Art as Ritual Engagement in the Funerary Programme of Watetkhethor at Saqqara, c. 2345 BC

Barbara O’Neill completed an Mres (awarded with distinction) at the University of Winchester in 2015. This work focused upon ancient Egyptian offering tables scenes, particularly those assigned exclusively to women, in Old and Middle Kingdom Egypt (published with Archaeopress the same year). The author’s PhD research (2016-2021) carried out at the University of Winchester, centred on the role of the divine feminine in ancient Egyptian funerary art (University of Winchester). An MA in Egyptology (awarded with distinction) was completed online with the University of Manchester (2021) where the author was part of the first cohort of a Masters programme led by Professor Joyce Tyldesley.

Preface


 


Chapter 1: Introduction


Aims and Objectives


The role of visual culture in ancient Egypt


Contextualising the early 6th Dynasty: An Overview


Security and harsh men?


Archaeological Background: The Tomb of Mereruka


The Funerary Chambers of Watetkhethor


The Research Focus


Rationale: Why this study?


Contextualising terms: Art and Ritual


The Structure of the Study: Chapter Overview


 


Chapter 2: Literature Review


Early Perspectives


New Perspectives


 


Chapter 3: Methodology


Panofsky’s Iconological System


Malafouris’s Material Engagement Theory


 


Chapter 4: Art as Ritual Engagement


Watetkhethor as facilitator


Watetkhethor’s presence in Mereruka’s chambers


Watetkhethor and autonomous funerary cult


The Pillared Hall (B1)


The staircase in the chambers of Watetkhethor (B2)


The Serdab Room, B3, B4


The Burial Chapel, B5


 


Chapter 5: Study Synthesis


Looking forward: Art as Action, Art as Gendered


The limitations of this study


Directions for future research


Conclusion


 


Bibliography