Of the rock tombs studied by the ‘Hungarian Archaeological Mission in Thebes’, Theban Tomb 65 stands out with its conspicuous and idiosyncratic decorative and textual programme. Dating to the late Twentieth Dynasty, this programme was created for, and more importantly by its owner, the chief archivist of Karnak temple, Imiseba, significantly enough in collaboration with the contemporary chief draughtsman of Deir el-Medina, Amenhotep, son of Amunnakht.
In its making an intriguing array of textual and pictorial material was brought together. This offers the opportunity to attempt not only the identification of some of the sources from whence these were drawn from, but also how the received material was transformed, intentionally or not, during the process.
Accordingly, questions related to modes of transmission shall also be addressed.
In order to foster discussion and questions from the audience, we have asked the speaker to recommend some preliminary readings to set up the research background for the talk:
Bács, T. A., The last New Kingdom tomb at Thebes: the end of a great tradition? BMSAES 16, 2011, 1–46.
Laboury, D., Le scribe et le peintre. À propos d'un scribe qui ne voulait pas être pris pour un peintre, in: P. Collombert, D. Lefèvre, J. Winand, and S. Polis (eds.), Aere perennius. Mélanges égyptologiques en l’honneur de Pascal Vernus. OLA 242, Louvain 2016, 371-396.
Ragazzoli, C. , Beyond authors and copyists. The role of variation in Ancient Egyptian and New Kingdom literary production, in: T. J. Gillen (ed.), (Re)productive Traditions in Ancient Egypt, Conference, Proceedings of the conference held at the University of Liège, 6th-8th February 2013, Liège 2017, 95-126.