东墙，Nakht献祭教堂南侧 - 美国大都会艺术博物馆展品查阅

品名（中）	东墙，Nakht献祭教堂南侧
品名（英）	East Wall, South Side of Nakht's Offering Chapel
入馆年号	1915年，15.5.19b
策展部门	埃及艺术（Egyptian Art）
创作者	Norman de Garis Davies【1865 至 1941】
创作年份	公元前 1410 - 公元前 1370
创作地区	发源自: 埃及（Original from: Egypt）
分类
尺寸	Framed: 171.5 厘米 (67 1/2 英寸); w. 226.7 厘米 (89 1/4 英寸); th. 6.4 厘米 (2 1/2 英寸) Scale: 1:1
介绍（中）	1907年至1938年间，在英国埃及学家诺曼·德·加里斯·戴维斯（Norman de Garis Davies）的领导下，大都会博物馆埃及探险队的图形部门开展了一项文献项目，目的是尽可能准确地记录古代古迹这幅传真画复制了当人们进入Nakht（底比斯第52号墓）墓室时，左侧墙上所画的装饰，Nakht是一位可能生活在图特摩斯四世统治时期的抄写员和天文学家，图中Nakht和他的妻子Tauy将一个圣餐器皿的内容物倒在一堆放在芦苇席上的祭品上，这是为了阿蒙神、拉·霍勒赫蒂神、奥西里斯神、哈托尔神和阿努比斯神的利益。而右侧墙上的组成类似（请参见15.5.19a ），所描绘的供品和相关铭文的变化表明，同一幅图像如何被赋予不同的含义。墙的右半部分用于农业活动，分为四个登记处，在死者的警惕检查下，死者坐在右上方的一个雨棚下；事实上，Nakht上方的标题写道"坐在树荫下看着他的田地。"像Nakht一样，人们可以从下到上依次看到在田地里进行的各种活动，从准备土壤到筛选收获的谷物。这些场景指的是Nakht来世生存所需的祭品的制作。
介绍（英）	Between 1907 and 1938, under the leadership of British Egyptologist Norman de Garis Davies, the Graphic Section of The Met’s Egyptian Expedition undertook a documentation project with the goal of recording ancient monuments as accurately as possible. This facsimile painting copies the decoration painted on the left hand wall as one enters the tomb chapel of Nakht (Theban tomb no. 52), a scribe and astronomer who probably lived during the reign of Thutmose IV. A large scene adorns the walls on either side of the tomb chapel’s entrance, showing Nakht and his wife Tauy pouring the contents of a libation vessel over a heap of offerings laid on reed mats, in this case for the benefit of the deities Amun, Ra-Horakhty, Osiris, Hathor, and Anubis. While the composition is similar on the right hand wall (see 15.5.19a ), variations in the offerings depicted and the associated inscriptions show how the same image can be invested with different meanings. The right half of the wall is devoted to agricultural activities, organized in four registers, under the vigilant inspection of the deceased, who is seated under a canopy at the top right; indeed the caption above Nakht reads "sitting under a canopy and looking at his fields." Like Nakht, one can see, in a sequence from bottom to top, the various activities carried out in the fields, from preparing the soil to winnowing the harvested grain. These scenes refer to the production of the offerings necessary for Nakht’s survival in the afterlife.