Eternal Support: A Comparison of Funerary Models and Wall Scenes during the Old and Middle Kingdoms

The ancient Egyptian desired to prepare a tomb that would adequately provision him for the afterlife, so great resources were expended on its construction and decoration. This funerary monument ideally comprised both a superstructure and substructure, with the former serving as the location of the mortuary cult and the latter as a secure place to protect the body. Offerings would be presented to the deceased through the mortuary cult, but it was feared that this would not continue perpetually. Consequently, several safeguards were implemented in an attempt to ensure that the deceased was well-provisioned for eternity. One of the most significant measures was the inclusion of artistic representations in the tomb. Funerary artwork was considered functional in ancient Egypt and, with its ability to magically come into existence, could contribute to the tomb owner’s eternal sustenance. During the late Old Kingdom to the end of the Middle Kingdom, there were two principal forms of representation in the elite tomb: wall scenes and funerary models. Both artistic media depict figures engaged in a variety of everyday life tasks that would provide the desired commodities and services for the tomb owner’s afterlife. There are several similarities between the two- and three-dimensional representations which has caused scholars to label funerary models duplicates or substitutes of wall scenes, implying that they served the same purpose in the tomb. However, there are several notable differences that are yet to be acknowledged.  

This thesis, therefore, conducts a detailed comparative analysis of the two artistic media in order to more precisely understand the role of the funerary model in the tomb and its relationship to the wall scene. In particular, the artworks from the sites of Meir, El-Bersha and Beni Hassan are investigated. Both the similarities and differences between the representations are identified through a close examination of the two- and three-dimensional repertoires. This analysis highlights the distinguishing characteristics of funerary models and wall scenes and demonstrates that scene- and model-artists created individual designs that were appropriate for their medium’s specific role in the tomb. As wall scenes were located in the above-ground chapel, they not only contributed to the deceased’s well-being in the afterlife, but also publicly proclaimed the tomb owner’s superior status, wealth and achievements. This was presumably designed to impress visitors and encourage them to present offerings. Funerary models, conversely, were concealed in the burial chamber alongside the body and therefore solely functioned to serve the deceased in the afterlife. Consequently, this thesis demonstrates that funerary models should not be understood as duplicates or substitutes of wall scenes, but rather a distinct type of representation that was specifically conceived for its role in provisioning the deceased for eternity.