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the tomb of hesy-ra
Page 5 of 9
In the second panel, Hesy-ra is shown seated. He carries his traditional Kherep staff, a
second rod, and of course, his scribal kit. He wears a short wig although some others were
known to remove the wig entirely when indoors. A similar wig can be seen in the relief of the,
Khufu-khaf of the Fourth Dynasty, and his wife. (Smith, 1981 ills. 105)
This relief is used to show his life as a prosperous older man. To this end, there is
significantly more information recorded in this piece above him. The many hieroglyphs show his
title, name, and functions. Also, the symbol for scribe, an image of the kit Hesy-ra wears over his
shoulder, can be seen in the inscriptions. (Robins, pp. 51) This is true for the previous, active,
portrayal’s writings as well. This intellectual, aged characteristic of his, is emphasized in the
artists rendition of Hesy-ra’s visage. He is definitely more aged than the earlier portrayal. The
deeper furrows, slight wrinkles, and fuller face lend to this impression. The wig chosen seems to
indicate the intention of Hesy-ra to be depicted as a youthful man with the wisdom and respect
due his age and position. For instance, the artist shows Hesy-ra in the familiar full-length robe
with one arm covered. This type of clothing was worn primarily indoors and with age, when one
could afford to spend more time, relaxed at home, than standing. Seated before a table full with
loaves of bread, his financial stature is conveyed effectively. Yet several Egyptians chose to
show their wealth by emphasizing a bit of a paunch or belly, complete with natural folds. With
wealth, one could afford as much food as was desired. An example of this can be found in the
statue of Hemiunu, Khufu’s chief architect of the Fourth Dynasty, (Smith, 1958 ills. 31{a})
in which this is demonstrated effectively. Not really obese, Hemiunu is simply
shown as an older, heavyset man. Hesy-ra, however, chose not to show himself that way. The
artist’s rendition shows an older face, yet when compared to Hemiunu’s seated pose, his body
seems youthful. The aged sculpture is, of course, not as virile in appearance as the first, as he
seems to be a bit frail. His legs are noticeably thinner than in his active relief.
The seated relief exhibits several other interesting traits. The image of Hesy-ra standing is
free of any overlap. Once seated, however, overlap is used quite a bit, although the Egyptian
beliefs still required that all body parts be represented. While the arms cross in front of the chest,
they do not detract from the representation of his torso. Areas such as the legs needed to be setup
to show both feet, though. On these areas, overlap is used on the thighs, yet it is basically kept to
a minimum. When looking at the rods he holds, however, the artist has explicitly placed one
behind the other. Another area of question is the depiction of Hesy-ra’s chair. The stool is shown
with ivory legs in the shape of bull legs. (Aldred, pg. 56, 107) The forward legs are completely
obscured by Hesy-ra. This seems to indicate that the body was the most regulated of the areas
depicted. It was as if the artists could risk the usefulness of objects in the afterlife in exchange
for artistic freedom, yet the culture strongly protected the integrity of the body’s form.
The Mastaba provided a home for the Ka or spirit of Hesy-ra during the afterlife. It was
well decorated and provided a place where future offerings could be placed. Built of mud-brick,
this large, private monument was located to the North of Djoser’s own magnificent Stepped
Pyramid complex at Saqqara. (James, pg. 155) These
enormous undertakings formed an integral part of ancient Egyptian beliefs. They stand as true
testaments to the enormous power wielded by the pharaohs and given to those in his favor. Yet,
while the king, as a god on earth, commanded absolute authority, strict tradition and ceremony
dictated his daily life. (Rice, 1990, pg. 194) This balance between power and responsibility
allowed the construction of these colossal tombs for both the king and his officials. The common
people needed to ensure the favor of the gods and their position ascent to the afterlife. Hesy-ra’s
mastaba was envisioned as a magnificent house, almost a palace, and was fully equipped for the
spirit’s needs. There is an underground chamber, used to rest the mummy, which is connected to
the greater edifice via a shaft. This shaft also houses a serdab, or statue chamber, as well an
offering room, which housed the original eleven wooden panels. In different forms, these
elements will be found in many later mastabas. (Saleh, pg. Ills. 21)
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