Page 49 - Archaeology - October 2017

Now on display after a painstaking conservation process, opportunity the shroud provides to gain a more complete
the shroud was that of Aaemka, son of Montsuef and his wife, understanding of the Thebes tomb. Maitland explains, “To
Tanuat. Aaemka, who died around a.d. 10, was likely still a be able to have that whole assemblage, that archaeological
young adult. He had lost both of his parents in the same year, context, to be able to give it more precise dating—that is
a fact confirmed by the researchers at National Museums really exciting.” The shroud can now be compared not just
Scotland who read the extant funeral papyri of Montsuef, to other examples from the same period, but it can also be
who died in 9 b.c., and of Tanuat, who followed a month later. evaluated alongside objects from other burials in the tomb,
Montsuef, the patriarch of the family, was a local official many of which are hundreds of years older. The Thebes tomb
and cavalry officer. His own father had been a priest and the offers a window into the ways in which funerary practices
governor of the region of Thebes, once Egypt’s capital and in Egypt changed through time. It can also elucidate the
home to the Valley of the Kings. Montsuef and his wife lived various historical and cultural transformations that were in
through the end of the reign of Cleopatra (r. 51-30 b.c.), Egypt’s play, especially in periods such as Aaemka’s, when Egypt was
last active pharaoh, and would have witnessed the conquest of being buffeted by the political power, languages, and cultural
Egypt by the Roman emperor Augustus. Their son, Aaemka, imports of Greece and Rome.
lived at the time of Christ. Maitland believes that the family’s burials show some subtle
references to classical ideas. For instance, while Montsuef was
ational MuseuMs scotland has been in posses- interred wearing a gilded mummy mask, a traditional Egyptian
sion of the funeral papyri and the shroud, along with burial object, he was also wearing a gold laurel wreath, a classi-
Nseveral other burial objects belonging to the family, cal symbol of victory that Maitland thinks must have resonated
since they were excavated in the late 1850s. Far from being with Egyptian sensibilities as a symbol of triumph over death.
just a single-family gravesite, the tomb in Thebes that housed And, though Aaemka’s shroud depicts him as the Egyptian god
Aaemka and his parents had been built 1,000 years before he Osiris, it may also bear Greek and Roman painting techniques.
was born. It was constructed in 1290 b.c., shortly after the “It is very traditional, in some senses, in its iconography,”
reign of Tutankhamun (r. 1336-1327 b.c.), for the chief of police says Maitland. “But there are hints at attempting portraiture,
at the time and his wife. It was reused, disturbed, and looted in terms of shading and of the face, that I think herald the
countless times over a millennium until it was sealed in the advent of Hellenic funerary portraits that are so famous from
first century a.d., the period when Aaemka was interred. The Roman-Egyptian times.”
shroud and other tomb objects went on display in 1859 in what Much more evidence from the family burial, however,
was then the National Museum of Antiquities of Scotland. points not to an embrace of all things Roman and Greek,
Many of the artifacts were shelved in the 1890s, and some but to a deliberate resistance to change and an assertion of
items may gradually have lost their connection to the site. their Egyptian identity. Christina Riggs, a scholar of ancient
Maitland made it her mission in 2017 to track down any stray Egyptian art, archaeology, and textiles at the University of East
burial goods associated with the tomb and, in her search, she Anglia, who has researched material from the tomb in Thebes,
spotted an entry referring to textiles in the museum’s records. believes that the shroud and other artifacts have much to say
Coming across a mere mention of Egyptian textiles is rare about the family and their place in an Egypt at a crossroads.
enough. When she actually went to the spot where the shroud “I don’t think there is any classical influence in the painting
was stored, she found, along with it, a note from the 1940s, of the shroud itself,” she says, “but it is clear that Montsuef
written by a curator during World War II, that said it was from and his family are well aware of ideas from the Mediterranean
the Thebes tomb. “To realize then,” she says, “that it had a con- world.” She adds, “They are perhaps deliberately conservative
nection to this whole Roman Egyptian family, to finally reveal in their choice of burial place and practices.”
the figure, and read his name—those were amazing moments.” Maitland concurs, suggesting that the very location of the
tomb shows that Aaemka and his parents were harkening
ringing the shroud to light after so many years back to ancient Egyptian times. “The family is choosing to be
presented challenges for conservators. Nestled tightly buried in what was by that time already a historic burial area,”
Bin a brown paper parcel, it was folded and flattened. The she says. “When the tomb was first built, Thebes was the
process of unwrapping it required consistent humidification capital of ancient Egypt. But by this time, that’s in Alexandria.
so that the linen’s brittle fibers wouldn’t break. The curators Everything is much more focused northward, on Greece and
began to see colorful painted details, which suggested to them Rome.” She believes this Egyptian family is trying to connect
that the textile might indeed be a mummy shroud. But only with their own very ancient funerary tradition.
after they were able to unfurl it completely, fold by fold, over Ultimately, what may be the most thought-provoking aspect
some 24 hours, did they realize what a rare object they had. of Aaemka’s burial shroud is that, especially in the context of
“At each step of this very long process, I found out something the tomb in which it was found, it helps to illustrate that by
more about it,” says Maitland. “At no stage were we let down.” Roman times Egypt already had an ancient history of thou-
In addition to the mixed feelings of delight and relief sands of years. Says Maitland, “It’s just so vast a time span.” n
at having succeeded in bringing the shroud back into full
view, the museum’s curators recognized the extraordinary Marley Brown is associate editor at Archaeology.

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