Nakhti

With a quiet dignity and timeless simplicity, this finely carved wooden statue of Nakhti, a man of status in Middle Egypt, stands poised with his left foot slightly advanced, a convention in Ancient Egyptian art that gently implies vitality, movement, and readiness for eternity, often referred to as the “striding pose”.

Discovered nestled beside his coffin in Tomb 7 at Asyut, the figure dates to the early 12th Dynasty, around 1990–1875 B.C., during the flourishing period of the Middle Kingdom.

Standing just under 45 centimetres tall, Nakhti is depicted bare-headed and bare-chested, with his arms resting naturally by his sides. His shaved scalp and modest kilt (shendyt), delicately held at the waist, reflect not only a priestly or official role but also the era’s artistic restraint and formal elegance. Though the statue itself remains largely unpainted, save for the subtle black of the eyes and traces of red upon the base, it nonetheless radiates presence and purpose.

The figure was carved from tamarisk wood, a native tree known to thrive along the Nile. Tamarisk wood is of a durable yet workable grain, lending itself perfectly to the sculptor’s chisel. The understated surface and minimal decoration are not signs of artistic neglect but hallmarks of a deeply symbolic aesthetic: it is the form and pose, rather than elaborate finery, that communicate Nakhti’s identity and aspirations for the afterlife.

Found in situ against the left wall of his burial vault, this statue likely served as a Ka; a physical vessel through which the soul might receive offerings and maintain its spiritual vigour in the realm beyond. One can imagine this statue standing silently in the flickering light of oil lamps during funerary rites, its carved eyes watching as libations were poured and prayers uttered for Nakhti’s eternal sustenance.

The tomb of Nakhti

The tomb of Nakhti, designated as Tomb 7 in the necropolis of Asyut, was unearthed in 1903 by French archaeologists Émile Chassinat and Charles Palanque. This burial, dating to the early 12th Dynasty (c. 1990–1875 B.C.), was remarkably well-preserved, offering a rare glimpse into Middle Kingdom funerary practices.

Within the tomb, Nakhti’s body was discovered inside a wooden coffin, nested within a second, outer coffin. His mummy was adorned with a cartonnage mask (crafted from layers of linen or papyrus and plaster) painted with a decorative collar and bracelets encircling the wrists and ankles. The body was positioned on its left side, with the head resting upon a wooden headrest, a typical arrangement for the period.

Accompanying the burial were an array of funerary goods: eight wooden statues representing Nakhti, including one of imported ebony and another of alabaster; models depicting daily life scenes such as a brewery, boats, an abattoir, and grain measurement; and personal items like a mirror, bronze basin, razor, and model slippers; objects intended to serve the deceased in the afterlife.

Today, artefacts from Nakhti’s tomb are housed in various institutions, including the Musée du Louvre Museum in Paris and the Egyptian Museum in Cairo, preserving the legacy of this Middle Kingdom official for future generations.

Asyut Necropolis

The tomb of Nakhti, designated as Tomb 7, is situated within the Asyut necropolis, specifically in the Western Mountain region of Middle Egypt. This burial site was excavated in 1903 by French archaeologists Émile Chassinat and Charles Palanque. The necropolis of Asyut served as a significant burial ground during the Middle Kingdom, particularly for local officials and elites.

While the Meir necropolis, located approximately 50 kilometres northwest of Asyut; also contains tombs from the Old and Middle Kingdoms, it functioned primarily as the cemetery for the nomarchs of Cusae. In contrast, Nakhti’s tomb is firmly associated with the Asyut necropolis.

Summary:

Tamarisk wood statue of Nakhti

Middle Kingdom, 12 Dynasty, c. 1990-1875 B.C.

From the Tomb of Nakhti (Tomb 7) of the Asyut Necropolis

Now at the Musée du Louvre. E 12002