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The King's Chief Librarian and Guardian of the Royal Archives Of Archaeological Discovery, 2017, 5, 163-177 http://www.scirp.org/journal/ad ISSN Online: 2331-1967 ISSN Print: 2331-1959 A New Interpretation of a Rare Old Kingdom Dual Title: The King’s Chief Librarian and Guardian of the Royal Archives of Mehit Manu Seyfzadeh1, Robert M. Schoch2, Robert Bauval3 1Independent Researcher, Lake Forest, USA 2Institute for the Study of the Origins of Civilization, College of General Studies, Boston University, Boston, USA 3Independent Researcher, Málaga, Spain How to cite this paper: Seyfzadeh, M., Abstract Schoch, R. M., & Bauval, R. (2017). A New Interpretation of a Rare Old Kingdom Dual To date, no unequivocal textual reference to the Great Sphinx has been identi- Title: The King’s Chief Librarian and fied prior to Egypt’s New Kingdom. Here, we present evidence that the Guardian of the Royal Archives of Mehit. monument we now know as the Great Sphinx was called Mehit and that this Archaeological Discovery, 5, 163-177. name was part of an exclusive title held only by the highest officials of the https://doi.org/10.4236/ad.2017.53010 royal Egyptian court going back to at least early dynastic times, i.e. prior to th Received: June 22, 2017 the time of the Great Sphinx’s generally presumed construction during the 4 Accepted: July 18, 2017 Dynasty. Furthermore, the symbolic origins of this title precede the 4th Dy- Published: July 21, 2017 nasty by at least five centuries, going back to the very cradle of writing during Copyright © 2017 by authors and the earliest dynastic era of the early Nile civilization. Based on this philological Scientific Research Publishing Inc. evidence corroborating geological and archeo-astronomical evidence pre- This work is licensed under the Creative viously published, we conclude that a lion-like stone monument existed on Commons Attribution International the Giza Plateau long before the Great Sphinx is generally believed to have License (CC BY 4.0). been made and that early dynastic Egyptians referred to it in writing. http://creativecommons.org/licenses/by/4.0/ Open Access Keywords Egypt, Great Sphinx, Hieroglyphs, Hall of Records, Ancient Library 1. Introduction Controversy lingers as to when the Great Sphinx was made. Astronomical and geological evidence suggests a significantly older age than that accepted by mainstream Egyptologists who base their theory on the overall plan and emerg- ing solar theme at the time of 4th Dynasty king Khafre while disputing the inter- pretation of the observed weathering patterns and the meaning of the seismic DOI: 10.4236/ad.2017.53010 July 21, 2017 M. Seyfzadeh et al. data. One of the more pointed criticisms of the idea of an older Great Sphinx is that no written evidence exists which proves a lion-like monument stood on the Giza Plateau before its currently accepted date of creation during the Old King- dom, circa 2500 B.C.E. In this paper, we would like to address this contention by showing evidence to the contrary. We believe that proper dating of this monu- ment is vital to the understanding of human history and the state of art and technology at this remote time. To the academic field of Egyptology, we hope to contribute a new context within which to more easily understand the state of technology extant when other very early monuments were built. Our investiga- tion begins with a title conferred to high officials at the royal Egyptian court, which Egyptologists have not properly translated to date. 2. Results and Discussion Shortly after beginning the first of several exploratory campaigns at Giza in 1912, Hermann Junker struck archaeological “gold” (Junker, 1929): Behind the northern-most false door of the corridor chapel of a large mastaba tomb situated in the 4000 cemetery to the west of G1 (Great Pyramid), he discovered the sitting statue of the likely brain behind the design of the Great Pyramid: Khufu’s vizier (dhat) Hemiunu (Figure 1). That this man was important at Khufu’s court be- came clear from the inscription on the relief carved into the statue’s pedestal and enhanced with colored paste (Figure 2). Among several titles as illustrious as Figure 1. Statue of Hemiunu, 4th Dynasty. Roemer- und Pelizaeus-Museum Hildesheim, Germany. https://upload.wikimedia.org/wikipedia/commons/e/e1/Statue-of-Hemiun.jpg. By Einsamer Schütze (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html), CC- BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)], via Wikimedia Com- mons. 164 M. Seyfzadeh et al. Figure 2. Pedestal showing inscription of Hemiunu’s various titles. The seven symbols in question are below the three outer toes of the left foot. Photograph (modified/cropped) courtesy of Caroline Rocheleau, An Archaeologist’s Diary; http://www.archaeologistsdiary.wordpress.com/ “Greatest of the Five of the House of Thoth” and “Cantor of the Singers of Up- per and Lower Egypt”, is a tandem set of insignia in front of the three outer toes of Hemiunu’s sculpture’s left foot (Figure 3) that until now has eluded full translation. Seven distinct, vertically aligned symbols can be identified. They are, from top to bottom (Gardiner Sign List, 2017, designation in parentheses): Axe (T7; see Figure 4)-Reed and Inkwell (Y4)-Sedge (M23)-Bread Loaf (X1)-Axe (T7)-Bent Rod? (Unknown)-Recumbent Lion (E23?). The fact that the axe symbol (Master/ Overseer/Architect/Carpenter) is repeated in tandem suggests that two titles in- scribed here were contextually merged into one. In other words, it makes no sense to interpret one without the other, because they belong together. This is attested by an identical inscription (Figure 5) found on a tomb stele dedicated to another official, likely Hemiunu’s successor, by the name of Wepemnefret (Smith, 1963). The phonetic values of the first five of these hieroglyphs are medjeh-sesh-nesu-t-medjeh. The bent rod-like symbol has no known phonetic value and it was not described by either Gardiner or Budge (1920). The extended library of the Institut Français d’Archéologie Orientale (IFAO) lists this symbol as a variant of Gardiner P11, i.e. P11a, Catalog P-10-005 UCS 14996, (personal communication to M.S., Dr. Christian Bayer, Gerstenberg-Kurator, Roemer- und Pelizaeus-Museum Hildesheim GmbH; Suignard, 2017; see also examples of P11 in Vygus, 2015). However, the P11 symbol represents a mooring post used to dock ships, which is quite distinct from the bent-rod symbol at hand. A more modern mooring block, though still not a rod, does have a half-circular eyelet for it to be tied to a rope and serve as an anchor, but we believe this IFAO entry may have been an attempt to somehow catalog this symbol visually and, without knowing the cat- egory of objects to which it actually belongs, it was incorrectly assigned to Gar- diner’s P-category (Ships and Parts of Ships). This entry will likely confuse phi- lologists attempting to interpret it. The recumbent lion symbol may: a) phonetically transliterate to the sound “r”, 165 M. Seyfzadeh et al. Figure 3. Axe-Inkwell and Reed-Sedge-Bread Loaf-Axe-Unknown Rod-Lioness. Photo- graph (modified/cropped) courtesy of KHM-Museumsverband; https://www.khm.at/en/. Figure 4. An example of the real life tool object, first from the left, which may have given rise to the axe symbol. Cairo Museum. Photograph by M.S., 2017. 166 M. Seyfzadeh et al. Figure 5. Giza tomb 1201 Stele of Wepemnefret, 4th Dynasty. The same symbols as in Figure 3 can be more distinctly seen in the right-most column at the top. Notice the un- known rod symbol extending vertically up from the back of the lioness symbol. The rest of the inscription below the tandem title contained within the same stylistic compartment of this stele suggests that Wepemnefret was also a Seshat priest at the royal library imply- ing that the records kept secure were of an astronomical nature. Photograph courtesy of the Phoebe A. Hearst Museum of Anthropology and the Regents of the University of Cal- ifornia—catalog number 6-19825. “ru”, or “l”, b) determinatively refer to this animal in a generic sense, or c) logo- graphically refer to a specific lionide deity like Tefnut, Sekhmet (memphite), or Mehit (thinite), the latter two of which were worshiped as earthly manifestations of Re. This suggested to previous translators that Hemiunu was the overseer of the royal scribes and “Craftsman of Mehit” (Smith, 1963: p. 12; italics added), but there is no plausible association between these two titles which would neces- sitate their contiguous display on steles and statues. Helck and Otto (1982) non- committally translated this title as “Meister[s] des weiblichen Feliden-Numens” (i.e. “Master of the Female Feline Numen”) speculating that it was a precursor to what would later become an officially recognized (i.e. entitled) “Numen-Priest”, a state official who served in a certain craft or held a protective function asso- ciated with a certain patron deity. Helck (1987) traced this title back to royal seals of Narmer imprinted on yellow clay locks used to securely shut vases and pouches. He described the symbol shown on the seal as a leopard with three bent rods coming out its back next to a “Zelt” (German for tent), probably leaning on Petrie’s (1901, p. 31; discussed below) description of it as a shrine built like a hut “with reed sides and interwoven palm rib roof”. Helck observed that both “leopard” and “tent” are associated with the name of a person. He speculated that these persons were scribes operating out of a tent near the king’s palace and represented the oldest form of dynastic government of the king’s estate.
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