Tomb of Shuroy
TT13
The tomb of Shuroy is located in Dra Abou el Naga in Western Thebes. It was created in Ramesside era. During the Ramesside Period, Shuroy was known as the “Head of Brazier-bearers of Amun.” At Dra Abu el-Naga, not far from the road leading to the King’s Valley, you may find his tomb a few metres to the south of Roy’s tomb (TT255). Since it was rebuilt and preserved, Shuroy’s tomb, which has two rooms, a vestibule, and a hall and is larger than Roy’s, has been available to tourists.
The tomb is a typical size and is arranged in a “T” shape. Two rooms make up the space. It’s incomplete, and a significant portion of the plasterwork has vanished. What remains was the subject of a restoration in 2002.
According to the Ramesside tradition of bipartisanship, the painted ornamentation “in fresco” on a bluish-white coating, performed particularly in ochres, is extremely clear or dark and of the colours of the palette harmonised starting with the red which punctuates the lists or the friezes.
The ceiling of Room A is very well preserved. It is treated according to the fashion of the time as if stretched canvas.
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Upon entering this tomb, one will notice a representation of Shuroy and his wife in an adoring position, just inside the right thickness of the doorway. They are now only showing the tops of their bodies. Everybody looks toward the grave. An unidentified woman with red paint-sketched features stands on the left side of the entrance and appears to be holding the sceptre of Hathor.
Two distinct geometric designs are painted on the ceiling of the first room. It is divided into panels that are framed in white, red, and black lines and set off from one another by substantial borders in the colour gold. The chamber is circled by a broad yellow band that separates the registers from the ceiling and is surrounded by two red lines just below the ceiling.
As though they were one wall, the front wall and the right side wall continue the Book of Gates depictions by displaying numerous genies in the same sequence as on the left wall. On the front wall, a severely damaged image of Shuroy clutching a papyrus stem in his right hand serves as the opening scene. In addition to a door in front of him, there is a statue of a genie with a sceptre who is perched on a pedestal. The pair walks from gate to gate in various sequences, just like on the left wall. Similar to the wall on the left, Shuroy is standing in front of another kiosk or shrine while wearing a loincloth and shaving his head. There are tables of gifts all around him. This time, Osiris is present at the shrine and is shown as having dark green skin. The Four Sons of Horus stand in front of Osiris, who is emerging from a lotus blossom.
The second room, which once served as the tomb’s entrance, has short walls and no embellishments. However, a yellow and white checkered pattern has been painted on the ceiling to embellish it. The typical Ramesside burial scenes adorn the hall. The Opening of the Mouth ceremony is depicted in one of the better-preserved tomb scenes, which are fewer in number. The hall’s entryway is ornamented with images of banquets, including musicians and people clapping. .
In the lowermost register, there is a funeral procession moving forward with servants carrying meals while others are knelt before vegetable baskets. A cow is seen walking to their right as guys on the right side of the image carry a yoke with linked chests on their shoulders. In these pictures, the servants who toil with the majority of the presents and burial accoutrements are clearly distinguished from the aristocrats carrying offerings. The nobility may be distinguished from the common carriers who follow them by their lavish clothes as opposed to their loincloths.
Young girls in their underwear dancing next to their mother in the middle of the lowest register while the parade proceeds. They appear to be skipping or leaping because of the way their hands are in the air and bent legs. The male carriers of Shuroy’s mummy are approaching the mummy, which is standing at the right end of the wall. At his feet, grieving ladies are knelt, sobbing, and being covered with soil.
Shuroy’s tomb has vibrant hues and has undergone a thorough restoration. Despite being unfinished, its incompleteness is instructional from an artistic perspective.
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