Tomb of Pashedu


During the Ramesside Period, Peshedu served as a “Servant In the Place of Truth,” Deir el-Medina. His mausoleum provides breathtaking views from its entrance and is perched high on a mountain above the settlement. The public was just recently allowed access following restoration. While his father Menna was employed in the Temple of Amun, Pashedu is said to be the first member of his family to have worked among the locals at Deir el-Medina. Pashedu began his career as a stonemason before being elevated to foreman. His spouse was Nedjembehdet, and the two were parents to several kids. “Servant at the Place of Truth on the West of Thebes” was his official title.

Tomb of Pashedu

The rear wall of the innermost burial chamber shows the god Osiris-Onnophris, the ruler of the kingdom of the dead, on his throne with the mountain of the West behind him. Osiris wears a nemes-crown and holds a flail and scepter. A seated god before him presents a bowl with burning tapers. The inscription written in columns of black hieroglyphs contains spell for “lighting a lamp for Osiris. Behind the throne of Osiris a small figure of Pashedu is depicted kneeling.  ©kairoinfo4u

The tomb’s decorations, like those on the graves of the other artisans, are brightly coloured depictions from the “Book of the Dead” painted on a backdrop of yellow ochre. The tomb has a vaulted roof like the others do. The burial room may be reached by descending a passage from the court outside the tomb. The Anubis jackal is seated on a shrine on either side of the passageway, holding a flail between his hind paws.

Tomb of Pashedu

the god Ptah-Sokar-Osiris in the form of a falcon depicted within the vaulted area above the doorway. His elaborately painted wings stretch out below a wedjat-eye. The falcon sits in a boat. The sons of Pashedu, Menna and Kaha, either side of falcon. ©kairoinfo4u

The lintel of the burial room within depicts a sizable representation of Ptah-Sokar as a flying falcon atop a barque that Peshedu admired. On the left-hand wall, a number of gods are seen being worshipped by his son Menna as well.


Pashedu is believed to be the first member in his family who worked with the community at Deir el-Medina, while his father Menna worked at the Temple of Amun.

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Three rows of Peshedu’s parents and other relatives are shown on the left-hand entry wall (east), moving clockwise around the tomb. In the upper corner, a little depiction of the sycamore goddess is displayed. Peshedu and his wife Nedjemtebehdet are seen on the northern wall with their two young children. With a lengthy wig separated into curly locks, big earrings, and a perfume cone perched on her head, Nedjemtebehdet is decked out in her finest.

Tomb of Pashedu
Tomb of Pashedu

Rows of the deceased’s family in adoration Some are depicted as elderly men and women with their hair streaked white. ©kairoinfo4u

They revere Horus in the form of a hawk. An Anubis-priest is seen ministering to a mummified Peshedu on a sofa in the next scene. All men aspired to the “Abydos Pilgrimage” at death, either in reality or metaphorically, and scenes on each side of the end wall (west) show the deceased with his wife and daughter on a boat on this journey. A procession of gods, including Osiris, Isis, Nut, Nu, Nephthys, Geb, Anubis, and Wapwawet, are shown on the vaulted ceiling along with passages from the “Litany of Re.”

Tomb of Pashedu
Tomb of Pashedu

The western end wall has a classic tableau with Horus appearing as a falcon and Osiris standing in front of a mountain. Peshedu is squatting below while a giant personified Udjet-eye maintains a torch in the curvature of the ceiling. The dead and a little daughter are still worshipping Re-Horakhty, Atum, Khepri, Ptah, and a clothed Djed-pillar on the northern wall, while a procession of sitting gods, including Osiris, Thoth, Hathor, Re-Horakhty and Neith, Selkis, Anubis, and Wepwawet, can be seen above on the vaulted ceiling.

Tomb of Pashedu

The tomb owner can be seen drinking from the sacred pool. ©kairoinfo4u

The nicest scene in TT 3 may be seen on the chamber’s left wall, where Pashedu is depicted knelt and bowing before a palm tree by a pond. The scenario is really well-composed and clear. The palm tree was painted with attention to the fine details showing the fibres along the trunk.
It is intriguing that the private Ramesside tombs’ décor forgoes the representations of ordinary life found in earlier tombs in favour of a more formal representation of the deceased and his family worshipping numerous gods from the funeral texts. Anubis is even more prominent than Osiris in these later tombs.

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