Userhat in front of Pharaoh Amenhotep II (1)

This scene has been shifted in TT56, and the sovereign now faces the rear chamber’s entryway. The pedestal upon which the kiosk stands is unpainted and devoid of inscriptions. The kiosk’s top is supported by two columns, the tops of which are in the shape of semi-open lotus flowers. Blue, red, and green rectangles are divided by golden bands on their stocks. They help to support the uraei frieze on the coving. Narrow vertical blue, red, and green rectangles are painted on the coving, which is framed by a traditional Egyptian ladder band in the same colours. Grape bunches hang from the band. Because behind Userhat, this light structure was most likely built in the open air, A pillar that could represent the entrance to a peristyle court can be seen.

The inside of the kiosk is painted yellow, which contrasts well with the king and the inscriptions. The monarch is sitting on a traditional square throne with a low backrest. Horizontal bands adorn the chair’s surface (again blue, green and red). The bottom right-hand quarter is painted yellow, with faint red remains of an image of the Sema-Tauy, the emblem symbolising the two lands’ oneness.

Pharaoh is depicted as being alive and ruling. Although parts of his face are injured, particularly his eyes and mouth, the distinctive profile of his fleshy and aquiline Thutmoside nose is plainly identifiable. He wears a long black wig that gradually gets shorter at the nape of his neck. The Andjety-feather-crown, made of ram and cow horns coupled with two ostrich feathers (dark-blue, light-blue, and red), is flanked by two uraei on his wig. Amenhotep is dressed in a long kilt and a royal red shirt with yellow patches. A huge yellow belt with a bright front projection and a bull’s tail. His arms and wrists are encrusted with enormous jewellery (in yellow, blue and red)in addition to a five-row pectoral.

Amenhotep II carries an ankh, the sign of life, in his left hand. He makes a very rare but otherwise unique motion with his right hand, waving a combat axe rather than the typical heka (a crook), nekhakha (a flail), or, in rare occasions, a club.
Cartouches with his coronation name and birth name “Aa-kheperu-Ra,” “Imn hetep netjer heqa Uaset” or “Great is the future of Ra,” “Amon is satisfied, the god and sovereign of Thebes,” are encircled by a short inscription in the vacant area in front of the seated sovereign.
The tutelary goddess’s figure – the snake of Lower Egypt, Uadjet, coiling up and around a papyrus – protects the group. “[The king] brings health, life, and vigour, as Ra, the beloved of Uadjet,” states the writing on the left of the cartouches.
“[The king] grants life and power, eternally,” says the cartouche.
The king is escorted by bodyguards, which is unusual. They’re behind him, to the left of the stela on the west wall; more on the west wall later.