relate the identities are several, intricately involved and I think need long explanations to cover all the complex involvements.

I recommend to follow the procession into the tomb to gain some better perspective and clarity.

Start of the Procession

The procession begins in the stairway of the tomb where Howard Carter found broken wood buried in the fill. The wood (and inscribed names) was a representation of the burial shrines that were in the burial chamber.

Forms that progress into the tomb gain fuller definition as they enter farther inside (into the duat). Formless names and broken things gradually become objects, people and gods inside.

In The Corridor

Inside the corridor was found the wooden bust 'head of the king' (Carter no. 008) that is a representation of the bearer nearest the bier in the east wall mural. Also, the bier in the mural is a manifestation inside the tomb of the broken wood that was in the staircase.

Also observe a subtle relationship in which similar materials are used to associate reference elements. The bust head of wood in the corridor relates it to the broken wooda in the staircase to associate the references as the bearer nearest the bier is closely related to the bier.

Recognize that the head is partial without a body and the broken wood is pieces (not a whole structure).

Also in the corridor were vase artifacts (Carter no. 007) on which Carter found inscribed Wiatt he noted as "7 bears" (7 bearers).

Mannequin in the Antechamber

Inside the antechamber, the bust head is replaced by the half mannequin figure. Bodies there have more definitive form with a torso and headdress but not yet full arms or legs.

The skin on torso of the mannequin is yellow. It does not wear a shirt as has been traditionally noted.

Yellow is in the art of ancient Egypt the color of the naked skin of a royal female.
Its partial arms are tanned because she has come in from journey under the sun that is outside of the tomb.

Missing Bier

The mannequin figure was at south wall in the antechamber. If she is last in the procession, the bier should be behind her. The missing bier is a negative inclusion (that an observer should recognize and consider to resolve) .

Observe that the apparently missing bier is in fact behind her.

KV63 (an embalming cache?) can be referenced as being inside the south wall of the antechamber. It (KV63) later appears as the bier inside the burial chamber in the east wall mural.

Transitional Space

The mannequin figure has come forward through KV63 where seven coffins were found in that chamber (here recognized as being for seven of the bearers in the procession inside KV62 (tomb of Tutankhamun).

The mannequin figure represents someone who has transitioned through a phase or stage of death such as having died, left a dead body, been in a coffin or prepared to enter into the duat. KV63 represents a transitional space and the bier in the east wall mural in the burial chamber of KV62 is manifestation of KV63.

The bier represents a transitional space that is always behind the last bearer that transitioned through it. In this consideration, the mummy in seen in the east wall mural in the bier is not Tutankhamun. It is Osiris.

Transmutation and Evolution

The mannequin in the antechamber represents a figure that is proceeding forward towards the burial chamber.

Six figures are ahead of the mannequin figure. The six show signs they are going through transmutations. They are the six figures that form the three animal beds.

The two lifesize king statues stand ahead of them at north wall in the antechamber to represent the completed form of a human body towards which all are in process of change to attain.

All the figures are evolving from lesser forms to animal forms towards the living forms of human bodies but they are in the duat. This evolution occurs in the other world even as it did in the normal world.

(continued)
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PostPosted: Tue Oct 06, 2020 10:06 am    Post subject: Reply with quote

maat wrote:


Ikon, I read your reply. Your note that hieroglyphics identify the bearers appears to support the informative constructs.

Your identification of the Sem priest as being the figure nearest the bier is interesting. You observe this from hieroglyphic inscription and I also recognized the same from informative constructs except that >she< (the priestess) is not Ay.

The hieroglyphs labelling the bearers does not "support the informative constructs", and by that I presume you mean the bulk of your post that I have not quoted. That part of your post is so wrong that it's not really possible to counter every part without writing a very long post detailing the history of the tomb and many aspects of AE funeral practices and culture.

The figure closest to the bier is not labelled as a sem-priest and is not dressed as a sem or lector. In a normal non royal funeral procession the officiating priest is dressed correctly, not in the dress of the other mourners. I suggested it may be Ay on the basis that he performed the role of sem-priest at the opening of the mouth ceremony, dressed as both a king and a sem-priest. That figure, which is certainly a man without any doubt, by being by themselves and closest to the bier will be the most important person there. That they are dressed the same as all the other bearers except the two viziers, does not preclude him from being Ay, though it may of course be another person, it could conceivably be the HP of Amun or Osiris, I don't know if they are not dressed in their normal garb and are not labelled. To me, Ay seems the most likely.
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PostPosted: Tue Oct 06, 2020 3:35 pm    Post subject: Reply with quote

The Order of Procession

The figures in the procession are ordered in the antechamber as follows.

From front to rear (north to south):

- 1 pair (king statue figures) [Carter nos. 22 and 29]
- 1 pair ("Toeris couch" figures) [Carter no. 137]
- 1 pair ("Cow-headed couch" figures) [Carter no. 073]
- 1 pair ("Lion couch" figures) [Carter no. 035]
- 1 single mannequin figure in rear position

The mannequim was followed by KV63 (that is effectively an unknown chamber in the south wall of KV62).

Clothing the Figures

The forms of the figures in the antechamber demonstrate a process of evolution that progresses as they move forward towards the burial chamber.

The mannequin because it evolves will have arms and legs when it arrives at the north wall where the king statues await.

The king statues are black to show they are fully in the duat (realm of night) where they fully have their forms.. The other figures are still evolving with their forms still changing . They are entering the duat while the king figures are in it or had already entered that realm..

The six (couch) figures ahead of the mannequin have animal forms. This indicates that none are clothed.

The king statue [Carter no. 22] at the north wall on east side of the doorway to the burial chamber had cloth draped over its arm as if it carried the cloth.

Consider here that the constructed reference uses a natural association to inform that the naked mannequin figure will be clothed at the north wall where it will have a complete body with arms and legs.

The functional purpose of a mannequin is to be dressed with cloth to fashion or display a garment.

All the figures in procession will be clothed when their forms have fully developed.

(continued)
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PostPosted: Tue Oct 06, 2020 7:23 pm    Post subject: Reply with quote

The two statues are black to represent regeneration, not that they are, as you put it, "Fully in the duat". Neither statue has any place in the Duat anyway. The right hand statue, the one wearing a nemes, represents the king, not his ba or ka. The left hand statue does represent his ka, but the ka of the king has no presence in the duat, only the ba. Hieroglyphs on the kilts of both statues says exactly what they represent.

Only the ba of the king enters the Duat accompanied by some of the gods, not any of the objects in the tomb. The king's sole purpose in the Duat is to be with the ba of Ra and the bas' of all previous kings on the night barque, and to share in the regeneration of Ra when he meets Osiris in the sixth hour.
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PostPosted: Tue Oct 06, 2020 9:28 pm    Post subject: Reply with quote

The Treasury Procession

Next, the procession from east wall mural in the burial chamber is found at rest in the Treasury chamber.

Elements of the procession are ordered from front to rear (west to east) as follows.

- The Anubis shrine [Carter no. 261]
- Three tazze [Carter no. 265]
- Head of cow (Hathor) [Carter no. 264]
- The cannopic shrine [Carter no. 266]

Three tazze (tall food service bowls with covers) were placed on floor of the chamber as if they were to be used or as if already used. The act of dining informs that the procession is at rest.

Transfigured

Bearers from the mural on east wall in the burial chamber are physically manifested as transfigured and physical forms in the Treasury.

Also, the bier from the mural in the burial chamberis physically manifested as the canopic shrine in the Treasury.

Canopic Shrine

Four of the five figures from the lead group of bearers have moved in the Treasury to the rear and assumed protective positions with one figure on each side of the canopic shrine.

The figures are the four goddesses Isis, neith, Nepththys and Selket.
The deities are the ancestors of the deceased and the living.
The two king figures that merged into the group of five lead bearers inform by reference that the gods and goddesses are also the deceased who have joined with them.

The five lead bearers in the east wall mural generally represents ancestors of the deceased.

The Anubis Shrine

In the lead position, one of the leading five figures did not leave to go protect the canopic shrine. That figure is represented by the ambiguous jackal that rests on the shrine box.

The jackal on the Anubis shrine was found wrapped in a linen shirt to inform an observer that the jackal represents the three gods Duamutef, Anubis and Wepwawep that have jackal forms.

The linen shirt informs that the jackal figure has three identities.

It is as Dumutef (son of Horus) a mummy wrapped in linen with head of a jackal.
It is as Anubis that has form of a jackal dog or form of a man (as suggested by the linen shirt of a man) who has the head of a jackal.
Wepwawep also has the form of a man with head of a jackal.

The Two King Figures

The two king statues in lead position from the antechamber were in reference merged into the lead group of five figures in the east wall mural in the burial chamber.
Four goddesses (females) left from the lead group in the Treasury.
The two male kings must therefore still be in lead position at the Anubis shrine.

The two king figures are merged together in the jackal form with Duamutef. The two king figures in this context are the gods Anubis and Wepwawep.
The linen shirt was inscribed with the identity of one of the deceased that the deities represent.

The two king figures in this context are together in the form of one jackal even as they were together as the two statues in the antechamber.

Consider here the black color of the two king statues that relates them to the black colored figure of the jackal on the Anubis shrine.

Hathor the Cow

In final position in the Treasury with the canopic shrine at rear is the single bearer figure from the mural who is now in the form of Hathor as a cow. The single figure was indicated to be female as a mannequin with yellow skin in the antechamber and in the Treasury appears in reference as the goddess Hathor.

The Tazze

The three calcite tazze that were placed between the Anubis shrine and the Hathor cow represent the children of Hathor and the two jackal gods that have living forms.

A mummy is a conceptual form that can never live in the real world but can be referenced in the duat. A figure that can live and breathe in reality is a living form (is how I understand the concept).

I will note here without explanation (for brevity) that the three tazze represent
Meritaten, Tutankhamun and Ankhesenamun.

(continued)
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PostPosted: Tue Oct 06, 2020 10:09 pm    Post subject: Reply with quote

maat wrote:


The jackal on the Anubis shrine was found wrapped in a linen shirt to inform an observer that the jackal represents the three gods Duamutef, Anubis and Wepwawep that have jackal forms.

The linen shirt informs that the jackal figure has three identities.

It is as Dumutef (son of Horus) a mummy wrapped in linen with head of a jackal.
It is as Anubis that has form of a jackal dog or form of a man (as suggested by the linen shirt of a man) who has the head of a jackal.
Wepwawep also has the form of a man with head of a jackal.

Monumental statues of gods and the depictions we see of them on temple and tomb walls give us the wrong impression of how the images of the gods in the form of either the main cult statues in the temple shrines, or other statues, such as the ones in KV62, actually appeared. Well, it's the ones in KV62 that showed the reality as they were discovered in the state they would normally be in, and that is wrapped, even the two guardian statues were wrapped as the king, now dead, was an Osiris. There were a number of small shrines with statues of gods in them, the four sons of Horus among them, and some statues of Tutankhamun. All of these statues were wrapped, as the photos Burton took show. It just so happens that the photos you see in books on Tutankhamun show them unwrapped. Anubis, being a god, was also wrapped, or at least had a shawl placed over him. This does not mean that Anubis is representing other gods, but that we see their normal practice of wrapping the gods, and this extends to wrapping the dead.

In temple ritual you will find that the image of the god is undressed, washed and re-dressed in the morning, but this is nothing to do with clothes, but wrapping them in linen to hide them, as they are also hidden in shrines. The statues of gods in KV62 will have been regarded as the same as the images in the temples, and so were wrapped, and where practical, placed in shrines. The two guardian statues have a function that requires being wrapped but not placed in a shrine, and Anubis's place is on top of a shrine. You will see plenty of depictions of Anubis on a shrine and with no covering, but with a physical manifestation of the god as opposed to a painting, he will be covered.
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PostPosted: Wed Oct 07, 2020 6:51 pm    Post subject: Reply with quote

The Hathor Implication

The constructed reference of a procession in the tomb relates the Sem priest to be Hathor.

Relation of the priest to Hathor (in the tomb of Tutankhamun) explains why the Sem priest (does not approach a woman) and (does not eat young or small cattle).
Young cattle are as children of Hathor (the cow).

The Sem priest that performs the opening of the mouth ceremony does not approach a woman and does not eat small young or small cattle.

This made no sense when I first read the proscription but it now makes sense in the tomb of Tutankhamun.

The procession in the north mural complexly goes through a series of references.
The north wall transitions are many and not noted here.

The West Wall Procession

The next instance of the procession is in the west wall position where the processional caravan is manifested as the solar barque with a group of five deities in lead ahead of the barque.

The twelve hours of night are depicted as a rectangular grid. A solar baboon awaits at the gate of each hour to assist passage of the sun.

This informs observers that the caravan of five deities and barque must travel and proceed to pass through the gate of each hour because the barque carries the god Khepri in his beetle form and Khepri holds up the solar disc.

Conceptually, the procession passes through each gate and enters into the burial chamber when the procession reaches the niche in the west wall mural.
All that the caravan involves is expressed through the niche into the burial chamber.

In The Burial Chamber

The constructed reference informs that the procession entered the burial chamber and everything that was in the chamber was brought by the caravan.

The broken wood from the staircase, the KV63 chamber, the bier in the east mural and the canopic shrine in the Treasury, also the Treasury chamber are all manifested in form as the four large burial shrines of Tutankhamun in the burial chamber.

All are brought together in reference to be collectively informative as each has related and relevant information that is to be considered in aggregate.
Consider that KV63 is still not yet recognized to be a chamber of Tutankhamun's tomb. It is.

The eleven oars that were on floor in the burial were in concept laid down after the journey through the gates of hours from the west wall.

Miscellaneous Note

All information of ancient Egypt was not written.
This does not mean that unwritten information was not recorded.

The construct about a procession is one relatively simple construct of many of varied.
Here, I only wanted to show one reference that exposes the Sem priest as female.
There are others and more information.

The construct also informs that the gods draw the bier keeping near the deceased.
The deceased and chambers are always with the gods that protect the deceased in the procession.
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PostPosted: Thu Oct 08, 2020 11:23 am    Post subject: Reply with quote

I can't help thinking that your viewpoints and constructs could be applied much more successfully to other tombs where there was a definite plan that was carried through.

KV62 is not a normal tomb for a king, considering how they were laid out in the 18th and early 19th dynasty. It was prepared in a rush, with painted decoration that was incomplete in terms of what should be included in a king's tomb. In relation to the funeral procession scene, there clearly was not the time, space or desire to name all of the participants which is why they are just grouped as officials. It is probably not an accurate representation of the individuals present at the funeral. The only ones that contributed items to the tomb who were officials were Ay, Maya and Nakhtmin.

I think it's interesting that the king's wife is not shown in the tomb paintings, although of course she is well represented in the tomb contents.

If anyone was constructing something it was Ay - his position as king. I think rather than hidden spiritual meanings within KV62 - and KV63 and KV54 for that matter - point to potentially hidden political activities going on at the conclusion of Tut's reign. The whole thing is very intriguing indeed, as is what on earth was going on with KV55 and the mummies of Tut's other family members that have so far been found in KV35 and KV21.

So although I have tried, for every one of your constructs I can think of others that do not exist on the spiritual plain at all. To me they point towards a scramble for power at the end of Tut's reign. Put simply, it should not have been Ay on the throne.

More likely candidates would have been Ankhensenamun and secondary to that Horemheb as king's deputy in the entire land. We know he got there in the end - and used his titles and actions under Tutankhamun as part of his claim to legitimacy at the start of his reign.

In a sense Ay comes across as a usurper in the context of the tomb and what happened afterwards - his own tomb being desecrated with his image destroyed specifically. Horemheb also made sure that Ay was erased from the king lists produced in the reigns of Seti I (alive during Tut's reign if the age of his mummy is correct) and Ramesses II, his son.

Ay, as depicted in KV62, burying his predecessor is a scene that is to my knowledge unique in a king's tomb. Princes who later became kings were depicted in some of their fathers tombs but never to my knowledge as kings already.

As for the contents of KV62, KV63 and KV54 these fall into 5 primary groups:

1) Items Tut used in life, or were owned by him but not used (chariots, clothing, furniture, jewellery with his name on it, walking sticks, bows and arrows etc)
2) Items passed down from ancestors or relatives e.g. writing sets, bowls, statuette of Amenhotep III, Tiye lock of hair, the foetus mummies - like group 1 arguably his possessions
3) Funerary items - shabti, the shrines, Anubis, guardian figures, food offerings or representations, the coffins and so on - these clearly intended to ease his passage to the afterlife or to sustain him after death
4) Items used as part of mummification including probably much of the contents of KV63. Perhaps these were stored in larger king's tombs as well. Why so many empty coffins I have no idea, unless they were used to transport dead family members from the tombs at Amarna who were buried elsewhere. The sizes of the coffins may be a problem in relation to that idea.
5) Items directly related to the funeral ceremony - some in KV62, some in KV54 - wreaths, drinking cups and wine jars, cloths and labels naming Tut, and items donated by members of the court (some also fall into group 3).

In total you have what you would probably expect to have in a full king's tomb. Clearly the circumstances around the burial of Tut in KV62 are peculiar to say the least. I haven't even got into the fact that many items seem to be recycled from those originally made for Neferneferuaten or possibly Smenkhkare.

Final point - the one item in the tomb closest to his body - the skullcap under his mask - includes the name of the Aten. This could be seen to undermine everything else in the tomb in a religious sense, and you have to question why it was placed there, on his head, beneath everything else when not much else in the tomb dating from later in the reign points towards an affiliation to the god of his father.
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PostPosted: Thu Oct 08, 2020 3:54 pm    Post subject: Reply with quote

I was in process of writing the following post when my screen had broken and am bringing the post forward here to complete it.

maat wrote:
33. Tutankhamun's Mummy (Gold Mask, Gold Hands, Fingers and toes)

The mummy in tomb of Tutankhamun was found inside a set of three coffins that were explained earlier in this thread as a construct that informs about the maternal lineage that produced Tutankhamun. The coffins represent his mother, her mother and also her mother.

I also noted that the mummy is that of a servant. It represents the king but is not the mummy of the king.

Informative Objects

The mummy was found inside the coffin of gold that represents the mother of Tutankhamun in my understanding of the construct.

Howard Carter's notes (available in website of the Griffith Institute) lists the following among other items he found on the mummy. [ http://www.griffith.ox.ac.uk/discoveringtut ]

Carter no. 256a - Gold mask of the king
Carter no. 256b(1) - Hands of burnished gold
Carter no. 256il - Gold sandals and gold toe and finger stalls

Carter notes position of the hands of gold on card 256-01 as
"Sewn to the outer wrappings of the mummy below mask (256, a)."
He also notes the gold hands as "holding the flagellum (R. Side) and the crozier (L. Side)".

The ten finger stalls and ten toe stalls were each installed onto each finger and toe of the mummy.

continued...
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PostPosted: Thu Oct 08, 2020 4:06 pm    Post subject: Reply with quote

Why is it not the mummy of the king?

How does that fit with the identity of the mummy in KV62 being the son of KV55 and KV35YL, grandson of KV35EL and great grandson of Thuya from KV46? Your argument sounds better regarding the coffins if you drop the idea that the mummy is a servant. Not that I agree with what you say about the coffins but the servant aspect is really problematic.
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PostPosted: Thu Oct 08, 2020 10:17 pm    Post subject: Reply with quote

(continuation)

Howard Carternoted in his journal for 27 October 1925 (season 4)
Quote:

The closed hands hibi appeara be sewn to the linen wrapping are separate to the mask. They are, [if] like the flesh of the face, of burnished gold, and have bracelets of inlaid stone upon if wrists. They hold the crook and flail made of some (?) composition decayed from action of humidity.

[ http://www.griffith.ox.ac.uk/discoveringTut/journals-and-diaries/ ]

Carter in his note observes that the face of gold and forged hands have the same "burnished" texture but he did not recognize the following.

The mask and hands were placed for reference in the outermost layer on the mummy to indicate they are related each to the other as if members of the same body.

Carter did observe that objects were placed in layers but he did not recognize significance of the layers of objects on the mummy.

The mask and hands of gold were in the same and outermost layer to indicate one entity (or body) that is represented by gold in its form.

Gold was used also to indicate the great importance of the construct in which the items are involved.

Floating In A Pool

Carter found the mummy immersed in an unguent (resin) that had been poured over it, filled the trough of the coffin and hardened.

The unguent (resin) apparently is suggestive of water to suggest that elements in the gold coffin as floating in a pool with face of the mask and the gold hands exposed (as if above and out of the water).

This constructed reference (that of a person afloat in wateror emerging up out of the water) indicates the mask and hands conceptually belong to one body.

Carter in his notes regarded the mask and hands as separate objects and did not recognize the construct that unites them as if united in one body.

Significance

Recognition that the mask and hands are related to one body allows an observer to recognize that the body in reference in fact holds the crook and flail that only the king (ruler of Egypt) would have possessed.

The gold hands represent the of the king.

Significantly here is that while the gold hands symbolically held the 'scepters', the mummy under layers of bandages and objects did not hold the scepters.

The mask and gold hands represent a separate and different entity than the mummy.

The entity with gold hands actually holds the scepters because entity of gold represents the king.

The mummy is a separate individual than the gold mask and hands represent..

King's Identity

Nicholas Reeves published in 2015 his findings that the original name that was inscribed on the gold mask was changed and replaced with the name of Tutankhamun.

Traditionally, many people have thought that the changed name on the mask indicates that the funerary equipment (mask) is re-used after having been made for some other person's burial.

The construct here indicates differently that the golden figure involves two names (inscribed on the mask as Reeves found) and informs that two people simultaneously held the crook and flail (kingship of Egypt).

Insult or Veneration?

Here, consider the insult to a king that would occur to wear a face that was not his own or not of some greater status than his own.

Reeves found the mask was first inscribed for someone else and after with the name of Tutankhamun. The face on the mask must therefore be regarded to be the face of the someone else and not the face of Tutankhamun.

Whose face is of greater importance than that of the king for a king to wear such face without insult?

Also consider that the inscription that is still discernible (even if faintly) would be a greater insult to the king because it informs that the mask was not made for the king. It diminishes the status of the king as it indicates he lacked power, resources or respect to command an original mask for himself.

Informative Construct

The mask inscribed with two names informs that both named figures held the throne.

Nefertiti first held the throne then with Tutankhamun.
But the face of the mask is the face of Tutankhamun's mother.
Additional constructs in the tomb inform about the identity.
She is referenced by a writing palette that was placed on the Anubis shrine.

Other informative constructs in the tomb inform that Meritaten (mother of Tutankhamun) was also daughter of Nefertiti.

The mask is rendered honorific because the son (Tutankhamun) honors his mother and Nefertiti honors her daughter. Meritatendied before both Tutankhamun and Nefertiti.
So, it is the face of meritaten that the mask bears.

The mask and gold involves three identities in one figure.
The co-regency with Tutankhamun included three kings.

Miscellaneous

Another constructed reference (not exposed here) that was in the Treasury of the tomb inhieroglyphically informs about 'the lord of the throne of the two lands' and in addition indicates two houses and three lords.

The greater construct in the Treasury references four houses and is supportively by the nested burial shrines.

House 1- Amenhotep III (with his son Amenhotep IV later Akhenaten)
Frame - Nefertiti (star spangled pall indicates present like an eternal one)
House 2 - Akhenaten
House 3 - Meritaten
House 4 - Tutankhamun (with Ankhesenamun)

Nefertiti overshadowed Akhenaten because she (like an eternal star) outlived them all and cared for and was involved in all if houses even into death. Sem priest? She prepared the tomb and gave each their head in life and death.

Supportive Guidance

The three nested coffins that represent three people provide informative guidance and an example that extend for reference to the mask, gold hands, mummy and all elements inside the third coffin. As the coffins are nested and layered, so also are elements inside the gold coffin.

The Niche Reference

The four niches in the burial chamber exposed a key numerical sequence that functions as a reference in the tomb.

(east, north, west, south) = (I, II, III, I)

This key sequence is observed in the coffins from the mummy outwardly to the sarcophagus as follows.

I - one mummy in the gold coffin (east niche)

II - two figures named on gold mask (north niche)
-- observe here also that the figure that was found in the north niche had two yellow hands that for reference in this context relate to the two gold hands in the coffin.

III - three nested coffins (west niche)

I - one sarcophagus (south niche)

In Summary

The mask and gold hands inform about who was involved in co-regency with Tutankhamun.
The construct of gold mask and hands with flail and crook informs that the mummy did not and does not hold the crook and flail because it is not the king.
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maat
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PostPosted: Thu Oct 08, 2020 11:29 pm    Post subject: Reply with quote

A Correction

Auto complete is both blessing and a curse.
The quote in my preceding post of Carter's journal has a typing error.
It should read as follows.

Quote:

The closed hands which appear to be sewn to the linen wrapping are separate to the mask. They are, [if] like the flesh of the face, of burnished gold, and have bracelets of inlaid stone upon the wrists. They hold the crook and flail made of some (?) composition decayed from action of humidity.
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maat
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PostPosted: Fri Oct 09, 2020 12:56 am    Post subject: Reply with quote

karnsculpture wrote:

...
KV62 is not a normal tomb for a king, considering how they were laid out in the 18th and early 19th dynasty. It was prepared in a rush, with painted decoration that was incomplete in terms of what should be included in a king's tomb.
...


Whether it is normal or not, it is a king's tomb. No? Think of it as adding a new form to those that are known.

If something seems to be unusual or different than normal, it might be a 'negative inclusion' (a reference that was planned to force an observer to consider and search to reconcile the oddity).
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PostPosted: Fri Oct 09, 2020 10:33 am    Post subject: Reply with quote

maat wrote:


The twelve hours of night are depicted as a rectangular grid. A solar baboon awaits at the gate of each hour to assist passage of the sun.

This informs observers that the caravan of five deities and barque must travel and proceed to pass through the gate of each hour because the barque carries the god Khepri in his beetle form and Khepri holds up the solar disc.

Normally at the beginning of the First Hour of the Amduat we see four groupings of baboons and gods. They go in a grid sequence of 9 - 12 - 9 - 12. The first group of nine are the solar baboons, the last group of twelve are the "hour goddesses". As KV62 is so small it was impossible to have a complete Amduat, and we have only a truncated version of the First Hour. It is likely, but not certain, that there is a grid of twelve baboons to represent the twelve hours of the Amduat. They are not at each "gate", and that is because there are no gates in the Amduat, they first appear in the "Book of Gates" which was composed very early in the 19th Dynasty. These baboons only greet the dead Ra at the start of the journey, and apart from two baboons, one mummiform, in the Third Hour, there are no other baboons.

Khepri only appears about four times in the Amduat. The only important appearances are with Ra, not as Ra, in the Fifth Hour and the Sixth Hour at his regeneration, and then at the very end of the Twelth Hour where he is pushing the Solar Disk into the dawn at it's re-birth. Ra is depicted as a being known as "Flesh", with a mans body and the head of a ram surmounted by a solar disk.

Khepri appears on a barque, not the solar barque, only once in the entire journey, and that is in the First Hour. Khepri is only once depicted with the solar disk, and that is as mentioned when he pushes it over the horizon at dawn.
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