Egypt Opens Tomb of Amun Scribe in Luxor

A depiction from the inside of the tomb (Egyptian Ministry of Tourism and Antiquities)
A depiction from the inside of the tomb (Egyptian Ministry of Tourism and Antiquities)
TT

Egypt Opens Tomb of Amun Scribe in Luxor

A depiction from the inside of the tomb (Egyptian Ministry of Tourism and Antiquities)
A depiction from the inside of the tomb (Egyptian Ministry of Tourism and Antiquities)

Egypt has opened the tomb of Neferhotep, known as the ‘scribe of Amun’ in the Al-Khokha area on Luxor’s West Bank.

Sunday’s opening followed a 25-year restoration project in collaboration with the Argentinian expedition from the Buenos Aires University.

The opening ceremony was attended by Mostafa Waziry, secretary general of the Supreme Council of Antiquities, Gonzalo Urriolabeitia, Argentina’s ambassador to Cairo, as well as officials and archeologists from both countries.

“Today's opening of the tomb adds a significant new tourist destination to the attractions of Luxor's West Bank, particularly amidst the surge of tourists to the country during the winter season,” said Waziry, noting that the tomb displays beautifully painted scenes and inscriptions.

Dating back to the 18th Dynasty, during the era of king Ay (1327 to 1323 B.C.), the burial chamber belongs to a major stateman named Neferhotep, who held many titles that indicate a higher social status, including ‘the scribe of great Amun’, according to Mohammed Abdel-Badie, head of the Central Administration for the Antiquities of Upper Egypt.

The restoration of the tomb began in 2000. Experts from the University of Buenos Aires recorded and studied the texts in the tomb before starting their work. But the actual restoration began in 2013 when a German archaeological team cleaned wall paintings in the tomb, and mended damaged stonework and layers of color on inscriptions, said Fathi Yassin, director general of antiquities in Upper Egypt.

The studies of the old paint showed that Ancient Egyptian mural painters used dyes, along with Arabic resin, as a color medium in the tomb, said Yassin in statements during the opening.

Al-Khokha is one of several cemeteries dedicated to ancient Egyptian statemen; they are characterized with walls featuring full records of the daily habits, religious beliefs, and political and military life at the time. They also shed lights on the architecture and funerary arts in Ancient Egypt.



Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
TT

Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP

In southern Morocco, women are the guardians of the age-old craft of carpet weaving, an intricate art form that often leaves them with meagre earnings.

Women like Ijja Benchri, who creates carpets on a wooden weaving loom outside her small home in the village of Taznakht, follows traditions going back many generations.

"I started when I was 11 or 12, imitating the women I saw weaving," said Benchri, 60.

Known for their bold geometric patterns and vibrant colors, the handwoven rugs are a fixture in local markets and a favorite among tourists.

In 2022, traditional carpets accounted for nearly 22 percent of the kingdom's artisan exports, according to government data, AFP reported.

The mountain villages around Taznakht are famous for their Ait Ouaouzguite carpets, named after a native Amazigh tribe, one among a grouping of several communities indigenous to North Africa long referred to as Berbers.

The carpets are woven by the women on small traditional looms, either at home or in specialised workshops.

They are then categorized into various styles, depending on their region of origin and their designs.

Some of Morocco's finest rugs are crafted from high-quality sheep wool in Jbel Sirwa just south of the Atlas Mountains, and dyed using natural pigments from plants like henna, pomegranate peels, or indigo.

Though industrial dyes have replaced natural ones for most weavers because they are cheaper and can be produced more quickly.

"This tradition has been handed down for centuries, from mothers to daughters," said Safia Imnoutres, who leads a local women's weaving cooperative.

She was one of the women showcasing their creations at a recent festival in Taznakht dedicated to safeguarding the heritage.

- 'Comes from within' -

Creating a single carpet can take two to four weeks depending on its size, said Benchri, speaking in Tamazight, the community's language recognized as an official language alongside Arabic in Morocco.

"I choose the colors as I go, according to my feelings," she added.

Imnoutres also described the process as "instinctive", guided by emotion rather than a predetermined design.

"Weaving is an expression of the women's feelings, when they are joyful, when they are melancholic," she added. "It's an art that comes from within."

But beyond its artistic value, weaving is a vital source of income.

Every Thursday, many travel to a weekly market to sell their rugs, often to middlemen who set the prices.

On average, a large rug sells for just 250 Moroccan dirhams (around $24), with its final price later raking astronomical profits.

In cities like Marrakech, some 250 kilometres (160 miles) north of Taznakht, they are sold in bazaars for up to ten times the original price.

Other rugs are listed at up to $6,000 on online platforms.

"We earn very little," said Benchri. "The intermediaries decide the price, and we have no choice but to accept it because this is our livelihood."

These diminishing returns, she added, have contributed to making the craft less attractive for younger women and jeopardising the handcraft tradition.

Additionally, the influx of cheaper, machine-made rugs has deepened competition.

To address these challenges, a new exhibition space in Taznakht allows some weavers to sell their work directly to buyers, cutting out middlemen.

The center also tries to open new avenues for these women to sell their products independently through courses in digital marketing.

"If this heritage isn't made financially viable, we risk losing it," Imnoutres warned.