Minia Journal of Tourism and Hospitality Research Vol. (13), No.

(1), June 2022

Contents lists available at EKB

Minia Journal of Tourism and Hospitality Research

Journal homepage: https://mjthr.journals.ekb.eg/

The Body Language of Some Female Servants in the Ancient

Egyptian Private Tomb Scenes1

Ghada Khaled a , Hesham Ezz El-Din b

a
The High Institute for Tourism and Hotels, 6 October, Egypt
b
Associate Professor, Tourist Guidance Department, Faculty of Tourism and hotels, Sadat City
University.

Keywords Abstract
Body language is a type of nonverbal communication
Female Servants- Body that delivers messages about specific people,
Language – Posture – occupations, particular cultures, and situations. This
Gestures – Eye Direction paper displays some scenes of the female servants in
ancient Egyptian private tombs to indicate aspects of
their body language represented in the body posture,
gestures, heads, eyes, and direction of the arms, hands,
and legs. This to signify the feelings of the female
servants in moments of performing their daily works and
condition while performing daily life activities to
indicate their body languages like the posture, gestures,
and eye direction.

Printed ISSN 2357-0652 Online ISSN 2735-4741

1This paper is based on a PhD dissertation under the title of "Women Body- language Scenes in
Ancient Egypt from the Old kingdom to the New Kingdom " by Ghada Khaled under the supervision of
Prof. Engy El-Kilany, professor of Tourist Guidance, Minia University and Dr. Hesham Ezz, associate
professor of Tourist Guidance, Sadat University, for the fulfillment of Minia University requirements
for PhD.

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1. Introduction
There are numerous scenes inside tombs of the ancient Egyptians for the servants
while performing different daily life activities. This paper displays some remarkable
scenes for the female servants while baking bread, grinding grains, brewing beer and
carrying objects like baskets or chests. There are also some scenes for the maid servants
while performing their duties towards their mistresses.
The chosen scenes for the female servants intended to indicate their body language
which included postures, movements, gestures, faces, eye directions and legs 2. This is
because the body language is believed to unconsciously reflect the person’s moral
condition and feelings without using words. This might emphasize that the ancient
Egyptian artists were aware with concept of the body language, and they tried to clarify
life condition of the female servants as displayed in the coming part.
I. Scenes of Female Servants Backing Bread
This paper displays four examples for illustrations of female servants while sitting in
front of an oven heaped with pile of breads (figs. 1-4).
I.A. Scene from tomb of Mersyankh III at Giza (G. 7530-7540), Fourth Dynasty, Old
Kingdom 3.

Fig. 1 after D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540,
Giza Mastaba, Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston,
1974, fig. 11.

The first scene from the tomb of Mersyankh III illustrates a female servant who is
extending her right hand to ignite the oven 4. As clearly shown she is joining her left
leg to her chest and she is resting her left elbow on her knee while turning the forearm
up to rest her chin on the closed hand. On the other hand, her right leg is being bent
beneath her body with instep facing the ground in order to have comfortable during her
long sitting.
Looking to the woman’s act of positioning the closed hand under her chin might lead
to think she was either having boredom feeling because of repeating this task daily or
probably she was thinking about something while waiting for the bread backing. It is
interestingly to suggest that her mind was busy with romantic affair because artist

2
R.H. Wilkenson, Symbols and Magic in Egyptian Art, London, 1994, p. 192.
3
Queen Mersyankh III was the daughter of prince Kawab son of king Khufu, see D. Dunham and W.K.
Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540, Giza Mastaba, Department of Egyptian
and Ancient Near Eastern Art. Museum of Fine Arts, Boston, 1974, p. 7.
4
Dunham, Mastaba of Queen Mersyankh III, p. 20.

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illustrated her with left leg joining the chest side of the heart the center of passion as
thought by the ancient Egyptians 5.

I.B. Scene from tomb of Hesi at Saqqara, Sixth Dynasty, Old Kingdom 6.

Fig. 2 after N. Kanawati and M. Abdel Raziq, The Teti Cemetery at Saqqara. Volume V. Tomb of Hesi,
London, 1999, pl. 61.

The scene shows the female servant sitting to kindle the oven 7. She is resting her left
elbow on her knee while lifting her forearm and is opening her palm hand before her
face (fig. 2).
The position of the left open hand before the face might refer to the woman’s attempt
is to protect her face as well as her eyes from the heat that aroused from baking the
breads. Probably she was checking her hand which was burnt from touching the hot
bread.
She is squatting which is a comfortable position especially she was spending long time
till fulfilling her task.

I.C. Scene from tomb of Khaemankh at Giza, (G 4561), Sixth Dynasty, Old Kingdom 8.

Fig. 3 After N. Kanawti, Tombs at Giza I. Kaiemankh (G 4561) and Seshemnefer Vol. I (G 4940),
Warminster, 2001, pl. 37.

The scene shows a semi squatting female servant and her left leg is beneath her body
with instep facing the ground to feel comfortable in her long sitting.

5
E. Teeter, “The Body in Ancient Egyptian Texts and Representations (Plate 6)”, in The Bulletin of the
American Society of Papyrologists, vol. 37 no. 1/4, 2000, p. 157.
6
N. Kanawati and M. Abdel Raziq, The Teti Cemetery at Saqqara. Volume V. Tomb of Hesi, London,
1999.
7
Kanawati, Teti Cemetery at Saqqara, V, Tomb of Hesi, p. 40.
8
N. Kanawti, Tombs at Giza I. Kaiemankh (G 4561) and Seshemnefer I (G 4940), Warminster, 2001, p.
15.

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Her left hand is upon her lab and she is lifting her right forearm with opened palm hand
placed upon the forehead to protect her face from the heat 9. This gesture can be
considered sign of patience until baking the bread that she has nothing to do in her life
except waiting. Probably she was suffering from a pain in her head because of facing
heat for long time. So she was obligated to put her hand on her head and wear a head-
band to relief her pain.

I.D. Scene from tomb of the Two Brothers Ny-Ankh-Khnum and Khnum-hotep at
Saqqara, Fifth Dynasty, Old Kingdom 10.

Fig. 4 after H.G. Fishcer, Egyptian Women of the Old Kingdom, New York, 2000, fig. 7.

This remarkable scene shows a female servant sitting in front of an oven to bake pile of
unheated bread and at the same time she was nursing an infant 11 (fig. 4). She is
extending her right hand to ignite the oven and she is lifting her left open hand towards
her head. Same time, she is uprising her right leg to support her infant who is suckling
from her left breast.
For the woman’s left open hand, which is lifted towards her forehead, probably she was
trying to avoid her face from the heat glow that aroused from baking the bread as
featured in the other scenes (figs. 2 and 3). There may be a relation between the
woman’s leg position and her tendency to protect her infant’s face from the oven heat.
In addition, the woman is having sullen face which might express that she was not
having comfortable life that led her to nurse the infant in the same moment of
performing the hard work of baking the bread.
It is noticed that the main concern of the woman is directed towards the process of
baking the bread. This is clearly shown in extending her right hand towards the oven
and her face and eye are directed towards the breads and she is not looking at her infant.
This might have led the infant to use his tiny right hand to hold the breast to take its
nipple in his mouth. This indicates that the woman was quite sure with the infant ability
to suckle by his own effort in a situation repeated every day when she performed the
task of baking breads.

9
Kanawti, Tombs at Giza I. Kaiemankh, p. 45.
10
Both Ni-ankh-knum and Khnum-hotep were twin brothers. They worked as prophets of god Re and
they were supervisors of the manicurists in the great house, see B. Porter and R.L.B. Moss,
Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings III.
Memphis. Part 2. Saqqâra to Dahshûr, Griffith Institute, Ashmolean Museum, Oxford, 1981, p. 641 and
L. Evans and A. Woods, “ Further Evidence that Niankhnum and Khnumhotep were Tweins ”, in JEA
102, 2016, p. 55.
11
H.G. Fishcer, Egyptian Women of the Old Kingdom and of the Heracleopolitan Period, The
Metropolitan Museum of Art, New York, 2000, p. 9.

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The body posture of the previous woman who concentrated on her work rather that her
infant can be compared with another two scenes. Firstly, a woman is shown nursing a
child in the Fifth Dynasty tomb of Ptah-hotep at Saqqara 12 (fig. 5). The woman was
giving full attention to the infant through placing him on her lab and surrounding him
carefully with her left arm and she is holding her left full breast with her right hand to
direct it towards the mouth of the infant so he could suckle milk comfortably.
Secondly a scene of counting donkeys from the Eleventh Dynasty Tomb of Baqet III
the governor of the Oryx nome at Beni Hassan 13 has the illustration of a man who is
forcing a woman who is breast feeding her infant to sit and is using his stick to threat
her 14 (fig. 6). Although the woman is experiencing a bad situation and is surrendered
to the man, but the mother instinct is clearly shown in her behavior of holding her breast
to feed her infant. Same time her body language represented in bowing the head and
inclining the body mainly intended to keep her infant away from receiving any hit from
the stick.

Fig. 5 after J. Vandier, Manuel d' archeologie Fig. 6 after P.E. Newberry, Beni Hasan
epptienne V. Bas reliefs et peintures scenes de la Part 2, London, 1893, pl. VII.
vie quotidienne, Paris, 1969, fig. 295.

II. Scenes of Female Servants Grinding Grains

II.A. Scene from tomb of Djaty at Giza (G 2337-X), Fifth Dynasty, Old Kingdom 15.

12
J. Swinton, Dating the Tombs of the Egyptian Old Kingdom, Archaeopress Egyptology 2, England,
p. 21.
13
P.E. Newberry, Beni Hasan Part 2, London, 1893, p. 43.
14
For the scene of punishing the woman see A.F. Faraman, “Peculiar Punishments from the Tomb of
Baqet III at Beni Hassan”, in
، ‫ يناير‬،65 ‫ عدد‬،33 ‫ المجلد‬،‫ مجلة علمية محكمة تعنى باآلداب والعلوم والدراسات التاريخية والحضارية‬.‫مجلة التاريخ والمستقبل‬
2019 p. 386-412.
15
W.K. Simpson, Mastabas of the Western Cemetry, Part I Sekhemka (G 1029), Tjetu I (G 2001); Iasen
(G 2196); Penmeru (G 2197); Hagy, Nefertjentet, and Herunefer (G 2352/53); Djaty, Tjetu II and
Nimesti (G 2337X, 2343, 2366), Boston, 1980, p. 28-29.

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Fig. 7 after W.K. Simpson, Mastabas of the Western Cemetry, Part I Sekhemka (G 1029), Tjetu I (G
2001); Iasen (G 2196); Penmeru (G 2197); Hagy, Nefertjentet, and Herunefer (G 2352/53); Djaty,
Tjetu II and Nimesti (G 2337X, 2343, 2366), Boston, 1980, fig. 41.

The scene shows a female servant who is depicted with very short cut hair, while
kneeling and extending her hands to make the dough 16 (fig. 7). It clearly shown that
her body is slightly inclinging while resting on her knee and toes. This position might
refer that this woman was active in performing her duty and she is using the weight of
her body to mix the flour and liquid perfectly. Her total attention towards her task is
also indicated through her eye which is directed downward towards the dough.

II.B. A False Door Scene from Tomb of Sn-nw-ka at Giza, Cairo JE 56994, Fifth
Dynasty, Old Kingdom 17.

Fig. 8 after H. G. Fischer, “ An Example of Memphite Influence in a Theban Stela of the Eleventh
Dynasty ”, in Artibus Asiae 22 no 3, 1959, fig.11 in p. 251.

The notable scene illustrates a female servant 18 who was grinding cearials 19. She is
having curvature in her spine as if she was suffering from kyphosis 20 and her ribs are
clearly prominent (fig. 8). She was skinny with no sign of feminine that she looks like
a man.
The curvature of her back might recall certain idea concerning this woman who suffered
from poverty and physical disability that her body could not stand straight to confront
the hard circumstances. She would be described as one whose back was broken
according to a contemporary common saying. Also the woman’s body posture might
reflect an interesting idea that her work represented the only method to release the
depression she had been experiencing in her life.
It seems inevitable to notice her scowling facial features which are marked with
bitterness represented in firm tight closed mouth, wrinkle on the cheekbone and semi
closed eye.

16
Simpson, Mastabas of the Western Cemetry, Part I, p. 29.
H. G. Fischer, “ An Example of Memphite Influence in a Theban Stela of the Eleventh Dynasty ”, in 17
Artibus Asiae 22 no 3, 1959, p. 251 and footnote 20 in p. 251 and H.G. Fischer, Egyptian Women of the
Old Kingdom and of the Heracleopolitan Period, The Metropolitan Museum of Art, New York, 2000,
p. 21-22 and endnote 113 in p. 66.
18
These are known as djet- servants or slaves who were engaged in the funerary services like bringing
offerings, grinding grain, slaughtering cattle and brewing, see A.M. Bakir, “Slavery in Pharaonic Egypt”,
in SASAE 18, 1952, p. 101.
19
H. G. Fischer, “ An Example of Memphite Influence in a Theban Stela of the Eleventh Dynasty ”, in
Artibus Asiae 22 no. 3, 1959, p. 251.
20
‫ كلية‬,‫رسالة ماجستير (غير منشورة)جامعة طنطا‬, ‫ العيوب الخلقية لألفراد في الفن المصري القديم‬،‫محمد إسماعيل محمد الشافعي‬
.49 ‫ صفحة رقم‬,1998 ,‫األداب‬

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III. Scenes of Female Servants Brewing Beer

III.A. Scene from tomb of Hesi at Saqqara, Sixth Dynasty, Old Kingdom 21.

Fig. 9 after after N. Kanawati and M. Abdel Raziq, The Teti Cemetery at Saqqara. Volume V, Tomb of
Hesi, London, 1999, pl. 61.

The female brewer is depicted with her upper part almose naked and is wearing a head
band while inclining her upper torso towards the large bowl (fig. 9). Her right hand is
outside the bowl as to support it. her left hand is deeply inserted inside the bowl to brew
the beer. It is noticed that her left breast is drooping down towards the bowl. This might
direct the sight towards the bowl that she was using her effort to perform her task.
Against the direction of her body, she is upraising her face forward as if she was going
to talk with someone. From another view lifting the head can be considered normal
because the women were inclining and spending her entire effort to perform her hard
job. So, if she looked downwards towards the bowl, she might be dizzy. Thus, she was
lifting her head up to keep the balance of her body.

III.B. Scene from tomb of Hesi at Saqqara, Sixth Dynasty, Old Kingdom 22.

Fig. 10 after N. Kanawati and M. Abdel Raziq, The Teti cemetery at Saqqara. Volume V. Tomb of Hesi,
Warminster, 1999, pl. 61.

This scene shows two women facing each other while bending towards a bowl to brew
beer 23 (fig. 10). Each woman is extending a leg forward. The woman on the right her
breast is drooping down between her two arms. This refers that they use their full effort
to perform their works. Each one of them is extending a leg forward in order to have
comfortable position and to avoid tiredness during performing their work because they
would stand for long time.
Their faces are little bit upward as if they are exchanging conversation to avoid the
boredom they might feel during their work.

21
Kanawati, Teti Cemetery at Saqqara. Volume V. Tomb of Hesi, 1999.
22
Kanawati, Teti Cemetery at Saqqara. Volume V. Tomb of Hesi, 1999.
23
Kanawati, Teti Cemetery at Saqqara. Volume V, Tomb of Hesi, p. 40.

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IV. Scenes of Female Servants Carrying Objects

IV.A. Scene from tomb of Shepseskafankh at Giza (G 6040) Fifth Dynasty, Old
Kingdom 24.

Fig. 11 after K. R. Weeks, Mastabas of Cemetery G 6000. Including G 6010 (Neferbaupt); G 6020
(Iymery); G 6030 (Ity); G 6040 (Shepseskafankh), Giza Mastabas 5, Department of Ancient Egyptian,
Nubian and Near Eastern art Museum of Fine Arts. Boston, 1994, fig. 55

The scene shows a woman and a man who are carrying basket upon their heads 25
(fig. 11). The woman is wearing a long transparent dress over her straight body with
exposed firm breast and she upraising her right hand to support the basket. In addition
she is lifting her left hand towards her chest. Her body posture gave her graceful look
with self confidence. Probably her attitude in placing her left hand upon her chest might
symbolize that she was enjoying perfect health with strong heart that she was having
the abilty to keep the balance of her body while carrying the basket upon her head with
the other hand.

IV.B. Scene from tomb of Queen Mersyankh III at Giza (G. 7530-7540), Fourth
Dynasty, Old Kingdom 26.

Fig. 12 after D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540,
Giza Mastaba, Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston,
1974, fig. 10.

24
Swinton, Dating the Tombs of the Egyptian Old Kingdom, p. 39.
25
K. R. Weeks, Mastabas of Cemetery G 6000. Including G 6010 (Neferbaupt); G 6020 (Iymery); G
6030 (Ity); G 6040 (Shepseskafankh), Giza Mastabas 5, Department of Ancient Egyptian, Nubian and
Near Eastern art Museum of Fine Arts. Boston, 1994, p. 62.
26
Queen Mersyankh III was the daughter of prince Kawab son of king Khufu, see D. Dunham and W.K.
Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540, Giza Mastaba, Department of Egyptian
and Ancient Near Eastern Art. Museum of Fine Arts, Boston, 1974, p. 7.

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This unique scene shows a man and a woman facing each other while carrying heavy
basket filled with breads 27 (fig. 12). Although both of them are bending their body but
it is noticed that the man is easily carrying the basket from its middle and it seems
diffecult for the woman. This can be featured from the place of left hand which is
extending under the basket that she was afraid that it might fall down.

IV.C. Scene from tomb of Queen Mersyankh III at Giza (G. 7530-7540), Fourth
Dynasty, Old Kingdom 28.

Fig. 13 after D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540,
Giza Mastaba, Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston,
1974, fig. 8 second Lower register.

The scene shows two walking women who are carrying long chest upon their
shoulders (fig. 13). Around the right elbow of the first woman is a rope with a collar
that ties neck of the monkey which is walking under the chest 29. No doubt carrying
the chest while walking is not simple but looking to the two women, they are
shown with straight body, their arms resemble letter “V” while carrying the
chest and their faces are looking forward. According to these aspects the two
women seem confident that their legs would not stumble while performing
their habitual task during their daily routine. In addition the two women are
not paying attention to the monkey because it is a clever animal and it would
follow the rhythm of their active steps without causing disturbance.

IV.D. Scene from tomb of Mersyankh III at Giza (G. 7530-7540), Fourth Dynasty, Old
Kingdom 30.

27
D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540, Giza
Mastaba, Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston, 1974,
p. 19.
28
Queen Mersyankh III was the daughter of prince Kawab son of king Khufu, see D. Dunham and W.K.
Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540, Giza Mastaba, Department of Egyptian
and Ancient Near Eastern Art. Museum of Fine Arts, Boston, 1974, p. 7.
29
D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540, Giza Mastaba,
Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston, 1974, p. 16.
30
Queen Mersyankh III was the daughter of prince Kawab son of king Khufu, see Dunham and Simpson,
Mastaba of Queen Mersyankh III, p. 7.

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Fig. 14 after D. Dunham and W.K. Simpson, The Mastaba of Queen Mersyankh III. G 7530 – 7540,
Giza Mastaba, Department of Egyptian and Ancient Near Eastern Art. Museum of Fine Arts, Boston,
1874, fig. 8 Lower register.

The scene shows two walking women with straight bodies, and they are using
their hands to carry long box 31 (fig. 14). The positions of their hands indicate
that they are easily carrying a light box. The first woman in the right is turning
her head back to her companion. This clearly shows that she was talking to
her about important subject and she wants to be sure that she was listening to
her.

IV.D. Scene from tomb of Kae-em-nefert at El-Hagarsa (A 3), Fourth Dynasty, Old
Kingdom 32.

Fig. 15 after W.M.F. Petrie, Athribs, BSAE/ERA XIV, London, 1908, pl.1.

The interesting scene shows a group of female servants; the first one is carrying box,
the second is holding musical instrument, the third is walking and the fourth is a female
dwarf 33 who is carrying long box upon her head (fig. 15) 34. The first one to the right
is carrying a casket with her two hands upon her left shoulder. Her body is straight and
her breast looks firm which give her elegant appearance that she is walking in a graceful
way.
The second woman is carrying a musical instrument. It is noticed that she is holding her
harp towards her chest as if she is embracing it. This might express her passion towards
the musical instrument because when she played on it she obtained pleasure and
satisfaction for her heart. That’s to say they were united together.
Amazingly the fourth servant was a female dwarf who is upraising her two arms to
carry upon her head a long chest which is almost having her same size. Her image
reflects the effort she was spending to keep balance of the chest for she is having short
arms and she can’t use one like the people with normal body. Image of the female dwarf
31
Dunham and Simpson, Mastaba of Queen Mersyankh III, p. 16.
32
Kai-em-nefert carried the titles of Overseer of the People and wab-priest of the King, after N. Kanawati,
Tombs of El-Hagarsa. Volume 1, The Australian Center for Egyptology: Report 4, 1993, p. 11.
33
W.R. Dawson, “ Pygmies and Dwarfs in Ancient Egypt ”, in JEA 24, London, 1938, p.187-188
34
W.M.F. Petrie, Athribs, BSAE/ERA XIV, London, 1908, p. 2.

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was found in another tomb with the same body pasture and short upraised arms to carry
box upon the head in the tomb of Seshemnefer I at Giza (G 4949) 35 (fig. 16).

Fig. 16 after N. Kanawti, Tombs at Giza I. Kaiemankh (G 4561) and Seshemnefer I (G 4940),
Warminster, 2001, pl. 47.

V. Scenes of Female Servants with their Mistresses

V.A. Scene from tomb of Nefer and Kahay at Saqqara, Fifth Dynasty, Old Kingdom 36.

Fig. 17 after Y. Harpur and P.J. Scremin and H. Youssef, The chapel of Nefer & Kahay, Harpur
Scremin Publishing, 2015, pl. 241.

This marvelous scene shows the maid servant standing before her mistress and behind
her are two female musicians who are playing the harp 37 (fig. 17). The lady is listening
to the music while sniffing from a lotus flower which had been associated with
continuation of life in the religious beliefs 38.
Looking to the maid servant her body is slightly bowing and she is lowering her arms
while lifting her forearm with hands holding fruit towards the direction of her mistress.
The servant body expresses that she was attentive to serve her lady. For the servant’s
bending arms they refer her cleverness. This is because she was aware that her lady is
enjoying the music so she is bending her arms not extending them waiting for the signal
of her lady to serve her.

35
Seshemnefer lived in the Fourth Dynasty and he carried the titles of the known one to the king and
supervisor of the scribes, after Swinton, Dating the Tombs of the Egyptian Old Kingdom, p. 38.
36
Nefer carried title of the Known One to the King, see Swinton, Dating the Tombs of the Egyptian Old
Kingdom, p. 29.
37
M. Lashien, The Chapel of Kahai and his Family, The Australian Centre for Egyptology: Reports 33,
2013, p.41.
38
Christie G. Haddad, “The Lily of the Nile: A work on the ritualistic use of an ancient flower of
immortality”, Kandidat-uppsats, Uppsala universitet/Centrum för forskning om religion och samhälle
(CRS), 2021, p. 14 and 27.

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V.B. Scene from tomb of Ukh-Hotep II at Meir (B2), Twelfth Dynasty, Middle
Kingdom 39.

Fig. 18 after A.M. Blackman, The Rock Tombs of Meir. Part 2. The Tomb-Chapel of Senbi’s Son Ukh-
Hotep (B, No.2), London, 1915, pls. XV and XXXIV.

This scene depicts a maidservant standing behind her mistress who is sitting beside her
husband (fig. 18). The maid servant is carrying perfume vase in her left hand and is
holding a rounded mirror in her right hand 40. She is standing straight with a left leg
stepping forward and her eye is directed towards side of her lady. These might indicate
her attentive feelings to perform her services towards her lady. In addition the scene
expresses the importance of the maid servant for her mistress depended on her in
everything related to beautify her self to have pleasure moments with her husband.
Probably the exposed left breast of the maid servant symbolizes idea of the servant who
is completely devoted to her mistress. This is because the left was side of the heart had
been regarded as center of emotions and passions in ancient Egypt 41.
V.C. Scene from tomb of Djser-ka-re-seneb at Thebes (TT 38), Eighteenth Dynasty,
New Kingdom 42.

Fig. 19 after https://osirisnet.net/tombes/nobles/djeserkareseneb38/e_djeserkareseneb_04.htm- accessed

in 14-2-2022.

39
Akh-hotep carried numerous titles like prince, governor of the 14th province of Upper Egypt, treasurer
and superintendent of the Priests, see A.M. Blackman, The Rock Tombs of Meir. Part 2. The Tomb-
Chapel of Senbi’s Son Ukh-Hotep (B, No.2), London, 1915, p. 1-2.
40
Blackman, Rock Tombs of Meir. Part 2, p. 24.
41
E. Teeter, “The Body in Ancient Egyptian Texts and Representations (Plate 6)”, in The Bulletin of the
American Society of Papyrologists, vol. 37 no. 1/4, 2000, p. 157.
42
Djeser-ka-re-seneb held the titles of the counting scribe of the grain of god Amun and the warden of
the second priest of Amun, see
https://osirisnet.net/tombes/nobles/djeserkareseneb38/e_djeserkareseneb_01.htm accessed in 15-3-
2022.

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The scene illustrates two maid servants; the first one is anointing the lady with scented
ointment and the second one is holding necklace and bundle of lotus flower in both
hands 43 (fig. 19). The first servant to the right is bending her body while extending her
right hand towards the hair of the lady to anoint her with scented ointment. It is noticed
that eye of the servant is directed towards the lady’s hair. This expresses the keen of the
servant to provide the lady with good smell.
For the second maid servant on the left side, she is standing while extending her right
arm and holding necklace and her left hand is holding bundle of lotus flower. She looks
attentive and ready to give the first servant the necklace.

V.D. Scene from tomb of Queen Neferu at Thebes, Deir Al-Bahari (TT 319), Eleventh
Dynasty, Middle Kingdom 44.

Fig. 20 after E. El-Kilany, Scenes Depicting Female Occupation in Ancient Egypt at the Private Tombs
from the Old Kingdom to the End of New Kingdom, Faculty of Tourism and Hotels, Minia University,
Unpublished Thesis, 2007, p. 139.

The scene shows Queen Neferu with her two female hairdressers (fig. 20). The first
woman Inu is standing behind the queen while styling her hair. The second woman
Henut is standing in the front while holding a lock of hair for the Queen 45.
For the body language of the first woman Inu, she is standing straight, slightly uprising
her face with the eye looking upwards and she is lifting her forearms and using her
fingers to work on the lady’s hair. The posture of her body, the direction of her eye and
her fingers reflect her keen and full concentration to work accurately on the lady’s hair.
Looking to the he second woman Henut, she is elegantly lifting her forearms and
holding a lock of hair in the same level of the lady’s eye. This expresses the respect of
Henut towards the lay.

43
https://osirisnet.net/tombes/nobles/djeserkareseneb38/e_djeserkareseneb_04.htm- accessed in 14-2-
2022.
44
Queen Neferu was daughter of king Montuhotep Sankhibtawy and wife of king Montuhotep
Nebhepetre, after B. Porter and R.L.B. Moss, Topographical Bibliography of Ancient Egyptian
Hieroglyphic Texts, Reliefs and Paintings: I. The Theban Necropolis. Part 1. Private Tombs, Griffith
Institute, Ashmolean Museum, Oxford, 1970, p. 391.
E. El-Kilany, Scenes Depicting Female occupation in Ancient Egypt at The Private Tombs from The 45
Old Kingdom to The End of New Kingdom, Faculty of Tourism and Hotels, Minia University,
Unpublished PH.d Thesis, 2007, p. 139.

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 Minia Journal of Tourism and Hospitality Research Vol. (13), No. (1), June 2022

V.E. Scene from tomb of Neferhotep from Thebes, El-Khokha (TT 49), Eighteenth
Dynasty, New Kingdom 46.

Fig. 21 after N. de G. Davies, The Tomb of Nefer-Hotep at Thebes, New York, 1933, pls. V and
pl. XVIII.

This well-known banquet scene shows an elite lady who is vomiting because of over
drinking wine 47 (fig. 21). In front of the lady there is a maid servant who is holding a
cup in her right hand. The maid was carrying her sandals because she harried to the lady
and did find time to wear them 48. She is bending her body towards the lady while
extending her left open palm hand to gently touch the lady’s forehead. This symbolizes
the feelings of tender of the servant towards the lady. She is also anxious and wants to
be sure that the lady would be released from her temporary bad condition.

V.E. Scene from tomb of Ptahemhat at Thebes (TT 77), New Kingdom 49.

Fig. 22 after Sh. A. Byl, The Essence and Use of Perfume in Ancient Egypt, Degree of Master of Arts,
University of South Africa, 2012, fig. 14.5 and L. Manniche, The Wall Decoration of Three Tombs (TT
77, 175, and 249), Museum Tusculanum Press, Copenhagen, 1988, fig. 6 in p. 19.

46
Neferhotep was the chief scribe of god Amun, after B. Porter and R.L.B. Moss, Topographical
Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings: I. The Theban Necropolis.
Part 1. Private Tombs, Griffith Institute, Ashmolean Museum, Oxford, 1970, p. 91.
47
See T.G. Wilfong, “Intoxication” in D.B. Refdord (ed), The Oxford Encyclopedia of Ancient Egypt II,
2001, p. 181.
48
N. Saad, A. Abd El-Razik and E. Ahmed, “ Les scènes du vomissement dans les tombes des nobles à
Thèbes ”, in Annal of the Arab Archaeologists. Studies of the Arab World Monuments, The General
Union of Arab Archaeologists Continued to Associate of Arab Universities 14, 2011, p. 33.
49
Ptahemhat was described as son of the nurse and he carried the title of supervisor of the works in
temple of God Amun and he was also the standard bearer of the king of Upper and Lower Egypt, see B.
Porter and R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs
and Paintings: I. The Theban Necropolis. Part 1. Private Tombs, Griffith Institute, Ashmolean Museum,
Oxford, 1970, p. 150 and L. Manniche, The Wall Decoration of Three Tombs (TT 77, 175, and 249),
Museum Tusculanum Press, Copenhagen, 1988, p. 9.

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 Minia Journal of Tourism and Hospitality Research Vol. (13), No. (1), June 2022

In a famous banquet scene from the New Kingdom tomb of Ptahemhat, an elegant lady
is sitting between a lady and three female servants. The scene shows servants while
anointing the mistress 50 (fig. 22). The first servant was pouring red perfume over the
lady’s head 51.
The second servant is holding the forearm of the mistress with her left hand while the
other one is anointing the mistress’s shoulder with ointment. This illustration shows
the tender feelings of the servant towards her mistress and the desire to provide her
with good smell.
The third servant at the right side is carrying a necklace for the lady 52. She is
extending her forearm to touch back of the first servant as if she wanted to take her
attention to let her aware that she had brought the necklace which would be worn by
the mistress. She is slightly bending her body as if she wanted to show respect in the
presence of the mistress.

Conclusion
From the selected scenes concerning the female servants, the following points can be
concluded:
• The ancient Egyptian artists had skillfully used the body language to express the
feelings of the female servants in moments of performing their daily works.
• The simple gestures of the female bakers like putting hand under the chin or lifting
it towards the head expressed boredom for staying long time and difficulty of facing
the heat glow that aroused from the oven and breads.
• The remarkable scene of the woman who baked bread while breast feeding her
infant expressed her hard life. Her body language seems mainly concerned on baking
the bread but her right leg moved to protect the infant from the heat glow. Interestingly
this scene can be seen until nowadays in the countryside when the women bake bread
inside their houses.
• The artist illustrated power of the maternal instinct through the woman who breast
fed her infant and used her body to protect him from receiving hit from a man.
• The body language of the female brewers and those who grinded grain
represented in the inclined body and the droopy breast clearly expressed the effort
they made to perform their tasks.
• The women who are shown carrying objects upon their heads with one hand
seemed active in their graceful walk. But it was not simple for the female dwarf who
should use her short arms to carry the chest.
• The artist expressed idea of the women who possessed the stamina like men. This
is shown in scene of the woman who carried heavy basket of breads with a man and
the woman who carried basket upon her head while walking before a man.

Sh. A. Byl, The Essence and Use of Perfume in Ancient Egypt, Degree of Master of Arts, University 50
of South Africa, 2012, p. 289.
Byl, The Essence and Use of Perfume in Ancient Egypt, p. 289.51
Byl, The Essence and Use of Perfume in Ancient Egypt, p. 289.52

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 Minia Journal of Tourism and Hospitality Research Vol. (13), No. (1), June 2022

• Amazingly the artist succeeded to expresses idea of the working woman who was
having passion towards her musical instrument. She seemed united with musical
instrument while holding it towards her heart.
• The maid servants who closely presented services to the mistresses of the houses-
their body postures, hand gestures and eye direction reflected complete alert to fulfill
the needs of their mistresses. The body language of the maid servants also expressed
their deep loyalty to their mistresses.
• Hands of the maid servants expressed tenderness, loyalty and devotion when they
touched the hair or the arms of their mistresses. This is considered normal for the
maid servants who enjoyed satisfied lives for receiving good treatment and rewards
from their mistresses.
• The body language and gestures are considered interesting in the field of practical
guidance for they helped to present the feelings and conditions of the female servants
in the ancient Egyptian society.
Table of the Body Language (Posture - Face - Eye - Arms - Breast - Hands -
Legs) and the significances
Fig. Date and Scene of the Body language Significance of Body
Site Female Servant Language
1 4th Servant is a- She joins left leg to - She obtains comfortable
dynasty – backing bread chest sitting
Saqqara b- She rests left elbow on
knee
c- Her right leg bents
beneath the body
d- Her chin rests on 1- She has boredom feeling
closed left hand 2- She thinks (probably about
romantic affair)
2 6th Servant is baking a- Her left leg joins the - She obtains comfortable
dynasty – bread chest sitting
Saqqara b- Her left elbow rests on
knee
c- She lifts forearm with 1- She protects face from heat
open hand before face 2- She checks her burnt hand
3 6th Servant is baking a- Semi squatting with left - She obtains comfortable
dynasty – bread leg beneath the body sitting
Giza b- She places open hand 1- She protects face from heat
upon forehead 2- Position is sign of patience
3- She suffers from pain in the
head because of facing heat.
4 5th Female is baking a- She lifts her open hand - She has pain in the head
dynasty - bread and to her head
Saqqara nursing infant b- She upraises the right 1- She supports the infant.
leg 2- She protects the infant from
the heat
c- Shown with surly face - She suffers from hard life
d- Face and eye are 1- Main concern is to bake the
directed towards the oven bread.
2- She is aware with the infant
ability to suckle the milk
without her help
5 5th Woman is a- Placing infant on lab. - Her main concern is to feed
dynasty – nursing an infant b- Arm surrounding the the infant
Saqqara infant carefully

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c- Right hand is holding

left breast
6 11th Woman is a- Holding her breast - Her main concern is to feed
dynasty – nursing an infant the infant
Beni while being b- Bowing the head - She wants to protect the
Hassan threatened by a c- Inclining the body infant
man with stick
7 5th Female servant is a- Inclining body that 1- She is active to perform the
dynasty - grinding grains rests on knee and toes work
Giza 2- She depends on
the body weight to grind
grains
b- Eye is looking - She concentrates on the task
downward
8 5th Female servant is a- Curvature spine and - She suffers from disability,
dynasty – grinding grains prominent ribs poverty and hard life
Giza
9 6th Female servant a- She is inclining torso - She uses effort to perform
dynasty – brewing beet towards bowl the task
Saqqara b- Breast is drooping
down
c- Her left hand is inside
bowl
d- Her right hand outside 1- She supports the bowl
the bowl 2- She keeps her balance
e- She raises her face 1- She talks to someone
forward 2- She keeps the body balance
3- She avoids feeling of dizzy
10 6th Two women are a- Each woman extend a 1- They obtain comfortable
dynasty – brewing beer leg forward standing and avoid tiredness
Saqqara 2- They keep the body balance
b- Woman on right: her - She uses effort to perform
breast is drooping the task
between her arms
c- Their faces are slightly - They exchange conversation
upward to avoid boredom
11 5th Woman is a- Straight body 1- She give graceful look
dynasty – carrying basket b- Exposed firm breast 2- She has same ability of the
Giza upon her head c- Uprising right hand to man who follows her
and she is support the basket
followed by a d- She is lifting left hand 1- She enjoys perfect
man who upon the chest health
carrying basker 2- She keeps the body balance
12 4th Woman and man a- She bends her body 1- She tries to spend same
dynasty- are carrying b- She extends her left effort of the man to carry the
Giza basket filled with hand under the basket to basket
bread carry it 2- She is keen to avoid fall of
the basket
13 4th Two women a- Both women have 1- They enjoy confident
dynasty – carrying chest straight body 2- They have graceful walk
Giza and the first one b- They are looking
is holding a forward
monkey with c- Their arms resemble
rope letter “V” which carrying
the chest
d- They are not paying - They are aware that the
attention with the monkey monkey would not hinder
them
14 a- straight body - Graceful walk

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4th Two walking b- First woman uses one - Easily carrying the box
dynasty – women are hand to carry the box
Giza carrying box c- First woman turns her - She talks to her partner and
head back to the other wants to grantee that she is
woman listening to her
15 4th Group of women
dynasty- carrying objects:
El-
Hagarsa 1st Woman is a- Straight body - Graceful appearance
carrying box b- She carry box upon her - Easily carrying the box
shoulder
2nd woman - Holding the harp - She loves playing the harp
carries the harp towards her chest
4th dwarf woman - She is using her two - She spends effort to carry the
is carrying a long hands to carry the box box especially she has short
box upon her arms.
head
16 4th Dwarf woman is - She is using her two - She spends effort to carry the
dynasty – carrying a long hands to carry the box box for having short arms.
Giza box upon her
head
17 5th Maid servant a- Her body is slightly - She shows respect to her
dynasty – standing before bowing mistress
Saqqara her mistress b- She is lowering her - She enjoys cleverness
arms and her hands are because she is waiting to
holding fruits present the fruits to her
mistress according to her
order.
18 12th Maid servant a- She is standing straight - She is attentive to respond to
dynasty – standing behind with left leg stepping her mistress’s orders.
Meir her mistress and forward
she is carrying b- Her eye is directed
perfume jars and towards her mistress
rounded mirror
c- Her left breast is - She is loyal and devoted to
exposed her mistress
19 18th two maid
dynasty – servants before
Thebes their mistress:-
1st maid servant a- Her body is bending - She is keen to perform the
is anointing the b- She is extending her task of anointing the hair of
lady with scented right hand towards the her mistress/
ointment hair of the lady.
c- Her eye is directed
towards the lady’s hair.
2nd maid servant a- She is standing with - She is attentive
is holding straight body - She ready to give the first
necklace and b- She is extending her servant the necklace
bundle of lotus right hand that holds the
flower in both necklace
hands. c- she is looking forward
20 18th Two maidservant
dynasty – with their
Deir Al- mistress
Bahari 1st maid servant a- She is standing with - She works with full
is standing straight body attentiveness and awareness
behind the b- She is uprising her face on the hair of the lady.
mistress to is c- Her eye is looking
style her hair upward

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 Minia Journal of Tourism and Hospitality Research Vol. (13), No. (1), June 2022

d- She is lifting her

forearm to work with her
finger on the hair

2nd maid servant a- She is lifting her - This expresses her respect to
is standing in forearms her lady.
front of the b- She is holding
mistress while c- The lock of hair in the - She is ready to give the lock
holding lock of same level of the lady’s of hair to the first lady
hair eye
21 18th A maid servant is a- She is bending her 1- She is feeling anxious
dynasty – helping a lady body 2- She is showing sympathy to
El- who vomited b- She is extending her the lady.
Khokha – because of the left arm and is touching 2- She wishes that the lady
Thebes heavily drinking the lady’s forehead would be in good condition
22 18th Maid servants are
dynasty – anointing the
Sheikh mistress
Abdel 1st servant is a- She extends her - She concentrates to pour all
Qurna pouring perfume upraised hands the contents of the perfume
over the lady b- Her eye is looking over the lady
forward towards the
perfume jar
2nd servant is - She is holding the - This expresses her feelings
anointing the forearm of the mistress of tender towards the mistress
lady with her left hand.
3rd servant is a- She is bending her - She shows respect to the
holding necklace body mistress
b- She is extending her - She wants to inform 1st
arm to touch back of the servant that she is having the
1st servant necklace

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Dawson W.R., “ Pygmies and Dwarfs in Ancient Egypt ”, in JEA 24, London, 1938,
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Dunham D. and Simpson W.K., The Mastaba of Queen Mersyankh III. G 7530 – 7540,
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Arts, Boston, 1974.
El-Kilany E., Scenes Depicting Female occupation in Ancient Egypt at The Private
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p. 386-412 .2019 ‫ يناير‬،65 ‫عدد‬
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The Metropolitan Museum of Art, New York, 2000.
Dawson W.R., “ Pygmies and Dwarfs in Ancient Egypt ”, in JEA 24, London, 1938.
El-Kilany E., Scenes Depicting Female occupation in Ancient Egypt at The Private
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Hotels, Minia University, Unpublished PH.d Thesis, 2007, p. 139.
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om religion och samhälle (CRS), 2021, p. 1-38.
Kanawati N., Tombs of El-Hagarsa. Volume 1, The Australian Center for Egyptology:
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Kanawati N. and Abdel Raziq M., The Teti Cemetery at Saqqara. Vol. V. Tomb of Hesi,
London, 1999.
Kanawti N., Tombs at Giza I. Kaiemankh (G 4561) and Seshemnefer I (G 4940),
Warminster, 2001.
Lashien M., The Chapel of Kahai and his Family, The Australian Centre for
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Manniche L., The Wall Decoration of Three Tombs (TT 77, 175, and 249), Museum
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Newberry P.E., Beni Hasan Part 2, London, 1893.
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‫محمد إسماعيل محمد الشافعي‪ ،‬العيوب الخلقية لألفراد في الفن المصري القديم‪ ،‬رسالة ماجستير (غير منشورة) ‪،‬‬
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‫ملخص البحث‬
‫لغة الجسد لبعض النساء الخادمات فى مناظر مقابر مصر القديمة‬
‫غادة خالد ‪ -‬د‪ .‬هشام عز الدين‬

‫يتناول البحث لغة الجسد متمثلة فى حركات الجسم واأليدى وكذلك اتجاه العين التى يمكن مالحظتها فى حركات‬
‫النساء الخادمات والتى من خاللها يمكن تكوين فكرة عن مشاعرهم وحالة الحياة التى تعيشن فيها وذلك من خالل‬
‫بعض مناظر النساء فى مقابر قدماء المصريين‪ .‬يبين البحث حالة أحاسيس النساء الالتى يخبزن أرغفة الخبز‬
‫والتى تعبر عن بعض الضجر للجلوس فترة طويلة والتعرض للحرارة المنبعثة من الفرن والخبز‪ .‬كما ان هناك‬
‫منظر يعبر عن حياة صعبة إلحدى الخبازات التى عبر جسدها على االهتمام بالخبز أكثر من إرضاع الطفل‪ .‬بالنسبة‬
‫للنساء الالتى يطحن العجين فيبدو عليهم بذل الجهد فى أداء العمل ويستعرض البحث منظرا مثيرا لخادمة يبدو‬
‫عليها التعب الشديد فى الحياة من خالل ظهرها المنحنى ومالمحها المتجهمة‪ .‬من خالل بعض مناظر النساء‬
‫السائرات وعن يحملن األشياء المختلفة على روؤسهن مستخدمين يبدا واحدة فتبدو رشيقات وال يقلن عن قدرة‬
‫الرجال فى التحمل‪ .‬وبالنسبة للمناظر المختارة للنساء الالتى يقدمن خدماتهم لسيداتهن فى المنزل فيبدو من حركات‬
‫أجسادهن التنبه التام لتلبية إحتياجات سيداتهن‪ ،‬كما عبرت أيديهن عند مالمستها لشعر أو كتف سيداتهن أو اإلمساك‬
‫بساعدها عن اإلخالص وعاطفة الوفاء لهن‪.‬‬

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