← Home
The Egyptian Book of the Dead (Papyrus of Ani) · 142 of 357 · tr. E.A. Wallis Budge

Chapter 18 (part 1)

PLATES V. AND VI. Vignettes: The funereal procession to the tomb; running the length of the two plates. In the centre of Plate V. the mummy of the dead man is seen lying in a chest or shrine mounted on a boat with runners, which is drawn by oxen. In the boat, at the head and foot of the mummy, are two small models of Nephthys and Isis. By the side kneels Ani's wife Thuthu, lamenting. In front of the boat is the Sem priest burning incense in a censer,[3] and pouring out a libation from a vase; he wears his characteristic dress, a panther's skin. Eight mourners follow. one of whom has his hair whitened. In the rear a sepulchral ark or chest[4] surmounted. by a figure of Anubis and ornamented with emblems of "protection" and "stability," is drawn on a sledge by four attendants, and is followed by two others. By their side walk other attendants carrying Ani's palette, boxes, chair, couch, staff, etc. In Plate VI. the procession is continued up to the tomb. In the centre is a [1. "Thou goest forth over heaven in three-fold peace [in] thy sektet boat; when thou showest thy face . . . . . . . thee." 2. "He giveth to thee thine eyes to see therewith, and thine cars [to hear therewith]." 3. For a bronze censer similar in shape, see No. 5296 a, Fourth Egyptian Room. 4. It is similar in shape to the chests which held the four jars containing the mummied intestines of the deceased. For examples of them see Nos. 8543a, 8543b in the Third Egyptian Room.] group of wailing women, followed by attendants carrying on yokes boxes of flowers, vases of unguents, etc. In the right centre are a cow with her calf, chairs of painted wood with flowers upon them, and an attendant with shaven head, carrying a haunch, newly cut, for the funereal feast. The group on the right is performing the last rites. Before the door of the tomb stands the mummy of Ani to receive the final honours; behind him, embracing him, stands Anubis, the god of the tomb; and at his feet, in front, kneels Thuthu to take a last farewell of her husband's body. Before a table of offerings stand two priests: the Sem priest, who wears a panther's skin, holding in his right hand a libation vase, and in his left a censer; and a priest holding in his right hand an instrument[1] with which he is about to touch the mouth and eyes of the mummy, and in his left the instrument for "opening the mouth."[2] Behind or beside them on the ground, in a row, lie the instruments employed in the ceremony of "opening the mouth,"[2] etc., the mesxet instrument, the sepulchral box, the boxes of purification, the bandlet, the libation vases, the ostrich feather and the instruments called Seb-ur , Temanu or Tun-tet , and the Pesh-en-kef . The Kher-heb priest stands behind reading the service of the dead from a papyrus. Appendix: In the papyrus of Hunefer a slab or stele with rounded top is placed by the door of the tomb (Fig. 1, p. 265).
Themes
Maat Cosmic Ordercosmology

The Egyptian principle of truth, balance, and right order underlying both the cosmos and human conduct; the parallel to Zoroastrian asha and Greek dike.

The sepulchral ark is ornamented with emblems of 'stability,' a key attribute associated with the Egyptian principle of Maat.

All passages →
Prayerpraxis

Direct address to the divine, whether petitionary, contemplative, or liturgical; speech and silence offered upward.

The Kher-heb priest reads the 'service of the dead' from a papyrus, and mourners are wailing, representing liturgical address to the divine.

All passages →
Ritual Firepraxis

Fire as medium of divine presence.

Incense is burned in a censer by the priest, utilizing fire as part of the ritual medium.

All passages →
Sacred Namestheology

Divine names or formulas that carry ontological power, used in prayer, liturgy, or magical practice.

Specific ritual instruments are named (Seb-ur, Temanu, Tun-tet), implying the ontological power of names in the Egyptian magical context.

All passages →
Spiritual Ascentpraxis

A staged journey of the soul upward through heavenly realms or levels of being toward the divine source.

The text mentions the deceased going forth over heaven, indicating an upward journey through celestial realms.

All passages →
Theurgypraxis

Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.

The passage describes consecrated material actions (incense, libations, instruments) performed by priests to engage divine power for the deceased's benefit.

All passages →
Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

[auto] Divine beings are depicted as physical figures or models with human-like roles and forms within the procession.

All passages →
Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] The passage is from the Book of the Dead and explicitly details a funereal procession and spells designed to guide the soul through death.

All passages →
Psychopomp Journeycosmology

Guided passage of the soul through afterlife realms.

[auto] Deities such as Anubis, Isis, and Nephthys are depicted accompanying the mummy on a boat journey toward the tomb and heaven.

All passages →
Ritual Puritypraxis

The maintenance of a state of cleanliness—physical, moral, or spiritual—required for encounter with the divine.

[auto] The Sem priest performs specific rituals with incense and libations while wearing characteristic dress to ensure proper ritual conduct.

All passages →