Ipuy

Ipuy was a sculptor and artist who worked during the reign of Ramesses II. His tomb (TT217) is located on the upper terrace of the western cemetery at Deir el-Medina, which was the burial site for the workers, craftsmen, and officials who lived in the Worker’s Village of Deir el-Medina.

The Egyptian artistic profession, particularly during the 19th Dynasty, was centred on large-scale projects for the pharaoh and temple deities, and the Worker’s Village where Ipuy lived housed the workmen who helped to build and decorate nearby tombs and temples. Artists like Ipuy were often closely tied to the temples and royal workshops. However, the tomb itself does not directly declare him as a royal sculptor or describe a direct relationship with the royal family. While there’s no explicit evidence in the tomb that Ipuy worked directly for the royal family, it is possible that he, like many other artists of the period, was involved in temple and royal commissions, particularly sculpture and statues for Ramesses II’s monumental building projects.

Tomb of Ipuy

The tomb of Ipuy (TT217) was first published by Jean-Vincent Scheil in 1894, but its exact location was later lost after that initial publication. It was rediscovered by Arthur Weigall during his 1911-1912 excavation season.

Weigall, a British Egyptologist, worked extensively in the Theban Necropolis and his rediscovery of the tomb marked a significant moment in the exploration of the site. After the rediscovery, the tomb was further excavated by the Metropolitan Museum of Art in 1912 and again in 1920, helping to document and preserve its interior and decorations. Additionally, Bernard Bruyère, a French archaeologist, conducted excavations on the tomb in the mid-1920s, continuing the research into its history. More recently, Kathrin Gabler has been leading further investigations and documentation of the tomb since 2020, working to update and expand our understanding of this important site.

Deir el-Medina (The Worker’s Village: Set Ma’at)

The tomb of the sculptor, Ipuy and his family, is situated on the upper terrace of the Western Necropolis at Deir el-Medina. The tomb complex comprises a courtyard, with at least one shaft leading to a sub-structure, and is further characterised by ten rock-cut chambers hewn from the local bedrock. Dating to the first half of the reign of Ramesses II (1279–1250 BC), the tomb was later repurposed in subsequent periods. It is particularly renowned for its chapel, which boasts a series of remarkable polychrome wall paintings. These paintings offer rare depictions of various lower-status professionals—such as carpenters, gardeners, fishermen, and laundrymen—who are seldom portrayed in any artistic medium throughout the three millennia of Pharaonic history. Some of these representations are unparalleled in their uniqueness, making the tomb an extraordinary site for scholars and enthusiasts alike.

Ipuy’s tomb, includes detailed scenes of him performing artistic tasks, including the sculpting of statues. These reliefs provide insight into his profession and the importance of his role. Based upon the reliefs within Ipuy’s own tomb, it is clear he had the ability to commission fine artistry to accompany him and his family on their spiritual journey through the Afterlife.

Norman & Nina de Garis Davies

Norman de Garis Davies, an American-born British Egyptologist, is renowned for his meticulous contributions to the field of Egyptology, particularly in the documentation and preservation of the tombs of Ancient Egypt. His work in the early 20th century was not limited to excavation and study but extended to the careful recording of tombs, often through drawings and copies of wall scenes and inscriptions.

De Garis Davies, alongside his wife, Nina, who was also a skilled Egyptologist, created copies of the tomb of Ipuy, alongside many others, to document the art, architecture, and inscriptions before they could succumb to the ravages of time, looting, or environmental damage. His primary motivations for undertaking this important work were:

Many tombs, especially those in the Theban Necropolis, faced natural decay, vandalism, and theft. By making detailed copies of the scenes and inscriptions, he ensured that the invaluable information within the tombs would endure for future generations of scholars, even if the original tombs were lost or damaged.

De Garis Davies was passionately committed to making the results of his excavations accessible to the academic world. By producing high-quality copies of the tomb artwork, he allowed other scholars to study and analyse the tombs without needing to visit them in person. This enabled the expansion of knowledge regarding ancient Egyptian culture, art, and religion.

The copies were not solely for scholarly use—they were also designed to serve as educational tools. Through his drawings and replicas, de Garis Davies sought to share the visual wealth of ancient Egyptian tombs with a broader audience, bringing the ancient past to life for both scholars and the public.

Documentation of Lesser-Known Tombs: While some of the more famous tombs, such as those of the pharaohs in the Valley of the Kings, had been well documented, others, such as Ipuy’s, had not received as much attention. By creating copies, de Garis Davies ensured that these lesser-known tombs would not be overlooked, incorporating them into the broader study of ancient Egyptian civilization.

In essence, Norman de Garis Davies’s efforts to replicate Ipuy’s tomb, alongside the support of his wife, Nina, were part of his broader mission to document, preserve, and share the rich cultural heritage of Ancient Egypt for the benefit of future generations.