Theban Tomb 45

Where is Theban Tomb 45 situated?

Theban Tomb 45 is situated in the Theban necropolis on the west bank of the Nile, opposite modern Luxor. The Theban necropolis is a UNESCO World Heritage Site and constitutes one of the largest ancient burial sites in the Near East. The site comprises numerous monuments, including the famous royal tombs of the Valley of the Kings and the Valley of the Queens, but also more than 400 private elite tombs, as well as memorial temples, and remains of royal palaces and domestic communities.   

Theban Tomb 45 is situated in the area of Sheikh ʿAbd el-Qurna, which has a large concentration of private elite tombs, most of which date to the 18th dynasty (ca. 1539-1292 BCE). Theban Tomb 45 is situated close to the well-known tombs of Ramose (Theban Tomb 55), Userhat (Theban Tomb 56) and Khaemhat (Theban Tomb 57) which are open to the public. One of the aims of our project is to prepare Theban Tomb 45 for opening to the public as well, by carrying out a range of heritage preservation and site management activities in close cooperation with the Egyptian Ministry of Tourism and Antiquities and the Qurna Inspectorate of Antiquities.

Who constructed and decorated Theban Tomb 45?

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 charged with overseeing 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 an unidentified woman, probably his wife, as well as with his mother, whose name is also Djehuty.  

Several hundred years later, 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.    

Why is it important to study Theban Tomb 45?

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. Several hundred years later, 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 original tomb owner. The second tomb owner did not vandalise the tomb. He left most of the existing decoration in its original state. But he also added his own decoration to walls sections that had been left undecorated by the first tomb owner, and he retouched and repainted a number of the original paintings. For example, he altered the garments, wigs, and furniture depicted in the tomb to conform to contemporary style.

Recycling the past: tomb reuse in Ancient Egypt

The double occupation of Theban Tomb 45 and the way in which the second occupant dealt with the original decoration make it an excellent starting point for a research project on the mechanisms and motives behind tomb reuse in New Kingdom 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 focused 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'. Furthermore, the documentation of tomb reuse is usually restricted to individual tombs, with limited consideration for its wider historical, cultural, and geographic context.

Van den Hoven’s research project takes an innovative interdisciplinary approach, which explores tomb reuse in terms of the theoretical concepts of space and memory. In doing so, she addresses the validity of traditional Egyptological terminology relating to tomb reuse, and challenges prevalent perspectives on the motivations for tomb reuse which fail to address the complexity of this phenomenon. In doing so, she aims to present a new understanding of why tombs were reused and how this phenomenon can be understood in the context of practices of cultural memory. 

What are the aims and objectives of the TT45 Project?

The main aims of the fieldwork project are to carry out conservation, documentation and publication, analysis of the painted decoration, preventive conservation, site management activities and archaeological study. The team works closely together with the Egyptian authorities, and especially with our colleagues at the Qurna Inspectorate of Antiquities, on studying and preserving Egypt's cultural heritage. At the end of the project, the tomb will be prepared for opening to the public. Another important aim of the project is to contribute to the scientific infrastructure in Egypt by providing training opportunities to young local conservators, egyptologists, and archaeologists. In addition, we contribute to raising public awareness of the archaeological heritage of Luxor through organising educational and outreach activities for the local community. 

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 the TT45 Project 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 lower part 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 site management activities around the tomb, aimed at protecting the tomb against flash flooding (see further below).

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 and 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 painted decoration of Theban Tomb 45, through a combination of art historical visual analysis and non-invasive material analysis. 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 photography in ultraviolet light, infrared photography, X-ray fluorensence, and multispectral imaging technologies. 

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 were carried out by the second tomb owner and 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 the legibility of some of the texts written on the tomb walls that are currently illegible.  

Preventive conservation, site management activities, and archaeological study

Preventive conservation measures and site management activities are carried out in and around Theban Tomb 45 in order to protect the tomb from flash flooding and to preserve it for future generations. Flash flooding poses a risk not only to the painted decoration, but also to the stability of the tomb itself. The area surrounding the tomb is being re-landscaped in order to direct the drainage paths of flash flooding away from the tomb and nearby monuments. At the same time, these activities allow the team to archaeologically study the tomb and the area immediately surrounding it, enabling us to understand its usage history and its position within the lower area of Sheikh ʿAbd el-Qurna, of which currently very little is known.

Towards the end of the project the tomb will be prepared for opening to the public. In this context, various additional 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 tomb to the parking area, possibilities for disabled access to the tomb will also be explored.

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