The most important kings of the modern state
King Amenhotep III
Amenhotep III, sometimes written as Amenophis III, was the ninth king of the Eighteenth Dynasty and one of the greatest rulers of Egypt throughout history. M. Rule of Egypt in the period from 1391 BC. – 1353 BC)
Many ancient Egyptian history researchers agreed and confirmed that the mother of King Amenhotep III was not Egyptian but was from the state of Methane (present-day Iraq), which was known as Queen Mutomuya. She was one of the secondary wives of King Thutmose IV, Amenhotep’s father. And that according to the royal tradition, the royal wife of the king was treated as a lawful concubine, to please the king and to have children, who were seen as the king’s illegitimate sons. The heir was only the king’s son from his main wife or queen, who was allowed to sit side by side with the king.
In his childhood, Amenhotep was very proud of his mother’s marginalization and wanted to avenge her, pointing out that when Amenhotep broke with traditions and married T the simple girl, it was as if he was conquering the dignity of his profane mother in the name of royal traditions and the politics of governance.
After the death of King Thutmose IV, father of Amenhotep III, Amenhotep had to marry his half-sister, daughter of Queen Nefertari, to gain the legitimacy of the rule. Still, he preferred to marry the love of his life Ti, who was the daughter of a priest from Akhmim, believed that his origins belong to a foreign country, and it is likely Some researchers of history that its origins go back to the state of methane.
And that marriage plunged the royal palace into a political dilemma that had never happened before, which is that the current king lacks all the conditions of the legitimacy of the rule, as his mother is not from the royal family, as well as his wife. Amenhotep had to choose between two things, either to exclude his beloved “T” to become a mere concubine, He would marry one of his sisters, princesses, or abdicate the throne, but Amenhotep set a new year in the age of gaining legitimacy of rule, as he claimed in his famous temple known as the Luxor Temple, and in the room next to the Holy of Holies, which archaeologists call the holy birth room and that he came from the descendants of the god Amun-Ra, as his grandmother Hatshepsut claimed before. Still, Hatshepsut is a unique case because she is a woman who ruled in the form of kings, and after her departure, she was treated with a lot of erasure and disregard, as her name was dropped from most of the royal lists.
According to the details of the sacred birth of Amenhotep, the god Amun-Re visited the death of Umayyad in her room, in the image of her husband Thutmose, and knew her as the husband knows his wife to give birth to the divine son Amenhotep.
And with some pressure and the use of material influence with the priests of Amun, he was able to pass that procedure, to prove that he is a divine king with absolute legitimacy to ascend the throne of Egypt. He no longer needs to renounce the love of his life, “T”, as he can keep the throne of his ancestors.
The seeds of the relationship between Amenhotep and T were dating back to the days of his father Thutmose IV’s rule, referring to the opinion of the archaeologist Henry Breasted, who believed that T. was a girl from the common people from the villages of Akhmim. Her father was related to the secondary wife of Amenhotep’s father, “Death of Moya,” that Her parents helped her ascend to important positions in the royal palace, as her father, “Yuya”, was a priest of the god Min. At the same time, her mother, “Toya”, was the chief maid in the royal palace. According to Breasted’s belief, the mother helped bring about the rapprochement between the two lovers, which turned into an overwhelming love. It ended in marriage, which turned the country girl into the queen of Egypt.
It is difficult to determine the qualities that made Amenhotep love T., but it is clear that T. was a strong-willed girl, enjoying cunning and cunning. She was able to capture the heart and soul of Amenhotep with her magic, as she was able in his life and after his death to play a political role represented in the life of Amenhotep with his participation in Ruling and issuing decisions and appearing with him in ceremonies and official occasions. After his death, she was able to be the advisor and mentor to her only son Akhenaten. She also conducted many diplomatic correspondences with Egypt’s neighbours in the Levant and Iraq, as the Queen Mother, which improved relations between Egypt and its neighbours.
Legendary marriage of the king to his beloved:
Amenhotep exaggerated his defiance of royal traditions when he began his first hours on the throne by officially announcing his marriage to his beloved Ti, to send Amenhotep to his officials and workers in the provinces of Egypt to hold the celebrations of the sacred royal marriage,
On the occasion of his marriage, he documented several sacred scarab amulets known as marriage scarab, the most famous of which is the scarab in the Karnak temple next to the holy lake, which served as an amulet to bring good luck to that marriage, and the continuation of love and harmony between the spouses, noting that one of those scarabs wrote on it: “Live King Amenhotep, the giver of life, and royal wife Tiye the Aisha, and her father’s name is Yuya and her mother’s name is Tuya, the wife of a great king.
Amenhotep was not satisfied with scarabs, but he built a palace next to the temple of Medinet Habu on the western mainland in Luxor and gave it to his wife T. He also ordered an artificial lake to express his love for his wife. T was also depicted with him in most of his statues, the most famous of which is the Colossi of Memnon on the western bank of Luxor.
During the years of his reign “1391-1353”, King Amenhotep was forced to enter into diplomatic marriages with foreign princesses, such as Princess Kilo Khiba, the daughter of the King of Iraq and Princess of Nahrain in the Levant. Still, T remained his favourite until he was in the scarab in which his marriage to the Princess of Iraq was trusted, without His wife’s name was T, and he referred to her as his “lover”. And Queen T, thanks to her wise mind, was able to absorb the matter and deal with it with the mentality of the Queen, not the beloved, and she maintained good relations with her two foreign counterparts.
; wisdom
In the early years of his reign, Amenhotep III was interested in sports, especially hunting and hunting, as he was a great hunter. He found a scarab in which he records that he hunted one hundred wild bulls on a royal hunting trip that lasted two days, and another scarab issued in the tenth year in which he stated that since his accession to the throne, he killed 102 of the lions on the go.

He killed 102 lions on hunting trips and showed little interest in military operations. Amenhotep faced some few in the fifth year of his rule in Kush (Nubia), but the fighting was taking place with a small group of Sudanese. After he defeated them, he expanded the territory of his kingdom until he reached the fourth cataract. He wrote a memorial to this campaign near the rocks of Konosu Island in Nubia, and his campaign against Nubia was described on a plate of fat that is now in the British Museum.
Another revolution took place in the town of Abhat, located after the second waterfall. Nubia had an autonomous administration under the supervision of the royal son of Kush. Amenhotep sent his deputy in the southern countries and the son of the king to suppress the revolution. Amenhotep III did not participate in it, and most of his rule was characterized by stability.
He preferred to consolidate the foundations of Egyptian sovereignty in Asia through diplomatic methods, so he constantly worked to strengthen and strengthen the bonds of friendship with the kingdom of Mitanni, the largest of the great powers at the time, and in the tenth year, he married Giloukhepa, daughter of Choutarna, King of Mitanni. And after a long time, he married the sister of “Touchratta”, another king of this country, then the sister of the king of Babylon, and he married the two daughters of the two previous kings, and then the daughter of the king of “Arzawa”. To show the desire to confirm good relations, he sent “Touchrata” to King Amenhotep III, who was suffering from illness, with a statue of Ichtar, the goddess of Nineveh, the goddess who was famous for her ability to grant healing. But every diplomacy has its limits. This diplomacy did not prevent the king of “Amourrou” from allying with the small states that insisted on breaking away from the Egyptian subordination.
This deterioration in matters did not occur until the end of his reign, that era in which Egypt reached the height of its influence and wealth thanks to the influx of Nubian gold on it, in addition to the huge quantities of raw materials and manufactured products coming from the areas located to one degree or another under the sovereignty of the king. And with these abundant good things also came the ideas, customs and beliefs, and the people of those countries. Therefore, Egyptian society has clearly become of different races and has witnessed a clear change in style and style, its first features began to become clear since the era of Amenhotep II, and art was a brilliant example of that, the old concepts and traditions were never abandoned, but the strict stagnation became towards tenderness and softness. Sensitivity, and who did not contemplate the admiration and fascination of the inscriptions of the tombs of “Ramousa and Khagh Em Hat”? In this era, the styles of clothing and adornment changed, and the hieroglyphic writing opened more and more to the local language, which until then was the means of quick and concise writing. The Egyptian religion also developed, not only in terms of a wide welcome for foreign deities but also in terms of its trend towards a more realistic concept in the field of solar worship: the sun disk itself called “Aton” became the focus of worship, and it is known to what extent Akhenaten developed this trend and its growth.
Amenhotep III’s rule was on the same level as the prevailing civilizational development. The king’s behaviour was certainly distinguished by pomp and luxury. Still, he rose to the highest level of splendour of his position. Because he believed that each of his works deserved a stronger and broader media campaign than what was permitted by traditional means, so he published a series of scarabs throughout the kingdom to want and emphasize his achievements. Thus were celebrated the occasion of his marriage to the royal “T”, and his marriage to Jelukhipa, and his hunting trips in the second year of his reign when he hunted bulls in the desert, as well as the group of lions that he killed in his youth and also sailing over the vast irrigation basin he dug in the birthplace of Queen “Ti” “.

; Construction;
As for the activity of this king in the field of construction, it does not need any announcement: such as the establishment of a series of temples in the country of Nubia.
But the greatest and most luxurious building was erected by Amenhotep III in Thebes.
His funeral temple, which he built on the western bank of the Nile, in the flat plain behind the river bank and at the foot of the hills that surround the Nile on this side, and his first purpose in his residence was to be a funeral temple for him in which he is worshipped as a god, as well as to honour his father, Amun. However, the forces of eternity and the hand of vandalism did not preserve it and did not leave one of its stones. No evidence of its grandeur and greatness reached us except for the two statues known as the Colossi of Memnon, each carved in one piece of sandstone extracted from the quarries of the Red Mountain located next to Ain Shams its height. 15 meters without the base, erected by the engineer Amenhotep ibn Habu, and they are now standing next to the road leading to the royal temples and the tombs of kings located in the cemetery. The fame of these two statues is that when an earthquake occurred in the year 27 BC. AD shook the Thebes region and led to the splitting of the northern statue in half at the centre and then. The stone was sending sound vibrations through an internal action resulting from sudden changes in humidity and temperature at dawn. Hence, a legend emerged that the statue emits the lamentation of the mother of the Ethiopian hero Memnon Aurora, the goddess of dawn for her son who fell in the field of Troy every morning and from him took the name of the two statues as Amenhotep III issued Several memorial scarabs we know of, five of which have been preserved by time, the oldest of which confirms Queen Tiye’s title as the main queen.
Amenhotep III also erected a palace next to the place now known as Medinet Habu, thus setting the inherited traditions once more against the wall. The year that was followed until his reign was that the western side of Thebes was dedicated to funeral buildings only. In contrast, the worldly buildings were common, and perhaps he wanted to do so To be far from the hustle and bustle of the city and its mobs, on the east bank, and also to be free in the lake of his picnic which he built next to his palace, However, as the days changed. Time changed; only small pieces of carved stone remained, two of which represent the king’s victories over the Asians and Sudanese.
As for the Eastern Thebes, he built several buildings in it, particularly a path to the statues of the Sphinx, known as the path of rams, which represents the god Amun with a ram’s head. This road is located in front of the current temple of the god Khonsu, and the name of Amenhotep III is engraved on it. It seems that this king had built a temple at this point in the place occupied by the current temple of Ramses III at Karnak.
Amenhotep also built a gate as a new facade for the temple of the great god Amun at Karnak. Recent discoveries indicate that most of the stones that this king filled inside this gate were from the temples of his predecessors, especially from two small temples, one of which belongs to King Senusret I and the second to Queen Hatshepsut, and also stones were found in them. From the temple of King Amenhotep II and others.
This king left us a description of this gate on his plate that he erected in his funeral temple on the west bank of the Nile in Thebes. He also left the remains of an important inscription on the southern tower of this gate when it was built.
In Luxor itself, Amenhotep III built a temple for the god Amun, which is currently known in the Luxor temple, and his great grandfather Thutmose III built a special temple at Karnak. Amenhotep built on this site is considered the most beautiful temple built during the eighteenth dynasty in terms of technical accuracy and coordination in Building. The inscriptions on its walls indicate that Amenhotep built it on the ruins of an ancient temple erected during the Middle Kingdom.
The description of this temple has reached us in two texts, one on the panel of the funeral temple that this king erected for himself on the west bank of the Nile, and the second on a gate in the temple itself. The present temple is the work of several kings, and it is only attributed to Amenhotep III of it in the southern part. It is believed that this temple did not It was connected to the road of rams with the Karnak temple during the reign of Amenhotep III, because the axis of this temple, and the road of rams, there is no connection between them or a relationship that connects one to the other. As for the connection between the Temple of Luxor and the Temple of Karnak, its origin goes back to the changes made by Ramses II. We will talk about it in detail later.
Statues of King Amenhotep III:
This king carved several huge statues for himself, two of which were in Thebes, the upper part of one of them carved in the Roman era, and another statue of the same size buried behind the previous two, and a fourth a little far from the last, as well as a group of four statues in one piece of stone whose heads were lost.
Huge white limestone statues of this king were removed from his mortuary temple and were broken, and their remains were found in the buildings of the Merneptah Temple and Medinet Habu.

As for his regular statues, there are two white limestone statues in the Egyptian Museum and a black granite statue in the British Museum and the heads of four statues.
In Moscow: he has a statue. In Avignon, France: there is a statue base with his name on it.
This king has three excellent images representing him on three different floors. Champollion witnessed the Sphinx of this king in Karnak, and one of the statues may be now placed in front of St. Peter’s Church in a tower.
He has an ushabti statue in the British Museum and his status in the Egyptian Museum and Luxor Museum.
Several statues of gods and goddesses are attributed to this era, especially the statues of the goddess Sekhmet made of black granite, which was erected in particular in the temple of the goddess at Karnak. There is also a standing statue of the god Ptah in diorite in Turin and another seated white limestone statue in Turin.
There is a basalt stone statue of the god Anubis and a quartzite monkey representing the god Thoth in the British Museum, and all these statues have his name on them.
Queen T, wife of Amenhotep III and mother of Akhenaten
Tiye or Tia or T is an ancient Egyptian non-ruling queen or the wife of a king who lived during the eighteenth dynasty. She is the daughter of Yuya, the advisor of her husband, the king, and Tuya, the singer of the goddess Hathor and the head of both the gods’ Min and Amun ceremonies. After the mother of King Amenhotep IV (Akhenaten) and thus grandmother of King Tutankhamun, her mummy was identified among the mummies found in the tomb of King Amenhotep III in the Valley of the Kings; It was revealed that she is the mummy nicknamed the “Big Lady” among them, in 2010.
her family :
Tiye’s father, Yuya, was a wealthy landowner of non-royal origin from the town of Akhmim in Upper Egypt, where he worked as a priest, overseer of sacred oxen, and captain of chariots. As for her mother, Toya, she held several religious positions and held various titles, such as the singer of the goddess Hathor and the chief artist of Amun and Min, which indicates that she was a member of the royal family of royal origin.
Egyptologists have suggested that Tia’s father, Yuya, was of foreign origin due to the features of his mummy and the presence of many different ways of writing his name, which may mean that it was originally a non-Egyptian name. Some suggest that the queen’s strong, unconventional political views may have been due to her strong personality and her descent from a foreign origin with traditions and customs unrelated to the traditions of the Egyptian kingdom.
Tiye also had a brother, Anan, a second prophet/priest of the god Amun. It is also believed that King Ay, Tutankhamun’s successor to power after the latter’s death, is another brother of Tiye; Although there is no clear historical inscription or trace confirming a link between the two, Egyptologists assume that it is from the origins of Ai, also descended from Akhmim, because it is known that he built a small temple dedicated to the local god Min there and because he inherited most of the titles he held Yuya, the father of Tiye, who was carried into the court of King Amenhotep III during his lifetime.
Queen Tiye married Amenhotep III in the second year of his reign. This king had been born from a secondary wife (Mutt Em Weah) to his father (Thutmose IV) and needed a stronger connection with the royal lineage. He appears to have been crowned while still a child, probably between six and twelve. This marriage culminated in at least seven, and perhaps more, sons:
1- Sat-Amun: the eldest daughter, who rose to the position of the Great Royal Wife around the year 30 of her father’s reign
2- Est: also raised to the rank of Great King’s Wife
3- Henut Taneb: It is not known that she was elevated to the rank of the queen as well, although her name appeared inside a cartouche – which is characteristic of the names of kings and queens – at least once.
4- Nabat Ah: It is sometimes believed that her name was changed to Beket-Aten during her brother’s reign (Akhenaten).
5- Crown Prince Thutmose: Crown Prince and High Priest of the god Ptah died before his father.
6- Amenhotep IV / Akhenaten: succeeded his father on the throne and married Queen Nefertiti, and they are the parents of Ankhs in Amun, who married King Tutankhamun.
7- Semenkhkare: who is traditionally considered one of Akhenaten’s direct successors, but today some Egyptologists such as Aidan Dodson believe that he was a direct ancestor of Neferneferaton and a minor co-ruler of Akhenaten and did not have an independent rule. Sometimes he is identified with the mummy found in the tomb of the Valley of the Kings KV55, and thus, in this case, he is said to be the father of Tutankhamun.
8- The Little Lady from the tomb of King Amenhotep II: Amenhotep III and Tiye, the mother of King Tutankhamun and the sister and wife of the owner of the mummy found in the tomb of the Valley of the Kings KV55. She is presumably one of the already known daughters of King Amenhotep III and Queen Tiye.
9- Bact Aten: Sometimes it is believed that she is the daughter of Queen Tiye, and this belief is usually based on a painting on which Bact Aten is depicted sitting next to Queen Tiye at a dinner with Akhenaten and Nefertiti
its effects:
Her husband dedicated many shrines to her and built a temple dedicated to her in Sedinga in Nubia, where she was worshipped as a form of the goddess Hathor-Tefnut. He also built an artificial lake for her in the 12th year of his wisdom.
“The unprecedented thing about Tiye… not where she came from but what she became. No previous queen seemed to have been so prominent in her husband’s life as Queen Tiye. Tiye appeared regularly alongside Amenhotep III in Statues, tombs, temples and murals. At the same time, her name is associated on numerous plates with him with inscriptions on many small objects, such as ships and jewellery, not to mention large commemorative scarabs, where her name follows his name along the timeline of his reign.

Personal, such as adding cow horns and a sun disk – two features of the goddess Hathor – to her head, and representing her in the form of a sphinx – in an image that was previously reserved only for the king and not the queen – emphasizes her role as both divine and earthly wife of the king. Amenhotep III built a temple for her in Sedinga in northern Sudan, where she was worshipped as a form of the goddess Hathor … The temple in Sedinga is an ornament to the temple of Amenhotep III, the largest of it in Soleb, fifteen kilometres to the south of it (a tradition followed a century later by King Rameses The second is in Abu Simbel, where there are also two temples, the larger southern temple dedicated to the king, and the smaller northern temple dedicated to the queen, Nefertari, also in the image of the goddess Hathor).
Influence on the royal court:
Tiye exercised a great deal of power during the reigns of her husband and their son to succeed him. Amenhotep III was a skilled athlete, a lover of the outdoors, and a great statesman. He often had to consider marriage proposals for his daughters from foreign kings such as Tushrata of Mitanni and Kadashman Enlil I of Babylon. The royal princesses of Egypt were the way to the throne for their offspring. Tiye became her husband’s trusted and educated advisor. Being wise, intelligent, strong and fierce, she was able to win the respect of foreign dignitaries. Foreign leaders were willing to deal with it directly. She continued to take an active role in foreign relations and was the first Egyptian queen to register in official business.
Tiye continued to advise her son, Akhenaten when he took the throne. Her son’s correspondence with Tushratta, king of Mitanni, indicates the queen’s political influence exercised at the royal court. In Amarna Letter No. 26, Tushrata, king of Mitanni, communicates directly with Queen Tiye to remind her of the good relations he enjoyed with her deceased husband and express his desire to continue the friendly atmosphere son, Akhenaten.
King Amenhotep III died in the year 38 or 39 of his reign and was buried in the Valley of the Kings in tomb WV22. It is known that Tiye lived after him for up to twelve years, during which Tiye continues to be mentioned in the Amarna letters and inscriptions as a queen and lover of the king. Amarna Letter No. 26, addressed to Tiye, dates back to the reign of Akhenaten. It is known that she had a house in Akhtaten (Tel el-Amarna), Akhenaten’s new capital. It appears on the walls of Hoya’s tomb – “the butler of the house of the king’s mother, the great wife of the king Tiye” – depicted at the dinner table with Akhenaten, Nefertiti family and then The king accompanies her to her own umbrella. In an inscription dated approximately 21 November of the 12th year of the reign of Akhenaten (1338 BC), the queen is mentioned with her granddaughter Ma’katten for the last time, and it is believed that they died shortly thereafter. This information is confirmed by the fact that the mausoleum built by Akhenaten for her, which was later found transferred from Tell el-Amarna to the tomb of the Valley of the Kings No. KV55 in Thebes bears a later form of the name of the god Aten, which was used only after year 9 of Akhenaten’s reign.
If Queen Tiye died after the 12th year of the reign of Akhenaten (1338 BC), this would place her birth around the year 1398 BC, her marriage to Amenhotep III at the age of eleven or twelve, and her widowhood at the age of forty-eight to forty-nine. Suggestions of joint rule between Amenhotep III and his son Akhenaten continue for up to twelve years are still popular among Egyptologists. Still, most scholars today either accept a short period of joint rule that does not last more than a year at most or there is no joint rule at all.
Her burial and mummy:
Queen Tiye is believed to have originally been buried in Akhenaten’s royal tomb at Tell el-Amarna with her son and granddaughter, Ma’kat Aten, as a fragment from the tomb was identified not so long ago as from her sarcophagus. Her gilded mausoleum (which shows it with Akhenaten) ended up in the Wadi Tomb Kings KV55, while two of her ushabti statues were found in the tomb of her husband Amenhotep III.
Her mummy was found next to two other mummies in a side chamber of the tomb of King Amenhotep II KV35 by Victor Loret in 1898. The other two mummies were: a boy who died at the age of about ten believed to be Ben Snow or Prince Thames, and a younger unknown woman not yet. All three were found together lying naked and unidentified by any of the jewellery in a side room of the tomb of King Amenhotep II. Since the two women’s mummies could not be identified, they were given distinct names, where Tiye was described as the “big lady” while the other woman was the “little lady”. Many scholars have argued that the Old Lady is Queen Tiye. Some have pointed out that the miniature coffins found in the tomb of her grandson, Tutankhamun, which bear her name, are a souvenir from his beloved grandmother. Some scholars were sceptical about this theory, such as the British scientists Aidan Dodson and Diane Hilton, who said that “it seems very unlikely that the mummy of Queen Tiye could be the so-called ‘Great Lady’ from the tomb of Amenhotep II.”
By 2010, DNA analysis, sponsored by the Secretary-General of the Supreme Council of Egyptian Antiquities, Zahi Hawass, officially identified the old lady as Queen Tiye, as her tufts of hair were inside Tutankhamun’s tomb. Identical to the DNA of the large lady.
Tomb of Amenhotep III
Amenhotep III died after ruling for 38 years at fifty, perhaps due to an unknown illness. The tomb he prepared for himself was discovered in 1799, tomb No. 22 in the Valley of the Kings. Gulu and Devlier discovered it. It was found empty and the walls destroyed by pressure and weather factors, and his mummy was not inside where his mummy was found in a cemetery near Deir el-Bahari and was hidden by the priestPriests and discovered in 1881.
It contains a long corridor that leads to a room with two columns, then two corridors that lead to the burial chamber, and they contain six columns and seven chambers branch from these corridors.10 The entrance to the cemetery was hidden with great skill, as it was made behind a rock protruding from the mountain, and the secret of its existence was not revealed. In this spot, except for the small shards of stone leftover from carving the tomb and placing it at the door, and what remains on the tomb walls indicate that it was covered with a plaster of coloured plaster, most of which fell. We know from what remains of it that its craftsmanship was much more beautiful than that of the tombs of the kings who came after it. Its walls are decorated with drawings representing the sun’s journey through the underworld regions in a period of twelve hours during the night.
He was found on a red granite sarcophagus and some Ushabti statues of a larger size than usual and of the first-class manufacture. As well as some funeral utensils.
Also found was the cover of his coffin made of red granite.
; The most important senior statesmen in custody;
1 – Kha Um Hat
The most important functions that Kha Um Hat performed were supervising the treasuries of the land, or in other words, he had in his hand the country’s sustenance. For this, he occupied the following positions: the supervisor of the grain stores for the master of the two lands, the supervisor of the grain stores in Upper Egypt and Lower Egypt, and the hereditary prince Our eyes are the king of Upper Egypt in the cities of the south, and his ears are in all the provinces of Lower Egypt, who is praised by the good god Anubis, the director of the Osiris festivals, the administrator of the embalming house, and the head of the Anubis Fund.
Kha Um Hat carved his tomb in the cemetery of Sheikh Abdul Qurna.
No. 57, and it is considered one of the greatest tombs erected in this cemetery regarding luxury in engraving and creativity in photography. In fact, the inscriptions on its walls may surpass the inscriptions of the tomb of Minister Ra Moza in the accuracy of its lines and its good visibility, as we note in the scenes on the walls of the cemetery that The ancient Egyptian artist did not use the exaggerated style that was used in the Amarna era to highlight it. Yet, we see in it that softness and grace in its striking planning and the sight of those curved appearances representing court men presenting their reverence and reverence to the king in a natural situation if measured by the images exaggerated their parts. We are not surprised if we see the tomb of Kha Um Hat, part of its walls being decorated with some scenes that represent to us the tasks of his major job, which is to supervise the stores of the state’s grain. The ancient Egyptian artist depicted on the walls the stages of the wheat crop from the first ploughing of the land until the establishment of the ceremonial rites for storing grains. The offering to the goddess Renutt, the goddess of the harvest, was represented here in the form of a woman with a snake’s head, nursing her son, the god of the harvest.
As for the funeral scenes in this cemetery, there are some strange details. In particular, we mention the pilgrimage scene to the buried godmother, as we see in the boat that pulls the ship in which the deceased has some belongings, such as his cart, two horses, his bed and his pillow. In another view, we see the funeral procession walking in the water to the grave, represented here in the form of a single building and front of its door is a flag. The head of the Western Saqr. Even stranger than that, the scene of the celebration of the opening of the mouth ritual. This ceremony was often performed on the mummy of the deceased or his statue, but this procedure was not followed in the cemetery of Kha Um Hat; Instead of the mummy, we see an empty chair on which flowers were piled up and placed in a small niche that resembles a chorus, and these flowers were the ones that represented the deceased. Therefore sacrifices were made to them, and the rites that were performed to the mummy were performed from all sides, even the mourners, girls and young children who rose. In turn, they wail and wail in front of these flowers as if they were a mummy or a statue of the real deceased.
2- Yuya, father of Queen Tee
Yuya, the father of Queen Tiye, was the legitimate wife of Amenhotep III, and we have talked about him a little in the past. Here, we will mention his titles as found on some of his traces found in his tomb, erected in the Valley of the Kings No. 46, which are: the hereditary prince, the only love, and the bearer of the face ring. Al-Bahri, the first among the high, the mouth of the king of Upper Egypt, the ears of the king of Lower Egypt, the father of God, the supervisor of the bulls of Amun, the one who is praised by the good god, and praised a lot in the king’s house, the eye of the Lord of the two lands, and the supervisor of the bulls of the god Amun.
Yuya’s husband was called Tuya. Her titles were: Housewife, which is the common title of any married woman, Maidens-Royal, Singer of Amun, Royal Mother of the King’s Great Husband, Singing Priestess of the god and High Priestess and Singer of Amun.
Leoya and Tuya were other than Queen Tiye, a son called Anan mentioned on several monuments. His name came on the sarcophagus of his mother, Tuya. The title of the second priest of the god Amun, as well as this title, was mentioned on a statue now in this Turin Museum, as well as the honorary titles: Bearer of the King of Lower Egypt and the only Samir, the greatest of the seers in the prince’s house, that is, Heliopolis, and the priest Sim in the southern Aeon of Thebes.
3- And Sarhat
Wasserhat was the supervisor of the king’s harem, and his tomb is in Khokha No. 47. Despite the small size of this tomb, its inscriptions are beautifully made, but they were not completed, and some of them were destroyed. In one of his scenes, we see Serhat and his servant standing before Amenhotep III and Queen Tiye. And the image of Queen T in this scene is one of the best images known in all Egyptian antiquities so far, and this image was photographed when the tomb was discovered, and then the tomb was filled up again for lack of importance, but it was dug again after several years, but unfortunately the professional thieves had They excavated the cemetery and cut off the image of the queen from the wall that was on it, and as a result of this infamous act, some of her inscriptions were erased so that it is not known where this image came from, and in any case, this broken image leaked to the Brussels Museum, stripped of all An inscription indicating her personality, but by research it was found that it is the original image, and thus some archaeologists allowed themselves to buy such stolen pieces from tombs without even seeking to return them after they were sure that they had been stolen to their original place so that they would be a masterpiece for all onlookers and a lesson for those who tamper with antiquities and distorting it for money.

4 – Ramosa
Ramoza was a minister during the reign of both Amenhotep III and Amenhotep IV. The titles of Ramoza are The Hereditary Prince, the Father of God, the Beloved of God, the Only Samir, the Great Samir, and the Bearer of the Seal of the King of Lower Egypt.
Administrative titles: Governor of the city (mayor) and minister, overseer of documents, director of works of great antiquities, director of Upper and Lower Egypt, the mouth that pacifies all the land, and head of all the land (the king’s agent).
Judicial titles: Chief Judge, Mouth of Nekhen, Keeper of Nekhen, Priest of Maat, Judge to decide transactions, Distributor of justice, Distributor of justice daily and Provider of her master’s palace, He who judges with justice and abhors injustice.
Titles of the priesthood: Supervisor of the priests of Upper and Lower Egypt, Supervisor of all the temples of Upper and Lower Egypt, Greatest seers, Chief of the Mysteries of the Holy Words (or overseer of the sacred writing), Director of the Eucharist, Chief of the Mysteries of the Two Deities, Knower of the mysteries of the underworld, and whoever enters into The Secrets of Heaven and Earth, Priest Sim, and the Director of the Staff are all.
His tomb is considered one of the largest tombs that were carved into the rock of the mountain. It most likely dates back to the end of the reign of King Amenhotep III and the beginning of the reign of Amenhotep IV. It seems that this cemetery was never used, and the work was not finished in it. It is possible that Ramosa left Thebes and went to Tell el-Amarna, where Amenhotep IV was staying. Akhenaten) and as we know, the art of the modern state grew and flourished during the reign of King Amenhotep III. His reign is considered one of the brightest eras of ancient Egyptian art in general, whether in sculpture or engraving. Some vandalism was most likely during the reign of Horemheb, as a vengeful campaign against Aten and his followers was launched during his reign and destroyed the most beautiful inscriptions of the cemetery.
The tomb of Ramosa is characterized by the fact that it combined two completely different periods of two kings who differed in style and creed. We see on its walls the pinnacle of prosperity that art reached during the era of Amenhotep III in terms of grace, taste, choice of colours and precise engraving. We also see on its walls the new art style that appeared in the era of Amenhotep IV. Akhenaten) and we can call it the Atonian art concerning the god Aten and recorded on its walls the first texts related to the doctrine of the Aten. as long as I’m in it.” The shrine of this cemetery explained the method followed by the ancient Egyptian engineer in digging, drawing, engraving and colouring such shrines. It seems clear here that the Egyptian engineer was dividing the work in the shrine into sections. The sculptors start digging and preparing the outer courtyard, then polishing its facade, then sculpting the main hall and refining it. Its walls, and when the sculptors begin to work in the long hall, the artists begin to draw the scenes of one of the walls of the transverse hall. Upon completion, the engravers engrave it and then colour it, if time permits, with evidence that some of the walls of the transverse hall are finished. At the same time, others have begun work on it, and we must note it here. Also, the outer courtyard of the cemetery shrine, the facade, the entrance, and some walls of the transverse hall have been completed. We also note that the artists have finished drawing and engraving most of the walls of this transverse hall, while the wall facing the entrance has begun work on it, with evidence that the artists have drawn the scenes with red ink and some corrections. With black ink only, in preparation for drawing it or engraving it and then colouring it. As for the long hall, not all of its walls have been polished. It is also noted that Ramoza preferred, for a reason we do not know, to have not finished the long hall, drawing the scenes of the burial procession on the wall to the left of the entrance to the transverse hall. The cemetery of Ramosa is characterized by its large size and the presence of four rows of pillars bearing the roof of the transverse hall, and each row contains eight pillars, the crowns of which took the form of a closed papyrus flower. Most of them were demolished, and some of them were restored and reconstructed—four legends in the form of a papyrus package. The longitudinal hall ends with the offerings room. It is characterized by three niches (gaps) on the right and left of the interior. It is most likely dedicated to the statues of the deceased, provided that the work was not done in this long hall, as I explained before. This may be attributed to the fact that Ramosa may have died before the completion of the tomb, or He left Thebes and went to Amarna.

; Description of the cemetery;
We start now by watching the scenes of the occasional hall. On the left of the interior, we see Ramosa offering offerings, followed by a group of senior officials carrying bouquets of papyrus. Then there are views of some relatives and guests in front of Ramosa in four groups: scenes characterized by their beauty and the accuracy of their inscription and indicate the ingenuity of the Egyptian artist. On the southern wall, he painted the funeral scenes in colour in a manner that might appear to be the first features of Atonian art. In the bottom row, it is worth noting a group of mourning women between two groups of men carrying papyrus bouquets and funeral furniture. There is a sarcophagus inside its cabin on a sledge boat and preceded by it in the upper half. On the smallest crawler, what is known as “Techno” is the skin of an animal coloured black, and it was most likely embalming material inside. Finally, we see on the same wall Ramosa and his wife worshipping the god Osiris. In contrast, on the western wall, some unfinished scenes represent Ramosa standing in front of King Amenhotep IV, sitting inside his cabin, and behind him sit the god’s Maat, the goddess of truth. Under the throne, we see the names of the peoples of the nine arches. We now reach the other half of the hall, where we see, directly to the right of the interior, Ramoza and his wife and the bearers of the sacrifice. A view of three girls carrying chains in front of Ramoza and his wife, then a view of the purification of the statue of the deceased by the priests, and at the end of the wall, there is a scene representing a group of priests carrying fat and sacrifice in two rows in front of Ramosa, his wife and his brother Amenhotep and his wife. Then we move to the scenes drawn on the western wall and start from the right; we see Ramosa accepting bouquets of papyrus, then he receives a group of senior statesmen and some foreign delegations (Nubians, Asians and Libyans), then we see the famous scene of King Amenhotep IV and his wife Nefertiti under the rays of the Aten inside what is known as The window of appearance throwing honours to Ramosa. This scene was recorded in the style of Atonian art, which grew and grew after that in Tel al-Amarna, then there is a group of women and men, most likely, came to congratulate Ramoza, these scenes are “Croque” only in red ink with some corrections in black. After that, we reach the longitudinal hall, which is destroyed, and the work is not finished.