Archaeologists amazed to discover an ancient 'door to the afterlife' in the tomb of an Egyptian prince
The catacomb, which belonged to a previously unknown prince called Userefre, features a large pink granite 'false door' – the largest ever discovered in Egypt.
The door, which measures 4.5 metres high and 1.15 metres wide (15ft by 4ft) resembles a functional door but does not actually open.
Instead, experts believe it held profound spiritual significance – serving as a symbolic portal through which the soul of the dead could travel to the afterlife.
This 'gateway' demonstrates how considerable time and resources were dedicated to achieving eternal rest.
The discovery, in Egypt's Saqqara necropolis, was made during an excavation mission led by Dr Zahi Hawass, former Minister of Antiquities.
The door is decorated with hieroglyphic inscriptions detailing Prince Userefre's impressive titles, including 'Hereditary Prince, Governor of the Buto and Nekhbet Regions, Royal Scribe, Minister, Judge, and Chanting Priest.'
The royal, who also goes by Prince Waser–If–Re, according to the inscriptions, was the son of King Userkaf, who was the founder of Egypt's Fifth dynasty.
Despite his many titles, the prince and his tomb were previously unknown to scholars.
'Before this discovery, we didn't even know he existed,' Ronald Leprohon, professor emeritus of Egyptology at the University of Toronto, told The Archaeologist.
Dr Melanie Pitkin, from Cambridge University, has previously explained how false doors were intended to serve as portals that allowed the life force – or 'ka' – of the deceased to move back and forth between the tomb and the afterlife.
'Family members and priests would come to the tomb where the false door was standing and they would recite the name of the deceased and his or her achievements and leave offerings,' she said.
'The ka of the deceased would then magically travel between the burial chamber and the netherworld.
'It would come and collect the food, drink, and offerings from the tomb to help sustain it in the afterlife.'
Alongside the false door, archaeologists also found 13 high–backed chairs, each of which featured statues carved out of pink granite too.
Most false doors discovered in Egyptian tombs are made of limestone, which was abundant at the time.
Pink and red granite was a rarity and had to be quarried and transported from Aswan – around 650km away.
As a result, it was reserved for royalty.
The imposing size of this particular false door reflects Prince Userefre's elevated status within the royal hierarchy.
The archaeologists also found a red granite offering table measuring 92.5cm in diameter, featuring carved texts describing ritual sacrifice.
The tomb also had a massive black granite statue of a standing man, measuring 1.17 metres tall.
The owner of this statue – whose name was inscribed on its chest – appears to date to a more recent time period, indicating the tomb may have been reused.
Scientists working at the site are still looking to locate the prince's actual burial chamber.
Tutankhamun was an Egyptian pharaoh of the 18th dynasty, and ruled between 1332 BC and 1323 BC.
He was the son of Akhenaten and took to the throne at the age of nine or ten.
When he became king, he married his half-sister, Ankhesenpaaten.
He died at around the age of 18 and his cause of death is unknown.
In 1907, Lord Carnarvon George Herbert asked English archaeologist and Egyptologist Howard Carter to supervise excavations in the Valley of the Kings.
On 4 November 1922, Carter's group found steps that led to Tutankhamun's tomb.
He spent several months cataloguing the antechamber before opening the burial chamber and discovering the sarcophagus in February 1923.
When the tomb was discovered in 1922 by archaeologist Howard Carter, under the patronage of Lord Carnarvon, the media frenzy that followed was unprecedented.
Carter and his team took 10 years to clear the tomb of its treasure because of the multitude of objects found within it.
For many, Tut embodies ancient Egypt's glory because his tomb was packed with the glittering wealth of the rich 18th Dynasty from 1569 to 1315 BC.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Independent
13 hours ago
- The Independent
Utility workers in Peru unearth pre-Incan tomb with 1,000-year-old remains
Utility workers excavating trenches to expand underground gas networks in Peru's capital unearthed two pre-Incan tombs on Thursday. One was empty, but the other held the 1,000-year-old remains of an individual, alongside four clay vessels and three pumpkin shell artifacts. This isn't the first time Cálidda, the company that distributes natural gas in Lima, has found archaeological remains. Over more than two decades of excavation work to expand the underground network, the company says it has made more than 2,200 discoveries. According to archaeologist José Aliaga, the vessels' iconography and their black, white, and red colors 'allow us to establish a connection with the pre-Incan Chancay culture,' which is approximately 1,000 to 1,470 years old.' Aliaga told The Associated Press that the individual was found wrapped in a torn bundle, in a sitting position with his legs against his chest, and his team will continue cleaning the remains. 'Lima is unique among Latin American capitals,' Aliaga said, 'in that various archaeological finds are unearthed during nearly every civil project.' The Peruvian capital, a city of 10 million people, has more than 400 archaeological sites from the Inca era, the 15th century, or earlier, from the pre-Inca period, according to the Ministry of Culture. On Thursday, passersby stopped in their tracks to observe the burial site, even taking out their cellphones to take a picture. 'I always thought they were paths where no one had lived," said Flor Prieto, who was walking with her 7-year-old daughter. 'But now I know that people older than the Incas have lived there…it feels so exciting.' 'It is very common to find archaeological remains on the Peruvian coast, including Lima, mainly funerary elements: tombs, burials, and, among these, mummified individuals,' said Pieter Van Dalen, dean of the College of Archaeologists of Peru. Van Dalen was not involved in Thursday's discovery. ____
The Guardian
13 hours ago
- The Guardian
‘A cipher for crazy self-projection': why are architects so obsessed with Solomon's Temple?
No legendary building has ever inspired more conjecture about what it might have looked like than Solomon's Temple in Jerusalem. It is said to have been built in c.950BC, on the mound where God created Adam, and was destroyed 400 years later by marauding Babylonians. But, beyond some inconsistent descriptions in the Bible written centuries after the temple was razed, there is no archaeological evidence that this palatial edifice ever existed. And yet, for more than two millennia, generations of architects, archaeologists and ideologues have bickered over the building's appearance. They have debated its exact height and width, speculated on the design of its columns, and battled over the precise nature of its porch. The mythic building, also known as the First Temple, has inspired everything from a Renaissance royal palace in Spain to a recent megachurch in Brazil, to the interiors of masonic lodges around the world – all built on a fantasy. 'It really draws out the batshit crazy,' says Argentinian artist Pablo Bronstein, standing in front of his monumental new drawings of what Solomon's Temple, and its contents, might have looked like. 'It has been used as a cipher for pretty much every crazy projection of power and self-delusion for 2,500 years. I find it totally fascinating – particularly as the whole thing is entirely fabricated.' Bronstein's work has long played with the provocative power of architectural image-making. He has poked fun at Britain's pseudo-Georgian housing and given us orgiastic depictions of hell, which he imagined as a showcase city strewn with garish monuments worthy of the most tasteless dictator. But the subject matter, location and (incidental) timing of his latest mischievous outing couldn't be more charged. Bronstein's speculative drawings of the holiest site in Judaism are now on display in Waddesdon Manor, an inflated French chateau built in Buckinghamshire in the 1890s as the weekend party pad of the Rothschilds – an immensely wealthy Jewish banking family who were instrumental in the creation of Israel. Baron Edmond de Rothschild – the French cousin of Baron Ferdinand, who built Waddesdon – financed a number of early settlements in Palestine and founded the Palestine Jewish Colonisation Association in 1924, run by his son James, who inherited the manor. When the Balfour Declaration was written in 1917, declaring the British government's support for a national home for the Jewish people in Palestine, it was addressed to Ferdinand's nephew, Walter Rothschild, an eccentric zoologist who liked to pose astride giant tortoises, ride a carriage drawn by zebras andwho was also a prominent Zionist leader. A permanent exhibition at Waddesdon, in a room preceding Bronstein's show, celebrates the Rothschilds' connection with Israel. It recounts the family's funding of the construction of the Knesset building, seat of the Israeli parliament, the Supreme Court building and, most recently, the National Library, designed by Swiss architects Herzog & de Meuron in the shape of a swooping stone ski jump. Architectural models of these trophy buildings gleam in Perspex vitrines, like the priceless antique treasures displayed elsewhere around the house. To this lavish display of patronage in the Holy Land, Bronstein's florid drawings add an imaginary additional commission. In a brazen act of architectural cosplay, the artist has inserted himself into the minds of two contestants for a fictitious version of the Prix de Rome, a prominent prize for students of architecture in 19th-century Paris, as they compete to recreate Solomon's Temple in their own image. 'I became fascinated by the construction of Jewish identity in the 19th century,' says Bronstein, who was born in Argentina, grew up in London, and describes himself as a 'diehard atheist Jew'. Several years in the making, his new work was commissioned alongside a wider research project about Jewish country houses, and it seems to have triggered a deep curiosity and scepticism in the artist about his own cultural heritage. 'As nationalisms develop in the 19th century, particularly in Germany, Judaism begins to develop its idea of a body of people that are somehow genetically connected to the ancient Middle East,' he says. 'They start to see Jerusalem not as an abstract idea, the way that Muslims look at Mecca, but as a reconstructible place of belonging, tied to a kind of orientalist architectural fantasy.' Bronstein's mesmerising drawings depict what, if taken to extremes, this fantasy might have looked like. Painstakingly drawn in pen and ink, and beautifully coloured with layers of acrylic wash (with the help of two recent architecture graduate assistants), the images are magnificently grandiose projections of that exoticised 19th-century longing. They depict two rival designs, in precisely detailed elevations, cross-sections and facade studies, for reconstructing the temple. Both are wild mashups of architectural motifs, sampling from the richly embellished catalogue of Asian antiquity, medieval and gothic revival, baroque and art deco with promiscuous relish. On one wall is a version of the temple that Bronstein describes as 'vaudeville beaux arts', its interior glowing with the gilded razzle-dazzle of a New Orleans casino. Marvel at the spiralling Solomonic columns at the entrance, sampled from Bernini's baldacchino at St Peter's in Rome, and the illusionistic domes that hover above the Ark, influenced by Alessandro Antonelli's Mole Antonelliana in Turin, which was originally conceived as a synagogue. 'It's the temple as a sort of gin palace,' says Bronstein – an architecturally virtuosic one, nonetheless. Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion On the opposite wall is a more restrained version of the temple, with interior wooden panelling that recalls the kind of synagogue you might find in Golders Green, north London – not far from where Bronstein grew up in Neasden. There are also notes of Henri Labrouste's Bibliothèque de Saint Geneviève in Paris, as well as dazzling blue lapis lazuli walls, representing the celestial realm in a medieval manner, along the lines of Eugène Viollet-le-Duc, the 'arch-reconstructor of historic architecture', a caption tells us. It's a heady cocktail, made no less so by the fruity facade, which depicts the heads of Moses, David and Solomon as blue-bearded gargoyles above the entrance, and a relief of God, flanked by sphinxes. 'There's a good amount of scholarship about what a temple would have actually looked like if it was built in the 10th century BC,' says Bronstein. 'And it's got nothing to do with monotheism.' He thinks it's much more likely that, had the temple been built at the time the Bible alleges, it is highly likely that it would have been a pantheistic riot, full of different representations of the divine – as is the case with a comparable structure that has survived in Ain Dara in Syria, built in 1300BC, 'which is just full of goblins, basically.' If all this wasn't enough, Bronstein has also drawn the Ark of the Covenant – depicted as a gilded medieval reliquary casket, topped with a cushion, where God is said to have rested his feet – and the temple's menorah, imagined as a twirly rococo candelabrum, whose branches emerge from a chinoiserie-style grotto. Drawings from the Waddesdon archive in a following room help to set the project in context, and show that Bronstein's flamboyant fantasies aren't so far from what was being designed by the 19th-century architects from whom he took inspiration. Alarmingly, nor are they too far off what some people are still hoping to see built in Jerusalem. The Third Temple movement continues to campaign to rebuild the original temple on Temple Mount, one of the most contested sites on the planet – known as the Haram al-Sharif in the Muslim world, site of the Dome of the Rock and the Al-Aqsa mosque, two of the holiest sites in Islam. We can only hope the Third Temple fanatics don't misconstrue Bronstein's drawings as a blueprint. He began these drawings long before war erupted in the region after Hamas's attack on 7 October 2023. Has Israel's merciless bombardment of Gaza altered his position? 'The work hasn't changed,' he says. 'But the war has changed my relationship to Judaism. It made me really question the fact that we all get instinctively bullied into the idea that we have a genetic, cosmic link to the Holy Land. It's genuinely a 19th-century construct and it's total rubbish.' Pablo Bronstein: The Temple of Solomon and Its Contents is at Waddeston Manor, Buckinghamshire, until 2 November
Reuters
16 hours ago
- Reuters
Ancient pre-Hispanic grave unearthed under residential Lima street
LIMA, July 31 (Reuters) - Human remains pointing to a 1,000-year-old pre-Hispanic cemetery were unearthed in northern Lima by workers digging under the Peruvian capital to install a gas pipeline, an archaeologist told Reuters on Thursday. The tomb was found on a residential street just two meters (6.6 feet) from the front gate of a house. Jose Pablo Aliaga, an archaeologist for gas distribution firm Calidda, said the remains of a man wrapped in burial cloths alongside pottery likely pointed to a burial complex, after another body was found nearby last month. "The material evidence suggests that it could be a burial of the Chancay culture, from approximately 1,000 to 1,200 years ago," said Aliaga, pointing to a coastal fishing-based civilization known for its textiles and ceramics. "We are probably over a pre-Hispanic cemetery, as we found another burial just around the corner from here," he added. It is common for companies excavating under Lima to hire archaeologists due to the number of sites scattered in the city. Last month, Calidda gas workers working in the same district of Puente Piedra discovered the remains of a mummified woman, which researchers estimate are over 900 years old. Peru's 10 million-strong capital hosts over 400 archaeological sites dotted around the city. Calidda has itself reported over 2,200 archaeological discoveries in the last two decades, most of them traced back to the Chancay culture. The South American nation is home to hundreds of archaeological sites, including the Inca citadel of Machu Picchu in the Andean region of Cusco, and the ancient Nazca lines carved into the coastal desert of its Ica region.
