(Page 4 of 16) - A Tomb in Context: The Journey of Kagemni Though the Cosmos authored by Warne, Daniel.

primary meaning of this depiction is found in the funeral dancers, but the secondary
meaning which fits better is that which can be found within the Pyramid Texts. The
festival, as mentioned above could be symbolic of the regaining of bodily functions,
where the process of the journey into the next world begins.

§1358 “This going of yours is like that of the successor of Osiris; your feet step out their

dance(?) for you, they bring your festivals to you, because your white teeth are the claws
of Her of the Cerastes Mountain (Faulkner 213: 1969).”

The later mention to teeth is most likely a reference to the first feast of offerings after the
ceremony. What is most significant about this scene is that it is both the beginning and
the end of the series of depictions that cover all three walls. Here the start of Kagemni’s
journey though the cosmos is shown, as well as the description of his final union and
rebirth with Re. It is also possible that the text that accompanies the figures is directly
copied from the Pyramid Texts, and if so, a conclusive connection between the two can
be made.

NORTH WALL

There are three main depictions which comprise the north wall: a ‘fishing and

fowling’ scene, a ‘cattle crossing’ scene, and a ‘feeding and milking’ scene. Such scenes
as the cattle crossing have been known and attested in symbolic meaning for some time.
The concept of the individual ‘crossing over’, or making the spiritual journey into the
netherworld. The upper portions of the wall are severely damaged or are missing much
of the inscriptions. The relief starts mid-way up the wall above the dado (painted red),
and do not survive above the calves of Kagemni’s hierarchical near- to-life size figures
(Fig. 2).

Fishing and Fowling

The north wall consists of a series of scenes which start with the depiction of

Kagemni ‘fishing and fowling.’ This scene is comprised of three skiffs, the larger two
function as bases for the enormous representations of Kagemni. Though the depiction of
Kagemni above the calves does not survive, based on many renditions throughout the
necropolis at Saqqara it is believed that the two facing Kagemni’s would have been
holding a throw stick and a spear, directing both inward. This particular type of
representation found in Old Kingdom tombs is commonly symmetrical and often occurs
with an opening in the wall between the two figures (Harper 1987:139). However, this is
not the case here. In addition, it is also common to find ‘fishing and fowling’ scenes near
the entrance of tombs as is custom during this period. The depiction, though not
surrounding the entrance door is in the hall, and therefore fits the traditional placement of
the scene. Harper suggests that there are five formulaic traditions of representing ‘fishing
and fowling scenes’ during the Old Kingdom, of which Kagemni’s scene does not fit
(Harper 1987:140). However, Kagemni does fit a combination of two traditional
representations within Harper’s classification. It is also important to establish that marsh
scenes are traditionally not associated with a sequence of agriculture, or that “most of
them tend to be independent activities, and as such, they are also found as single scenes
near unrelated subjects or as the only scene on the wall (Harper 139: 1987).”

“The deceased is shown twice, both figures face-to-face and separated by a papyrus thicket. On

one side he is depicted as a spear fisherman and on the other as a fowler. These three elements enter the
from part of the single (composite) fishing-fowling scene or they are separated by an entrance, in which