Wander in Egypt: Descending into the Subterranean Galleries of Wonders
Deep beneath the Valley of the Kings lies a labyrinth of underground galleries and chambers, holding witness to the emergence of an extraordinary artistic tradition that has become synonymous with ancient Egypt.
A panoramic view of the Valley of the Kings from across the Nile River in Luxor, Egypt.
LUXOR, Egypt — For the ancient Egyptians, the setting sun in the west was more than just a beautiful sight to behold — it was an enigma that sparked their curiosity and led them to ponder the mysteries of the universe.
Not knowing that the Earth rotates on its axis and that the sun never actually sets, the ancient Egyptians believed that at the end of each day, the sun would journey to the realm of the dead. This belief became deeply ingrained in their culture and as a result, the West bank of the Nile became a sacred site designated for the deceased, where they would preserve and bury bodies in preparation for the afterlife.
While Lower Egypt's towering pyramids served as impressive burial tombs for the pharaohs, Upper Egypt took a different approach. In the city of Thebes, the ancient Egyptians turned their attention underground to beneath the valley, creating an intricate network of chambers and passageways that provided a peaceful and hidden sanctuary for the dead. Known as the Valley of the Kings (Arabic: وادي أبوا الملوك), this subterranean labyrinth of tombs is a marvel of engineering and design, featuring elaborate chambers, intricate paintings and relief-carvings, among other hidden treasures, that continue to fascinate archaeologists and visitors alike.
Thebes (present-day Luxor) served as the capital of the New Kingdom from circa 1550 to 1070 BC. A hub of religious, cultural, and trade, Thebes was strategically situated to control routes to the rich gold mines in the Nubian mountains and to collect imports — including gum, ostrich feathers, and gold dust — from the southern reaches of Sudan. The city of the living once thrived on the East bank of the Nile, in the midst of magnificent temples and royal palaces. Today, even in their remnants, these architectural wonders continue to evoke a sense of curiosity and fascination.
One morning, as the sun rose over the city of Luxor, we set out on an adventure to explore its city of the dead. Leaving the bustling city centre behind, we crossed the Nile and journey towards the West bank, where we were greeted by a vast expanse of verdant green fields, cultivated with the staple crop of the region: sugar cane. But as we ventured deeper into the desert landscape, the lush fields slowly gave way to a terrain of barren valleys characterised by their jagged rocky silhouette. Each peak and crevasse seemed to tell a story of a once-great empire. The stark beauty of this land was both daunting and inspiring, a reminder of the enduring power of nature and the remarkable reign of the Theban kings.
After a short ride from the entrance of the complex, we arrived at the heart of the Valley of the Kings, a royal necropolis where pharaohs from 18th to 20th Dynasties were buried.
For centuries, the Theban kings adhered to the traditional pyramidal form for their tombs, burying themselves on the eastern slopes of the rugged mountains. It was only during the 18th Dynasty (c.1550 — 1292 BC), after more than a thousand years, that the rulers had realised that the location of their mortuary chapel, which needed to be close to the tomb so that the ka (soul) could access, gave way the burial’s location to the prying eyes of tomb raiders.
Tuthmosis I (reigned c. 1506 – 1493 BC) was the first pharaoh known to break this tradition. The idea probably came from his architect Ineni, whose tomb inscription reads: “I attended to the excavation of the cliff tomb of His Majesty alone, … no one seeing, no one hearing … I shall be praised for my wisdom in after years.”
From Tuthmosis I onwards, pharaoh after pharaoh had their burial chambers carved out of the mountain cliff. This gave birth to the formation of the fabled Valley of the Kings, a secret necropolis hidden beneath the barren landscape, where ancient kings of Thebes could finally rest in a supposed eternal peace, free from intruders in search for riches.
This subterranean labyrinth that lies beneath the Valley of the Kings was home to over 70 generations of pharaohs who reigned in the 18th, 19th and 20th Dynasties, from circa 1580 to 1085 BC.
Carved into living rock, the tombs generally followed the same plan: three corridors lead to the burial chamber. Most notably, the tombs of the powerful Ramesside pharaohs (reigned 1292 — 1075 BC) are characterised by their long and broad galleries, which ultimately give way to a spacious burial chamber where the royal sarcophagus was placed. Once the embalmed bodies had been laid to rest, the entrance to the tomb would be sealed, and the space filled with rubble. This ensured that the tomb remained undisturbed, protecting the bodies and any treasures that had been buried with them.
Above the ground, on the side of the valley overlooking the Nile, grand mortuary temples dedicated to those buried nearby still stand to this day. These temples, including the Ramesseum, as well as the temples of Sety I, Amenhotep III, and Hatshepsut, are remarkable not only for their grandeur and beauty, but also offer a glimpse into the customs and beliefs of this ancient civilisation.
As we approached the Valley of the Kings, I spot a solitary house perched atop one of the peaks. I later learned that this was the former residence of Howard Carter, the man who made one of the most significant archaeological discoveries of the 20th century.
It was not long before we arrived at the entrance to the royal necropolis, but it soon became clear that our journey was not over. We hopped onto a golf cart-liked vehicle that took us deeper into the heart of the valley, as the relentless sun cast a harsh light on the barren landscape around us.
As I stood amidst the desolation of the valley, I found it difficult to fathom how the ancient Egyptians came up with the idea of carving into these living rocks to bury their kings. It was an extraordinary experience to be standing atop the final resting places of the pharaohs.
Amidst the valley's desolation, I couldn't fathom how the ancient Egyptians came up with the idea of cutting into living rock to bury their kings. It was awe-inspiring to stand atop the final resting places of the pharaohs, whose richly decorated tombs and temples endure to this day. These ancient structures continue to inspire wonder, testaments to the ingenuity and skill of their creators.
The Valley of the Kings was not just chosen for its practical benefits (its remote location and narrow access points made it easier to guard), but also for its symbolic meaning. From across the Nile, the shape of the valley resembles the hieroglyph for 'horizon', a symbol used by ancient Egyptians to denote the place where the sun rises and sets. As the western region where the valley lies was also believed to be where the sun god Ra entered the underworld each night, the valley was considered a fitting resting place for pharaohs seeking afterlife.
This model shed light on the number and distribution of burial chambers at the Valley of the Kings in Luxor, Egypt.
Tomb KV62: Tutankhamun
As with most visitors, my first stop at the Valley of the Kings is the famous tomb of the young pharaoh: Tutankhamun (reigned 1333 to 1323 BC). While a general admission ticket grants access to three tombs, a special ticket is required for entry into the world-renowned Tomb of Tutankhamun.
Tutankhamun’s tomb had remained sealed for over 3000 years. It’s believed that this is the only one tomb in the Valley of the Kings to have escaped the looting that had plagued the rest of the tombs.
Legend has it that Tutankhamun's father's tomb was plundered during his reign, so those who knew the location of Tutankhamun’s tomb had to be eliminated in order to ensure its secrecy.
When the Tomb of Tutankhamun was uncovered, British archaeologist Howard Carter and his team were stunned by what they found inside: a treasure trove of artifacts, from gold jewelry to furniture, statues to sarcophagus of Tutankhamun.
“At first I could see nothing, the hot air escaping from the chamber causing the candle flame to flicker, but presently, as my eyes grew accustomed to the light, details of the room within emerged slowly from the mist, strange animals, statues, and gold — everywhere the glint of gold,” exclaimed Carter.
Upon entering the young pharaoh’s tomb, I couldn't help but feel the weight of history bearing down on me as I followed in Carter's footsteps. As I descend down the staircase, it feels as if I had been transported back in time to a moment before the tomb had ever seen the light of day. I find myself in an antechamber filled with an array of funerary objects, including royal chariots, ritual couches and so on. As I gaze ahead, I could see the imposing figures of two guardians standing at the entrance to the main burial chamber where the young pharaoh had been laid to rest.
Coming back to reality, the antechamber has but already been emptied, and the only object that remains in the burial chamber is a sarcophagus (most of the findings are currently on display at the Egyptian Museum in Cairo, but will soon be transferred to the Grand Egyptian Museum that is due to open this year). Though we’re not able to see funerary items in their original states, their absence allows us to admire the vivid depictions of ancient Egyptian myths painted on its walls.
Inside the Tomb of Tutankhamun, the burial chamber has its wall decorated with the baboons of the first hour of the Amduat (left), and Tutankhamun’s ka, or soul, embracing the god of the dead and resurrection, Osiris (right).
A quartzite sarcophagus is placed at the centre of Tutankhamun’s burial chamber in the Valley of the Kings in Luxor, Egypt.
The decorative repertoire found in the Valley of the Kings is dominated by two themes. Firstly, king praying and offering before the gods. Secondly, description of the netherworld with illustrations and texts describing the underworld, including Amduat (‘What is in the Underworld’), the Litany of Ra, the Book of Gates, and so on.
In the case of Tutankhamun’s tomb, only the burial chamber has decorations. As if viewing old masterpieces hanging in a museum, the western wall of the young pharaoh’s burial chamber is adorned with a stunning depiction of Imy-dwat, or the first hour of Amduat, featuring baboons and deities. Amduat tells the story of sun god Ra who, after the sun sets in the west, travels through the underworld where the night is divided into twelve hours, only to rise again in the east.
On the southern wall, the king is seen accompanied by Anubis as he receives life from Hathor, goddess of love, beauty and fertility. The northern wall showcases the king’s ka embracing Osiris, the god of the dead and resurrection, as he appears before the sky goddess Nut. All these scenes are captured against a dazzling, shimmering gold backdrop, making us feel as if we were in the presence of royalty, even in a dimly-lit underground chamber.
After my visit, I couldn't help but feel a sense of disappointment at its size. How could such a small space hold the incredible treasures that were unearthed here? As I browsed through its enchanting mural paintings, I caught sight of a locked door to the right. It’s the entrance to the Treasury, the storeroom where Tutankhamun’s famous treasures were once kept. Unfortunately, it was closed to the public, leaving me to imagine the astonishing wealth of material that was once hidden next door.
📍 KV62 Tomb of Tutankhamun, Valley of the Kings
👣 Worth the Journey: ★★★★★
Entrance to the Tomb of Merenptah in Valley of the Kings in Luxor, Egypt.
Tomb KV8: Merenptah
Not far away from the Tomb of Tutankhamun is the Tomb of Merenptah, the son of the famous pharaoh Rameses II.
Merenptah’s reign (1213 - 1203 BC) was marked by a period of stability after the tumultuous reign of his predecessors. The famous Israel Stele, also known as the Victory Stele of Merneptah, testifies to King Merenptah’s triumph over a coalition of the Libyan, Nubian, and Asiatic forces. Though his reign lasted only ten years, the king left a notable mark on ancient Thebes, including the restoration of the Temple of Kanark, among other sites.
At the entrance to Merenptah’s tomb, visitors are greeted by an image of the sun god Ra, accompanied by Isis and Nephthys. A few steps into the corridor leads us to a depiction of the king addressing Ra-Horakhty, a curious combination of the sun god Ra and the sky god Horus. The king is attired in semi-transparent linen. Though carved in low-relief, the portrayal of the king appears highly realistic; its mustard-yellow backdrop serves as a vivid complement to this divine presence.
Entering the Tomb of Merenptah is like walking into a gallery, with walls along the descending passageway adorned with a wealth of paintings and low-relief carvings. Unlike the cramped and steep corridors of the pyramids, the passageway inside Merenptah's tomb is remarkably spacious, its gentle inclination also makes the visitors’ descent easier.
As we proceed further, we find ourselves immersed in a sea of hieroglyphics, though some of them have lost their original hues. It turns out that these hieroglyphics come from Litany of Re, a funerary text reserved for pharaohs and high-esteemed members of nobility during the New Kingdom period. Though I’m unable to decipher the ancient scripts that adorn the walls, the lengthy texts have taken on a beauty of their own. The lengthy texts appear like beautiful wallpapers, blending seamlessly into the rock, while their rustic, organic style feels almost like a balm for the mind.
A depiction of the king addressing Ra-Horakhty, a curious combination of the sun god Ra and the sky god Horus, found near the entrance to the Tomb of Merenptah.
The writer examines the hieroglyphics found inside the tomb of Merenptah in the Valley of the Kings in Luxor, Egypt.
The first pillared hall, believed to have remained accessible since ancient times, has suffered significant damage over the years due to flooding. This also caused much of its colors to fade. However, except for the floor on which we stand, every nook and cranny of the inner corridor appears to be ornamented with images and hieroglyphics. Even the ceiling features a canopy of stars to evoke the celestial realm.
The design of Merenptah's tomb deviated from that of his predecessors, featuring a single-axis design that guides visitors straight from the entrance to the burial chamber. The profusion of decorative elements adorning the walls requires the viewer’s meticulous examination, making the expedition into the heart of the tomb a lengthy one. The journey culminates in the king's burial chamber, where a stone sarcophagus is placed at the center for the king to rest.
📍 KV8 Tomb of Merenptah
👣 Worth the Journey: ★★★☆☆
Tomb KV2: Rameses IX
Considering the graffiti found on its walls, it is believed that the Tomb of Rameses IX has been a tourist attraction since ancient times. Similar to what we have seen in the previous tomb, an image of the solar disc flanked by deities is found at the tomb’s entrance. In the first passageway, there is the depiction of the king before Re-Horakhty and Osiris. The passageway also featuers scenes from funerary texts, including Litany of Re, the Book of Caverns, and the Book of the Dead. While most of the colours near the tomb’s entrance have faded, they come back to life as we venture deeper into the galleries.
As I descend into the tomb, I spot something unusual on its elaborate astronomical ceiling. There’s a list of decan that includes the 36 groups of stars or small constellations used in by ancient Egyptians for theurgical and horological purposes. Among the list of stars is a depiction of a cross-legged man, with his chest and face facing forward. It’s only later when I realise that there are multiple depictions of this figure; their features certainly do not resemble those of ancient Egyptians. I have been told that they probably represent the Hyksos and the Hittites, who were war refugees in ancient Egypt. But I find it difficult to believe that captives would be placed in a space that’s supposed to represent the elevated, celestial realm.
The corridor of the Tomb of Rameses IX features a less steep incline, which is typical of the later Ramessid tombs. As I proceed further, I encounter scenes from the Amduat, and depiction of the king as Osiris. Some of the images look quite graphic. A striking image before me depicts a human figure in silhouette, its arms outstretched and suspended upside down within a bright yellow circle. This circle is perfectly balanced atop a smaller red circle, possibly representation of a sun disc, reminiscent of an elephant perched atop a ball in the circus. The abstract shapes and bold colors create a sense of tension and movement, as if the image itself is in a state of constant motion.
The Tomb of Rameses IV is where the skill and artistry of anonymous painters from ancient Egypt went on full display. What I find most impressive about these depictions is that I could make out the different types of jewellery worn by the divine, as well as royal figures, something that was difficult to discern in other tombs I've visited. Adding to the already impressive repertoire are figures draped in leopard skins, so skillfully rendered that the texture of the fur appears startlingly realistic. It's a testament to the artist's meticulous attention to detail.
A storage space, presumably for jewels and treasures, is found inside the wall near the entrance to the Tomb of Rameses IX.
On the ceiling inside the Tomb of Rameses IX, curious depictions of cross-legged men are found among the list of decan.
📍 KV2 Tomb of Rameses IX
👣 Worth the Journey: ★★★★☆
“As I traverse through the vast city of the dead, I couldn't help but wonder if the solitude of the place, undisturbed by visitors, heightened the pharaohs' journey to the afterlife.”
Tomb KV6: Rameses IV
The Tomb of Rameses IV marks my last stop on this visit to the royal necropolis.
Rameses IV, who reigned from 1129 BC to 1111 BC, was the third longest serving king of the 20th Dynasty after Rameses III and Rameses XI.
The Tomb of Rameses IV has one of the largest entrances in the valley. As in the previous tombs, the galleries inside the Tomb of Rameses IV feature scenes from the Litany of Re, the Book of Caverns, and the Book of the Dead. It’s passageways exhibit a shallow incline that is typical of the later Ramessid tombs. However, it seems that the tomb has lost more colours in comparison to the Tomb of Rameses IX. And the carvings of the hieroglyphics on the walls appear more crude than those found in other tombs.
Before reaching the heart fo the tomb, my eyes are naturally drawn towards the enormous sarcophagus that lies at the end of the passageway. Upon entering the burial chamber, I’m captivated by the hieroglyphics carved into the wall. But it’s not long before I notice its vaulted ceiling, which is embellished with a breathtaking scene from the Books of Heavens. This imagery, which has superseded the previous astronomical depictions, leaves me in a state of awe.
It is the representation of the goddess of the sky, Nut, who is seen as a nude woman arching over the god of earth, Geb. According to ancient Egyptian belief, Nut was responsible for swallowing the sun god Ra in the evening and giving birth to it again in the morning. On this vaulted ceiling, a mirror image of Nut's arched body forms an imposing canopy above the royal sarcophagus, with the depiction of the red-colored sun placed near its mouth. This imagery is simply breathtaking, as if it were engulfing its beholders from below.
One side of the wall inside the burial chamber of Rameses IV is adorned with coloured hieroglyphics.
Above the sarcophagus of Rameses IV, a depiction of the goddess of the sky, Nut, is seen swallowing the red-coloured sun.
📍 KV6 Tomb of Rameses IV
👣 Worth the Journey: ★★★★☆
Happily Ever After…?
Mystery has shrouded over the vast Valley of the Kings for millenia. But after my visit, it’s clear that the royal necropolis provides valuable insights into the beliefs, culture, and history of ancient Egypt, and acts as window to the glorious past of their artistic achievements.
This network of underground galleries and chambers serves as a testament to the emergence and development of an artistic style that has come to represent ancient Egypt. The paintings and carvings, albeit being created by anonymous artisans thousands of years ago, continue to exert a powerful influence on how we view Egypt today.
The three tombs that I have visited, namely the Tombs of Merenptah, Rameses IX, and Rameses IV, are relatively larger than that of Tutankhamun's. Considering the wealth of treasures uncovered from Tutankhamun's tomb, it’s impossible not to wonder the amount of riches that was retrieved from these larger tombs.
It's often said that a journey to the Nile is incomplete without a visit to Luxor, or ancient Thebes, but I would argue that a trip to the pharaohs' tombs that excludes the Valley of the Kings is only half a visit.
Without hesitation, the Valley of the Kings would be my top pick for a place to revisit in Egypt, aside from the Great Pyramids of Giza. Similar to visiting an art gallery where the works on display leave you in a reflective state, I believe that the paintings and carvings lying beneath the Valley of the Kings offer a singular experience that could elicit a spectrum of emotions with each subsequent visit.
In my travels to ancient ruins around the world, what I often encountered were lifeless remnants of bygone civilisations. But my visit to the Valley of the Kings was different. As I wander deep beneath the valley, I could almost hear generations of pharaohs whispering their stories through the galleries and chambers, while the echoes of their legacies reverberate throughout the arid valley.
As I traverse through the vast city of the dead, I couldn't help but wonder if the solitude of the place, undisturbed by visitors, heightened the pharaohs' journey to the afterlife. And who knows? Maybe they're living a happily ever after afterlife.
And when I return to ancient Thebes, I’m eager to explore the tombs that I have missed this time, and venture to the lesser-known Valley of the Queens, where over 70 tombs of queens, princes, and princesses from the 19th and 20th Dynasties rest, including the famous Queen Nefertari and Queen Titi. The Valley of the Queens may not be as well-known as its neighbor, but it holds a wealth of hidden treasures and secrets waiting to be discovered.
Subscribe to newsletter below to receive the latest updates!
This article is part of the series “Wander in Egypt”.
Reference:
Atiya, F. (2006). Ancient Egypt. Cairo, Egypt: Dar al-Mushaf.
Reeves, N., & Wilkinson, R. H. (1996). The Complete Valley of the Kings: Tombs and treasures of Egypt's Greatest Pharaohs. Thames & Hudson.
Vercoutter, J. (1992). The Search For Ancient Egypt. London, England: Thames & Hudson.