Theban Tomb 45

Theban Tomb 45 is situated in the area of Lower Sheikh ʿAbd el-Qurna, immediately adjacent to Theban Tomb 133. Theban Tomb 45 was constructed and partially decorated in the 18th Dynasty during the reign of Amenhotep II (ca. 1425-1400 BCE) for a man named Djehuty and his family. Djehuty was overseer of the estate of a high priest of Amun named Mery (the owner of Theban Tomb 95), and he was chief of the weaving workshop at Karnak temple. Djehuty is depicted in the tomb with his mother, whose name was also Djehuty. In the Ramesside period, the tomb was reused by a man named Djehutyemheb, who was also a chief of weavers. His family members are also depicted in the tomb: his father Wennefer, his mother Isis, his wife Bakkhonsu, and their children and grandchildren.

Theban Tomb 45 is a fascinating case of tomb reuse: the tomb was constructed and partially decorated with painted scenes and texts around 1400 BCE for Djehuty and his family. In the Ramesside period, the tomb was reused by Djehutyemheb and his family. Even though the practice of tomb reuse may call to mind images of usurpation, tomb robbery and destruction, this particular tomb was reused in a non-destructive manner and with consideration for the memory of the first tomb owner. The second tomb owner left most of the existing decoration in its original state and added his own decoration to wall sections that had been left undecorated by the first tomb owner. He also partially retouched and repainted some of the original paintings, thus updating them to contemporary style and (personal) taste. For example, garments, wigs, and furniture depicted in the tomb were altered, and new texts were added to the existing decoration.

Recycling the past: tomb reuse in ancient Egypt

The fieldwork in Theban Tomb 45 forms the starting point for a research project on the phenomenon of tomb reuse in ancient Egypt, carried out by Dr. Carina van den Hoven at the Netherlands Institute for the Near East (Leiden University).

Tomb reuse was a widespread mortuary practice in ancient Egypt, yet there is a surprising lack of academic research on this topic. The stuy of ancient Egyptian mortuary practice generally focuses on conceptions of the afterlife, grave goods, and funerary rituals. Traditionally, studies of burial monuments have mainly focussed on their original construction, decoration, and owner(s), with marginal interest for their continued use and reuse. This is indeed surprising, because the continued use and reuse of monuments forms part of their 'life histories'.

Van den Hoven’s research project takes an innovative interdisciplinary approach to the topic of tomb reuse, using theory and methodology from the fields of Memory Studies and Landscape Archaeology. This approach enables her to explore tomb reuse in terms of the interaction between mortuary practice, cultural memory, and the physical features of the mortuary landscape. In doing so, she addresses the validity of traditional Egyptological terminology relating to tomb reuse, and challenges the prevalent outside-in interpretations of tomb reuse which fail to address the complexity of this phenomenon. Her aim is to present a deep-level understanding of the practice of tomb reuse and to contribute to wider cross-cultural discussions on the reuse of mortuary spaces and on the functioning of mortuary landscapes.

Main aims and objectives of the fieldwork project in Theban Tomb 45

Conservation

Since its discovery in the winter of 1903-1904 by Robert Mond, some emergency repairs were carried out, but until we started work in the tomb in 2018, no active conservation programme had been carried out for this tomb, even though it forms part of a UNESCO World Heritage Site. One of the main aims of our work in Theban Tomb 45 is to carry out a full conservation programme for the tomb, so that its painted decoration will be preserved for future generations.

Given its position at the very bottom of the Theban mountain, as well as the fact that it has a deep and narrow courtyard, Theban Tomb 45 is extremely vulnerable to flash flooding. In fact, the tomb already shows evidence of previous flooding and resulting damage. Flooding of the tomb poses a risk not only to its painted decoration, but – given the marl content of the tomb structure – also to the stability of the tomb itself. For this reason, our conservation programme for the tomb focuses not only on the conservation of the painted decoration inside the tomb, but also on preventive conservation measures and risk management activities in the area surrounding the tomb, with the aim of protecting the tomb and neighbouring monuments against flash flooding.

Digital documentation and publication

Another important aim of the project is to create a complete digital record of the tomb, which not only documents its architecture and decoration, but which also functions as a digital tool, enabling detailed investigation of the monument even without having physical access to it. This aim is achieved through the combination of digital photography, photogrammetry, 3D modelling, digital epigraphy, and digital reconstruction of damaged or destroyed parts of the tomb decoration. In doing so, we aim to contribute significantly to the development and application of non-invasive digital technologies to the documentation, publication, and accessibility of ancient material culture.

Art historical and non-invasive material analysis of the painted decoration

Another important aim of the project is to systemetically study the decoration of Theban Tomb 45. The painted scenes and texts are studied in terms of their cultural, historical, and religious significance as well as in terms of their meaning in the overall decorative programme of the tomb. The material analysis of the painted decoration comprises the non-invasive analysis of the ancient materials used, as well as their techniques of application. This analysis is done using various techniques, including study under ultraviolet light, infrared photography, and X-ray fluorensence (XRF).

The material analysis of the wall paintings is carried out with multiple purposes in mind: 1) to identify particular pigments, coatings, and binding agents, which informs us about the ancient painting materials and techniques, and which provides useful information for our conservator in determining the best conservation approach and techniques; 2) to detect ancient repaintings that cannot be seen with the naked eye; and 3) to digitally enhance ancient pigments that have deteriorated and faded over time in order to improve their legibility.

Preventive conservation, risk management, and archaeological research

Preventive conservation measures and risk management activities are carried out in and around Theban Tomb 45 in order to protect the tomb and neighbouring monuments against flash flooding and to preserve them for future generations. Flash flooding poses a risk not only to the painted decoration of these tombs, but also to their structural stability. As part of our preventive conservation and risk management programme, the area surrounding Theban Tomb 45 is being re-landscaped in order to remove the modern debris heaps surrounding the tomb, and in order to direct the drainage paths of flash flooding away from the tomb and neighbouring monuments. At the same time, these activities allow the team to carry out a detailed archaeological investigation of Theban Tomb 45 and its extensions and associated structures, providing us with new insights on the tomb structure and use history of this tomb.

Towards the end of the project the tomb will be prepared for opening to the public, together with the other tombs in our concession. In this context, various site management activities will be carried out, including installing a wooden walkway to protect the original floor, installing barriers to protect the paintings from incidental damage, installing a new protective door, installing a low-energy LED-lighting system, and installing information panels in English and Arabic informing visitors about the tomb. Considering the proximity of the tombs to the parking area, possibilities for disabled access to the tombs will also be explored.

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View on the area of Lower Sheikh ʿAbd el-Qurna and the Ramesseum.

Painted wall decoration in Theban Tomb 45, showing the Ramesside tomb owner Djehutyemheb and his parents.

Painted wall decoration in Theban Tomb 45, showing the Ramesside tomb owners and their children.

Painted wall decoration in Theban Tomb 45.