TT338

Last updated
Theban tomb  338
Burial site of Maya
Chapel of Maya, S 7910 Museo Egizio (Turin) p02.jpg
Interior of the chapel of Maya, Museo Egizio
Location Deir el-Medina, Theban Necropolis
DiscoveredEarly 1900s
Excavated by Ernesto Schiaparelli?
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TT337
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TT339
TT338
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[1]
Maya and Tamyt
in hieroglyphs
Era: New Kingdom
(1550–1069 BC)

TT338 is the burial place of the ancient Egyptian artist Maya and his wife Tamyt in Deir el-Medina near modern Luxor, Egypt. Maya was titled "outline-draughtsman of Amun" and was active in the late Eighteenth Dynasty. The chapel was probably discovered in the early 1900s. The painted interior depicts the funerary procession and feasts of the deceased; the decoration was detached by the discoverers and is housed today in the Museo Egizio in Turin, Italy.

Contents

Owner

TT338 belonged to Maya (also transcribed Maï or May), an artist who bore the title "outline-draughtsman of Amun" who was active in the late Eighteenth Dynasty, after the reign of Akhenaten. His wife was named Tamyt. The chapel is adjacent to TT8, which lead Bernard Bruyère to suggest they might have been related to TT8's owners, Kha and Merit. [1] [2]

Description

The chapel is situated in the northern cemetery of the workmen's village of Deir el-Medina, immediately east of TT8 and about 1 metre (3.3 ft) downhill of it. It was probably discovered in the early 1900s by the Italian Archaeological Mission who removed the chapel's paintings to the Museo Egizio in Turin, Italy. The chapel was once pyramid-shaped but only the vaulted chamber remains; it was likely surrounded by a walled courtyard but nothing remains of the enclosure wall. The tomb is accessed via a shaft in the courtyard and leads to two small rooms which are uninscribed. [2]

The chapel was entirely decorated with funerary scenes. The two long walls have three registers each depicting the funerary procession of the deceased to their tomb, the deceased receiving funerary offerings, and boat journeys to and from Abydos. The back wall had a funerary stele at its centre surrounded by depictions of seated couples and funerary priests. [1]

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References

Citations

  1. 1 2 3 Porter & Moss 1960, p. 406.
  2. 1 2 Bruyère 1926, pp. 192–193.

Works cited