their culture. Death was considered to be a transition period; it was not the end of one’s existence but rather a movement to a new state of being (Baines and Lacovara 2002). While the idea of transition is not exclusive to the Egyptians, the investment of resources into this rite sets them apart from other religious traditions (Taylor 2010). Naturally then, one could expect that the tomb of a queen would be nothing short of extravagant. Indeed, it appears that the Egyptians invested an immense number of resources here in an attempt to provide Nefertari a smooth entry into the afterlife (Baines and Lacovara 2002). While we can only base our understanding of the composition and contents of the monument on speculation (the tomb is not in its original state, and therefore we only have a partial picture to work from), it is very much apparent that death was considered a rite of passage rather than a finale. Elaborate images and scripture span the various chambers of Nefertari’s tomb. We see the queen interacting with various gods, predominantly Osiris, god of the afterlife. These images are accompanied by corresponding passages from the Book of the Dead. In translating these passages, one will notice that each chamber represents a different “step” in funerary ritual and tells a different story (McDonald 1996), presumably a way of eternalizing the ceremony that was required to prepare the body and soul of Nefertari for her journey and acceptance into the next realm. Many archaeologists believe that the intent of having such an elaborate tomb built was to maintain the distinction between nobility or royalty and the lower social classes through to the afterlife (Grajetzki 2010). It was commonly understood that the afterlife was very similar to a human existence, and that the intense preparation and careful ritual surrounding an elite’s death would ensure that individual a positive experience for eternity (Baines and Lacovara 2002).
Artistic depictions of the queen dressed in her finest linens and jewels support this notion of wealth ensuring protection. Based on evidence provided to us by items identified to have been present in the tomb of Nefertari, we can theorize that many goods artistically represented on the walls did actually exist in physical form. For example, Schiaparelli was able to identify fragments of the Queen’s rose granite sarcophagus (the coffin “mask” that Nefertari would have lain behind in her entombment). The purpose of these mask-like encasements was to enable the dead to “see” their way through to the afterlife after their original eyes had been removed (an alternative to a mask was the insertion of artificial eyes into the empty sockets, believed to provide the same effect). This practice was primarily apparent in the mummies of high-status individuals. (Taylor 2010) As was previously mentioned, the tomb also contained a number of servant figurines, believed to play an essential role in enabling one to become an Osiris, a god of the underworld (McDonald 1996). Again, this supports the notion of a “high-class advantage” and the theory that wealth in life could “buy” one a better afterlife. This, then, could be one of many reasons that Nefertari’s tomb would have been immensely valuable to thieves. In times of economic and cultural instability, one could presumably steal, sell, or buy items that would ensure their stability in the afterlife.
To the modern scholar, the tomb gives way not to wealth, but to a wealth of knowledge. The images and passages adorning the walls are considered to be among the most well-preserved today, even in their compromised state. They are also thought to provide the most insight into the Ancient Egyptians’ concept of the afterlife: the gods attributed to the realms of the living and dead, their role in transition, and the ritual surrounding this rite of passage. Nevertheless, however extensive the information and fascinating its interpretation, we must remember to maintain an objective understanding of historical evidence. In other words, we need to recognize that what we “know”, we really may not “know” at all. The only basis for our understanding of these monuments and artifacts is our own or others’ interpretation of archaeological evidence.
we need to recognize that what we “know”, we really may not “know” at all
And so, while we work to uncover the mysteries of Ancient Egypt and make sense of the remains of a civilization thousands of years past, perhaps it might be useful to take a step back at times; perhaps for a moment we should stop trying to understand the Egyptians and simply admire the grandeur that they left behind.