‫ﻃﻴﺒﺔ‪ :‬ﻭﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ )ﺍﻟﺠﺰء ﺍﻟﺜﺎﻧﻰ( ‪ -‬ﻭﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ ‪ -‬ﻣﻘﺎﺑﺮ ﺍﻷﺷﺮﺍﻑ ‪ -‬ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﻭﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ ‪ -‬ﺍﻟﺠﺰء ﺍﻟﺜﺎﻧﻰ‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ ﺭﻣﺴﻴﺲ ﺍﻟﺴﺎﺑﻊ ﻣﻦ ﺍﻷﺳﺮﺓ‪ 1128 - 1136) 20‬ﻕ‪.‬ﻡ( ﺭﻗﻢ ‪1‬‬

‫ﻣﺪﺧﻞ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻟﺴﺎﺑﻊ" ﺭﻗﻢ‪ 1‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﻟﻘﻄﺔ ﻣﻦ ﺩﺍﺧﻞ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﻟﻤﻘﺒﺮﺓ "ﺭﻣﺴﻴﺲ ﺍﻟﺴﺎﺑﻊ" ﺭﻗﻢ‪ 1‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ ﻣﺮﻧﺒﺘﺎﺡ ﺭﻗﻢ ‪8‬‬

‫ﻣﺪﺧﻞ ﻣﻘﺒﺮﺓ "ﻣﺮﻧﺒﺘﺎﺡ" ﺭﻗﻢ‪ 8‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

 ‫ﺍﻟﺒﺎﺏ ﺍﻟﺨﺎﺭﺟﻰ ﻟﻠﻤﻘﺒﺮﺓ ﺭﻗﻢ‪) 8‬ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ "ﻣﺮﻧﺒﺘﺎﺡ"( ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﺍﻟﻤﻠﻚ "ﻣﺮﻧﺒﺘﺎﺡ" ﻣﻦ ﺍﻷﺳﺮﺓ ‪ 19‬ﻫﻮ ﺍﺑﻦ ﺍﻟﻤﻠﻚ ﺍﻟﻤﺸﻬﻮﺭ " ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻧﻰ "‪ .‬ﻭﻳﻌﺘﻘﺪ ﺑﻌﺾ ﺍﻟﻌﻠﻤﺎء ﺃﻥ "ﻣﺮﻧﺒﺘﺎﺡ"‬
‫ﻫﻮ ﺍﻟﻔﺮﻋﻮﻥ ﺍﻟﺬﻯ ﺫُﻛﺮ ﻓﻰ ﺳﻔﺮ ﺍﻟﺨﺮﻭﺝ )ﻳﺮﻯ ﺩ‪ .‬ﻟﺒﻴﺐ ﺣﺒﺸﻰ ﺍﻷﺛﺮﻯ ﺍﻟﻤﺼﺮﻯ ﺍﻟﻌﺎﻟﻤﻰ ﺃﻥ ﻓﺮﻋﻮﻥ ﺳﻔﺮ ﺍﻟﺨﺮﻭﺝ ﻫﻮ‬
‫"ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ" ﻭﺧﻠﻴﻔﺘﻪ "ﺃﻣﻴﻨﻮﻓﻴﺲ ﺍﻟﺜﺎﻧﻰ"(‪ .‬ﺗُﺰﻳﻦ ﻣﺪﺧﻞ ﻣﻘﺒﺮﺓ "ﻣﺮﻧﺒﺘﺎﺡ" ﺭﺳﻮﻣﺎﺕ ﻟـ"ﺇﻳﺰﻳﺲ" )ﺯﻭﺟﺔ‬
‫"ﺃﻭﺯﻭﺭﻳﺲ"( ﻭ"ﻧﻔﺘﻴﺲ" ‪) Nephthys‬ﺃﺧﺖ "ﺇﻳﺰﻳﺲ"(‪ .‬ﻛﻤﺎ ﻧُﻘِﺸَﺖ ﻧﺼﻮﺹ ﻣﻦ "ﻛﺘﺎﺏ ﺍﻟﺒﻮﺍﺑﺎﺕ" ‪The‬‬
‫‪ Book of Gates‬ﻋﻠﻰ ﺟﺪﺭﺍﻥ ﺍﻟﻤﻤﺮ ﺍﻟﺬﻯ ﻳﻨﺤﺪﺭ ﺑﺸﺪﺓ ﻣﺴﺎﻓﺔ ‪ 80‬ﻣﺘﺮ ﺩﺍﺧﻞ ﺍﻟﻤﻘﺒﺮﺓ ﺣﺘﻰ ﻳﺼﻞ ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ‪.‬‬

‫ﻧﻘﻮﺵ ﺑﺎﻟﻬﻴﺮﻭﻏﻠﻴﻔﻴﺔ ﻣﻦ ﺩﺍﺧﻞ ﻣﻘﺒﺮﺓ "ﻣﺮﻧﺒﺘﺎﺡ" ﺭﻗﻢ‪ 8‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

 ‫ﻟﻮﺣﺔ ﺣﺎﺋﻄﻴﺔ ﺩﺍﺧﻞ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ "ﻣﺮﻧﺒﺘﺎﺡ" ﺭﻗﻢ‪ 8‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﻣﻮﻣﻴﺎء ﺍﻟﻤﻠﻚ "ﻣﺮﻧﺒﺘﺎﺡ" ﻋُﺜﺮ ﻋﻠﻴﻬﺎ ﺳﻨﺔ‪ 1881‬ﻡ ﺑـ"ﺍﻟﺪﻳﺮ ﺍﻟﺒﺤﺮﻯ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ ﺭﻗﻢ ‪16‬‬

 ‫ﻣﺪﺧﻞ ﺍﻟﻤﻘﺒﺮﺓ ﺭﻗﻢ ‪ 16‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ ﺍﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ" ﻣﻦ ﺍﻷﺳﺮﺓ‪. 19‬‬

‫ﻟﻮﺣﺔ ﺣﺎﺋﻄﻴﺔ ﻣﻦ ﺩﺍﺧﻞ ﻣﻘﺒﺮﺓ "ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ" ﺭﻗﻢ‪ 16‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪ ،‬ﻭﻫﻰ ﻟﻤﺸﻬﺪ ﻣﻦ ﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﻧﻰ ﻣﻦ "ﻛﺘﺎﺏ ﺍﻟﺒﻮﺍﺑﺎﺕ" ﻭﺗُﺼﻮﺭ‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻵﻟﻬﺔ ﺗﺤﻤﻞ ﻋﻤﻮﺩًﺍ ﻃﺮﻓﻴﻪ ﻋﻠﻰ ﺷﻜﻞ ﺭﺃﺱ ﺛﻮﺭ ﻭﻳﻘﻒ ﻓﻮﻗﻪ ﺯﻭﺝ ﻣﻦ ﺍﻟﺜﻴﺮﺍﻥ‪.‬‬
‫ﻟﻮﺣﺔ ﺣﺎﺋﻄﻴﺔ ﺗُﺰﻳﻦ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﺩﺍﺧﻞ ﻣﻘﺒﺮﺓ "ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ"‪ ،‬ﻭﺗُﺼﻮﺭ "ﺃﻭﺯﻭﺭﻳﺲ" )ﻓﻰ ﺍﻟﻮﺳﻂ( ﻣﻊ ﺍﻹﻟﻪ "ﺧﻨﻮﻡ" ﺍﻟﺬﻯ ﻟﻪ ﺭﺃﺱ ﻛﺒﺶ‬
‫ﻭﺍﻹﻟﻬﺔ "ﻧﻴﺴﻴﺮﺕ" ‪ Nesert‬ﺍﻟﺘﻰ ﺗﻈﻬﺮ ﻋﻠﻰ ﺷﻜﻞ ﺣﻴﺔ‪.‬‬

‫ﺳﻨﺘﺎﻥ ﻓﻘﻂ ﻫﻤﺎ ﻓﺘﺮﺓ ﺣﻜﻢ ﺻﺎﺣﺐ ﺍﻟﻤﻘﺒﺮﺓ ﺭﻗﻢ ‪ 16‬ﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ" ﻣﺆﺳﺲ ﺍﻷﺳﺮﺓ ‪ ، 19‬ﻭﻟﺬﻟﻚ ﻓﺈﻥ ﻣﻘﺒﺮﺗﻪ‬
‫ﺑﺴﻴﻄﺔ ﻭﻟﻬﺎ ﺃﻗﺼﺮ ﻣﻤﺮ ﺩﺧﻮﻝ ﺑﻴﻦ ﻣﻤﺮﺍﺕ ﻣﻘﺎﺑﺮ ﻭﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪ ،‬ﻭﻟﻬﺎ ﺣﺠﺮﺓ ﺩﻓﻦ ﻭﺍﺣﺪﺓ ﻓﻘﻂ ﺷﺒﻪ ﻣﺮﺑﻌﺔ ﺗﺤﺘﻮﻯ ﻋﻠﻰ‬
‫ﺗﺎﺑﻮﺕ ﺍﻟﻤﻠﻚ ﺍﻟﻤﺼﻨﻮﻉ ﻣﻦ ﺍﻟﺠﺮﺍﻧﻴﺖ ﺍﻟﻘﺮﻧﻔﻠﻰ ﺍﻟﻠﻮﻥ ﻭﻫﻮ ﻣﻔﺘﻮﺡ‪ .‬ﻭﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﻫﺬﻩ ﻫﻰ ﺍﻟﺠﺰء ﺍﻟﻮﺣﻴﺪ ﻣﻦ ﺍﻟﻤﻘﺒﺮﺓ‬
‫ﺍﻟﻤُﺰﻳﻦ‪ ،‬ﺇﺫ ﺗﺤﻠﻴﻬﺎ ﺭﺳﻮﻣﺎﺕ ﺗُﺼﻮﺭ ﺍﻟﻔﺮﻋﻮﻥ ﻓﻰ ﺣﻀﺮﺓ ﺁﻟﻬﺔ ﻣﺜﻞ " ﺃﻭﺯﻭﺭﻳﺲ" ﻭ"ﺑﺘﺎﺡ" ﻭ"ﺃﻧﻮﺑﻴﺲ" ﻭ"ﻣﻌﺎﺕ"‬
‫‪ Maat‬ﻭﺫﻟﻚ ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﺯﺭﻗﺎء ﺃﺭﺟﻮﺍﻧﻴﺔ‪.‬‬

‫ﻟﻘﻄﺔ ﻣﻦ ﺩﺍﺧﻞ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﻓﻰ ﺍﻟﻤﻘﺒﺮﺓ ﺭﻗﻢ‪ 16‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ ﻟﻠﻄﺮﻑ ﺍﻟﺸﺮﻗﻰ )ﺍﻟﻘﺪﻡ( ﻟﺘﺎﺑﻮﺕ ﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻷﻭﻝ" ﺍﻟﻤﺼﻨﻮﻉ ﻣﻦ‬
‫ﺍﻟﺠﺮﺍﻧﻴﺖ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ ﺭﻗﻢ ‪11‬‬

‫ﻣﻮﻣﻴﺎء ﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ"‪.‬‬

 ‫ﺍﻟﻤﻤﺮ ﺍﻟﻬﺎﺑﻂ ﻟﻤﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ" )ﺭﻗﻢ‪ (11‬ﻓﻰ ﻭﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﺗُﻌﺪ ﻣﻘﺒﺮﺓ " ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ" )ﺭﻗﻢ ‪ ( 11‬ﻣﻦ ﺃﻭﺳﻊ ﻭﺃﻛﺒﺮ ﺍﻟﻤﻘﺎﺑﺮ ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪ ،‬ﻭﺗﺘﻜﻮﻥ ﻣﻦ ﺃﻛﺜﺮ ﻣﻦ ﻣﻤﺮ ﻭﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦ ﺍﻟﺤﺠﺮﺍﺕ ﺍﻟﻤُﺰﻳﻨﺔ ﺑﻠﻮﺣﺎﺕ ﺭﺍﺋﻌﺔ ﻣﺎﺯﺍﻟﺖ ﺃﻟﻮﺍﻧﻬﺎ ﺯﺍﻫﻴﺔ‪ ،‬ﻭﻣﻨﻬﺎ ﻟﻮﺣﺔ ﻷﺛﻨﻴﻦ ﻣﻦ ﻋﺎﺯﻓﻰ ﺍﻟﻬﺎﺭﺏ ﻳﻌﺰﻓﻮﻥ‬
‫ﺍﻟﻤﻮﺳﻴﻘﻰ ﻟﻶﻟﻬﺔ‪.‬‬
‫ﺭﺳﻢ ﻟﻌﺎﺯﻑ ﻋﻠﻰ ﺁﻟﺔ ﺍﻟﻬﺎﺭﺏ ﻣﻨﻘﻮﻝ ﻋﻦ ﺃﺣﺪ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺤﺎﺋﻄﻴﺔ ﺑﻤﻘﺒﺮﺓ "ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻚ ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ ﺭﻗﻢ‪34‬‬

 ‫ﺧﺮﻳﻄﺔ ﻟﻤﻘﺒﺮﺓ "ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ" ﺭﻗﻢ‪ 34‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﻛﺎﻥ ﺍﻟﻤﻠﻚ "ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ" ﻣﻦ ﺃﻭﺍﺋﻞ ﺍﻟﻤﻠﻮﻙ ﺍﻟﺬﻳﻦ ﺑﻨﻮﺍ ﻣﻘﺒﺮﺓ ﻷﻧﻔﺴﻬﻢ ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪ ،‬ﻭﻗﺪ ﺍﺧﺘﺎﺭ ﻟﺤﻔﺮ ﻣﻘﺒﺮﺗﻪ‬
‫ﻣﻜﺎﻧﺎً ﻣﺨﺘﻔﻴﺎً ﻋﻦ ﺍﻷﻧﻈﺎﺭ ﻭﻣﻦ ﺍﻟﺼﻌﺐ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ‪ .‬ﻛﻤﺎ ﺍﺣﺘﻮﺕ ﻣﻘﺒﺮﺗﻪ ﻋﻠﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻤﻤﺮﺍﺕ ﻟﺘﻀﻠﻴﻞ ﺍﻟﻠﺼﻮﺹ‪.‬‬
‫ﻭﻟﻜﻦ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻞ ﻫﺬﻩ ﺍﻻﺣﺘﻴﺎﻃﺎﺕ ﻧﺠﺢ ﺍﻟﻠﺼﻮﺹ ﻓﻰ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﻭﺳﺮﻗﺔ ﻣﺤﺘﻮﻳﺎﺗﻬﺎ‪ .‬ﻭﻗﺒﻞ ﺍﻟﻮﺻﻮﻝ‬
‫ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﺗﻘﺎﺑﻞ ﺍﻟﺰﺍﺋﺮ ﺣﺠﺮﺓ ﺗﺴﺘﻨﺪ ﻋﻠﻰ ﻋﻤﻮﺩﻳﻦ‪ ،‬ﻭﻗﺪ ﺯُﻳﻨﺖ ﺣﻮﺍﺋﻄﻬﻤﺎ ﺑﻘﺎﺋﻤﺔ ﻷﻛﺜﺮ ﻣﻦ ‪ 700‬ﻣﻦ ﺍﻵﻟﻬﺔ‬
‫ﻭﺃﻧﺼﺎﻑ ﺍﻵﻟﻬﺔ‪ .‬ﺛﻢ ﻧﺄﺗﻰ ﺑﻌﺪ ﺫﻟﻚ ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﻭﻫﻰ ﺑﻴﻀﻮﻳﺔ ﺍﻟﺸﻜﻞ ﻣﺜﻞ ﺍﻟﺨﺮﻃﻮﺷﺔ‪ ،‬ﻭﻳﺴﺘﻨﺪ ﺳﻘﻔﻬﺎ ﺃﻳﻀﺎً ﻋﻠﻰ‬
‫ﻋﻤﻮﺩﻳﻦ ﻳﻮﺟﺪ ﺑﻴﻨﻬﻤﺎ ﺗﺎﺑﻮﺕ ﺍﻟﻤﻠﻚ ﺍﻟﻔﺎﺭﻍ ﺍﻟﻤﺼﻨﻮﻉ ﻣﻦ ﺍﻟﺤﺠﺮ ﺍﻟﺮﻣﻠﻰ ﺍﻷﺣﻤﺮ‪ .‬ﻭﻗﺪ ﻋُﺜﺮ ﻋﻠﻰ ﻣﻮﻣﻴﺎء ﺍﻟﻤﻠﻚ ﺑـ" ﺍﻟﺪﻳﺮ‬
‫ﺍﻟﺒﺤﺮﻯ "‪.‬‬
 ‫ﻣﻮﻣﻴﺎﻭﺍﺕ ﻟﻘﺮﺩﺓ ﻋُﺜﺮ ﻋﻠﻴﻬﺎ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻣﻘﺒﺮﺓ "ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ ﺗﻮﺳﺮﺕ ﻭﺳﺖ ﻧﺎﺧﺖ‪ Tawsert/Sethnakht Queen‬ﺭﻗﻢ ‪14‬‬

‫ﻣﺸﻬﺪ ﻣﻦ ﻣﻘﺒﺮﺓ "ﺳﺖ ﻧﺎﺧﺖ" ﺭﻗﻢ‪ 14‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ ﻟﻺﻟﻬﻴﻦ "ﺣﻮﺭﺱ" )ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺑﺮﺃﺱ ﺻﻘﺮ( ﻭ"ﺃﻧﻮﺑﻴﺲ" )ﻋﻠﻰ ﺍﻟﻴﻤﻴﻦ ﺑﺮﺃﺱ ﺍﺑﻦ‬
‫ﺁﻭﻯ( ﻭﻫﻤﺎ ﻳﻘﺪﻣﺎﻥ ﺁﻳﺎﺕ ﺍﻻﺣﺘﺮﺍﻡ ﻭﺍﻟﺘﻘﺪﻳﺮ ﻟـ"ﺃﻭﺯﻭﺭﻳﺲ" ﺍﻟﺬﻯ ﺭُﺳﻢ ﻣﺮﺓ ﻣﺘﺠﻬ ًﺎ ﺑﻮﺟﻬﻪ ﻧﺎﺣﻴﺔ ﺍﻟﻴﻤﻴﻦ ﻭﻣﺮﺓ ﺃﺧﺮﻯ ﻣﺘﺠﻬ ًﺎ ﻧﺎﺣﻴﺔ ﺍﻟﻴﺴﺎﺭ‪.‬‬
‫ﻭﻷﻥ "ﺃﻭﺯﻭﺭﻳﺲ" ﻛﺎﻥ ﺇﻟﻪ ﺍﻟﻤﻮﺗﻰ ﻭﺍﻟﻌﺎﻟﻢ ﺍﻵﺧﺮ ﻋﻨﺪ ﻗﺪﻣﺎء ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ،‬ﻓﻘﺪ ﺻﻮﺭﻭﻩ ﻋﻠﻰ ﺷﻜﻞ ﻣﻮﻣﻴﺎء‪.‬‬

‫ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﻓﻰ ﺍﻷﺻﻞ ﺧﺎﺻﺔ ﺑﺎﻟﻤﻠﻜﺔ "ﺗﻮﺳﺮﺕ" ﻭﻫﻰ ﺯﻭﺟﺔ ﺍﻟﻤﻠﻚ "ﺳﻴﺘﻰ ﺍﻟﺜﺎﻧﻰ"‪ ،‬ﺛﻢ ﺃﺧﺬ "ﺳﺖ ﻧﺎﺧﺖ"‬
‫)ﺣﻮﺍﻟﻰ ‪ 1187 - 1190‬ﻕ‪.‬ﻡ( ﺍﻟﻤﻘﺒﺮﺓ ﻟﻨﻔﺴﻪ ﻭﻭﺿﻊ ﺑﻬﺎ ﺗﺎﺑﻮﺗﻪ ﺍﻟﻤﺼﻨﻮﻉ ﻣﻦ ﺍﻟﺠﺮﺍﻧﻴﺖ‪ .‬ﻭﻗﺪ ﺯُﻳﻨﺖ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ‬
‫ﺑﻤﺸﺎﻫﺪ ﻣﻦ "ﻛﺘﺎﺏ ﺍﻟﻤﻮﺗﻰ" ﻭ"ﻛﺘﺎﺏ ﺍﻟﺒﻮﺍﺑﺎﺕ" ﻭ"ﻃﻘﺲ ﻓﺘﺢ ﺍﻟﻔﻢ"‪.‬‬

‫ﻭﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ‬
‫ﺇﻥ ﻭﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ ﺗﺮﻗﺪ ﻓﻰ ﺃﺭﺟﺎﺋﻪ ﻣﻠﻜﺎﺕ ﺍﻷﺳﺮ ‪ 20 ، 19 ، 18‬ﻭﻛﺬﻟﻚ ﺑﻌﺾ ﻣﻘﺎﺑﺮ ﺍﻷﻣﺮﺍء ﻭﺍﻷﻣﻴﺮﺍﺕ ﻣﻦ ﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ‬
‫ﺃﻳﻀﺎً‪ .‬ﻭﻳﺒﻠﻎ ﻋﺪﺩ ﻫﺬﻩ ﺍﻟﻤﻘﺎﺑﺮ ﺣﻮﺍﻟﻰ ﺃﻛﺜﺮ ﻣﻦ ‪ 70‬ﻣﻘﺒﺮﺓ ﻣﻌﻈﻤﻬﺎ ﺃﺻﺎﺑﻬﺎ ﺍﻟﺘﻠﻒ‪ .‬ﻭﻫﺬﺍ ﺍﻟﻮﺍﺩﻯ ﻳﻘﻊ ﻓﻰ ﺍﻟﺠﻨﻮﺏ ﺍﻟﻐﺮﺑﻰ‬
‫ﻣﻦ ﺟﺒﺎﻧﺔ "ﻃﻴﺒﺔ"‪ .‬ﻭﻣﻦ ﺃﻫﻢ ﺍﻟﻤﻘﺎﺑﺮ ﻭﺃﻓﻀﻠﻬﺎ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻷﺛﺮﻳﺔ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ "ﻧﻔﺮﺗﺎﺭﻯ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ ﻧﻔﺮﺗﺎﺭﻯ ﺭﻗﻢ ‪66‬‬

 ‫ﻭﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ ‪ -‬ﺭﺳﻮﻡ ﺣﺎﺋﻄﻴﺔ ﻓﻰ ﻣﻘﺒﺮﺓ "ﻧﻔﺮﺗﺎﺭﻯ" )ﺍُﻛﺘﺸﻔﺖ ﺳﻨﺔ‪.( 1904‬‬

‫ﺟﻮﻟﺔ ﻓﻰ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ "ﻧﻔﺮﺗﺎﺭﻯ" ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ‬

‫ﻫﻰ ﺍﻟﻤﻠﻜﺔ "ﻧﻔﺮﺗﺎﺭﻯ" ﺯﻭﺟﺔ ﺍﻟﻤﻠﻚ ﺍﻟﻤﺸﻬﻮﺭ " ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻧﻰ"‪ ،‬ﻭﻳﺒﺪﻭ ﺃﻧﻬﺎ ﻛﺎﻧﺖ ﺃﺣﺐ ﺍﻟﺰﻭﺟﺎﺕ ﺇﻟﻴﻪ‪ ،‬ﻭﺻﻮﺭﺗﻬﺎ‬
‫ﻣﻨﺤﻮﺗﺔ ﻭﻣﺼﻮﺭﺓ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ‪ .‬ﻭﺍﻟﻤﻠﻚ "ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻧﻰ" ﻫﻮ ﺛﺎﻟﺚ ﻣﻠﻮﻙ ﺍﻷﺳﺮﺓ ﺍﻟﺘﺎﺳﻌﺔ ﻋﺸﺮﺓ ﻭﻃﺎﻝ ﺣﻜﻤﻪ ﻣﺪﺓ‬
‫‪ 67‬ﻋﺎﻣﺎً‪ .‬ﻭﻫﻮ ﺍﻟﺬﻯ ﺃﻧﺸﺄ ﻋﺎﺻﻤﺔ ﺟﺪﻳﺪﺓ ﺳﻤﱠﺎﻫﺎ "ﺑﺮﻋﻤﺴﻮ" ﺃﻯ "ﺩﺍﺭ ﺭﻣﺴﻴﺲ"‪ ،‬ﻭﻏﺎﻟﺒﺎً ﻛﺎﻥ ﻣﻮﻗﻌﻬﺎ ﻗﺮﺏ " ﺻﺎﻥ‬
‫ﺍﻟﺤﺠﺮ" ﺑﺎﻟﺸﺮﻗﻴﺔ ﺍﻵﻥ‪ ،‬ﻭﺫﻟﻚ ﺣﺘﻰ ﻳُﺘﺎﺑﻊ ﺍﻟﺪﻭﻟﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻓﻰ ﺣﺪﻭﺩﻫﺎ ﻣﻦ ﻣﺼﺮ ﺣﺘﻰ ﺑﻼﺩ ﺍﻟﺸﺎﻡ‪ .‬ﻭﻋﻤﻮﻣﺎً ﻫﻮ ﺃﻛﺜﺮ‬
‫ﺍﻟﻔﺮﺍﻋﻨﺔ ﻓﻰ ﺑﻨﺎء ﻭﺇﻧﺸﺎء ﺍﻟﻤﻌﺎﺑﺪ ﻭﺍﻟﺘﻤﺎﺛﻴﻞ ﻓﻰ ﺃﺭﺟﺎء ﻣﺼﺮ ﻛﻠﻬﺎ‪.‬‬
 ‫ﻟﻮﺣﺔ ﺣﺎﺋﻄﻴﺔ ﻣﻦ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ "ﻧﻔﺮﺗﺎﺭﻯ" ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ ﺗُﺼﻮﺭ ﺍﻟﻤﻠﻜﺔ ﻭﻫﻰ ﺗﻠﻌﺐ ﻟﻌﺒﺔ ﺷﺒﻴﻬﺔ ﺑﺎﻟﺸﻄﺮﻧﺞ )ﻟﻌﺒﺔ "ﺳﻴﻨﻤﻮﺕ"‬
‫‪.( Senmut‬‬

‫ﻭﻳﻤﻜﻦ ﺍﻟﻨﺰﻭﻝ ﺇﻟﻰ ﻣﻘﺒﺮﺓ ﺍﻟﻤﻠﻜﺔ "ﻧﻔﺮﺗﺎﺭﻯ" ﺑﺴﻠﻢ ﻳﺆﺩﻯ ﺇﻟﻰ ﺑﺎﺏ ﺍﻟﻤﻘﺒﺮﺓ ﺍﻟﺬﻯ ﻳﻠﻴﻪ ﺳﻠﻢ ﺁﺧﺮ ﻳﺼﻞ ﺇﻟﻰ ﻗﺎﻋﺔ‬
‫ﻣﺘﻮﺳﻄﺔ ﺍﻟﺤﺠﻢ‪ .‬ﻓﺈﺫﺍ ﻣﺎ ﻭﻗﻒ ﺍﻟﺰﺍﺋﺮ ﻓﻰ ﻭﺳﻄﻬﺎ‪ ،‬ﺳﻴﺠﺪ ﻳﺴﺎﺭﺍً ﺇﻓﺮﻳﺰﺍً ﻳﺮﺗﻔﻊ ﻧﺤﻮ ﻃﻮﻝ ﻗﺎﻣﺔ ﺍﻟﺮﺟﺎﻝ ﺗﻘﺮﻳﺒﺎً ﻭﻓﻮﻕ ﻫﺬﺍ‬
‫ﺍﻹﻓﺮﻳﺰ ﺣُﻠﻴﺖ ﺍﻟﺠﺪﺭﺍﻥ ﺑﻨﻘﻮﺵ ﺟﻤﻴﻠﺔ ﺗُﻤﺜﻞ ﻫﺬﻩ ﺍﻟﻤﻠﻜﺔ ﻭﻫﻰ ﺗﻠﻌﺐ ﻟﻌﺒﺔ ﺷﺒﻴﻬﺔ ﺑﺎﻟﺸﻄﺮﻧﺞ ‪ ،‬ﻭﻓﻰ ﻣﻨﺎﻇﺮ ﺃﺧﺮﻯ ﻭﻫﻰ‬
‫ﺗﺘﻌﺒﺪ ﻟﻤﺨﺘﻠﻒ ﺍﻵﻟﻬﺔ‪ .‬ﺃﻣﺎ ﻓﻰ ﺍﻟﺠﺪﺍﺭ ﺍﻟﺬﻯ ﻋﻦ ﺍﻟﻴﻤﻴﻦ ﻓﻴﻮﺟﺪ ﺑﺎﺏ ﻳﻮﺻﻞ ﺇﻟﻰ ﺣﺠﺮﺓ ﺟﺎﻧﺒﻴﺔ‪ ،‬ﺯُﻳﻨﺖ ﺟﺪﺭﺍﻧﻬﺎ ﺑﺎﻟﻨﻘﻮﺵ‬
‫ﺍﻟﺠﻤﻴﻠﺔ ﺍﻟﻤﻠﻮﻧﺔ‪ ،‬ﻭﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﺠﺬﺍﺑﺔ ﺍﻟﺘﻰ ﺗﻤﺜﻞ ﺍﻟﻤﻠﻜﺔ ﻭﻫﻰ ﺗﺘﻌﺒﺪ ﻟﺒﻌﺾ ﺍﻵﻟﻬﺔ‪ ،‬ﻭﻣﻦ ﺑﻴﻨﻬﺎ ﺳﺒﻊ ﺑﻘﺮﺍﺕ ﺳُﻤﺎﻥ‬
‫ﻭﺛﻮﺭ ﻭﻫﻦ ﺭﻣﺰ ﺃﻣﻬﺎﺕ ﺍﻵﻟﻬﺔ‪ ،‬ﻭﺑﺎﻗﻰ ﺃﺟﺰﺍء ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﻣﺮﻣﻢ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻷﻣﻴﺮ ﺁﻣﻮﻥ ﺣﺒﺸﻒ ﺃﻭ ﺁﻣﻮﻥ ﺣﺮﺧﺒﺸﺐ‬

 ‫ﺧﺮﻳﻄﺔ ﻟﻤﻘﺒﺮﺓ ﺍﻷﻣﻴﺮ "ﺁﻣﻮﻥ ﺣﺮﺧﺒﺸﺐ" ﺭﻗﻢ‪ 55‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ‪.‬‬

‫ﻫﻮ ﺍﻷﻣﻴﺮ ﺍﻟﺼﻐﻴﺮ "ﺁﻣﻮﻥ ﺣﺒﺸﻒ" ﺃﻭ "ﺁﻣﻮﻥ ﺣﺮﺧﺒﺸﺐ" ‪ ، Amunherkhepshep‬ﺃﺣﺪ ﺃﺑﻨﺎء " ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ "‬
‫ﻣﻦ ﺍﻷﺳﺮﺓ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻭﻗﺪ ﻣﺎﺕ ﻫﺬﺍ ﺍﻷﻣﻴﺮ ﻭﻫﻮ ﻓﻰ ﺍﻟﺜﺎﻟﺜﺔ ﻋﺸﺮﺓ ﻣﻦ ﻋﻤﺮﻩ‪ .‬ﻭﻣﻘﺒﺮﺗﻪ )ﺭﻗﻢ ‪ 55‬ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻜﺎﺕ( ﻓﻴﻬﺎ‬
‫ﻧﻘﻮﺵ ﺟﻤﻴﻠﺔ ﻣﺎﺯﺍﻟﺖ ﻣﺤﺘﻔﻈﺔ ﺑﺄﻟﻮﺍﻧﻬﺎ ﺍﻟﺰﺍﻫﻴﺔ‪ ،‬ﻭﻳﺘﻤﺜﻞ ﻓﻴﻬﺎ ﺍﻟﻌﻄﻒ ﺍﻷﺑﻮﻯ ﻓﻰ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻟﻤﺆﺛﺮﺓ‪ .‬ﻓﻴُﺸﺎﻫﺪ ﺍﻟﻤﻠﻚ‬
‫"ﺭﻣﺴﻴﺲ ﺍﻟﺜﺎﻟﺚ" ﻭﻫﻮ ﻳﻘﺪﻡ ﺑﻨﻔﺴﻪ ﻭﻟﺪﻩ ﺍﻟﻤﺘﻮﻓﻰ ﺇﻟﻰ ﺍﻵﻟﻬﺔ‪ ،‬ﻭﻳﻮﺻﻰ ﺑﻪ ﺧﻴﺮﺍً‪ .‬ﻭﺗﺤﺘﻮﻯ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﻋﻠﻰ ﺣُﺠﺮﺓ‬
‫ﻣﺘﻮﺳﻄﺔ ﺍﻻﺗﺴﺎﻉ ﺛﻢ ﺑﺎﺏ ﻳﻮﺻﻞ ﺇﻟﻰ ﺳﺮﺩﺍﺏ ﻣﺴﺘﻄﻴﻞ ﻳﻮﺻﻞ ﺑﺪﻭﺭﻩ ﺇﻟﻰ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ ﺍﻟﺼﻐﻴﺮﺓ ﻭﺑﻬﺎ ﺍﻟﺘﺎﺑﻮﺕ ﺍﻟﺬﻯ‬
‫ﻛﺎﻥ ﺑﻪ ﺭﻓﺎﺕ ﺍﻷﻣﻴﺮ ﺍﻟﺼﻐﻴﺮ‪.‬‬

‫ﻭﻛﺎﻧﺖ ﻭﺍﻟﺪﺓ ﺍﻷﻣﻴﺮ "ﺁﻣﻮﻥ" ﺣﺒﻠﻰ ﻭﻗﺖ ﻭﻓﺎﺗﻪ‪ ،‬ﻭﻓﻰ ﺣﺰﻧﻬﺎ ﺃﺟﻬﻀﺖ ﺟﻨﻴﻨﻬﺎ ﻭﺩﻓﻨﺘﻪ ﻣﻊ "ﺁﻣﻮﻥ"‪ ،‬ﺣﻴﺚ ﻋُﺜﺮ ﻋﻠﻰ‬
‫ﻣﻮﻣﻴﺎء ﻟﺠﻨﻴﻦ ﻋﻤﺮﻩ ‪ 5‬ﺷﻬﻮﺭ ﺑﻤﻘﺒﺮﺓ ﺍﻷﻣﻴﺮ "ﺁﻣﻮﻥ"‪.‬‬
 ‫ﻣﻘﺒﺮﺓ ﺍﻷﻣﻴﺮ "ﺁﻣﻮﻥ ﺣﺮﺧﺒﺸﺐ" ‪ -‬ﻟﻮﺣﺔ ﺗُﺼﻮﺭ ﺍﻷﻣﻴﺮ ﻭﻫﻮ ﻳﺘﻌﺒﺪ ﻟﻺﻟﻪ "ﺧﻨﻮﻡ" )ﻟﻪ ﺭﺃﺱ ﻛﺒﺶ(‪.‬‬

‫ﻣﻘﺎﺑﺮ ﺍﻷﺷﺮﺍﻑ )ﺍﻟﻨﺒﻼء(‬

‫ﻭﻫﻰ ﺃﻛﺜﺮ ﻣﻦ ‪ 411‬ﻣﻘﺒﺮﺓ ﻣﺤﻔﻮﺭﺓ ﻓﻰ ﺍﻟﺼﺨﺮ‪ .‬ﻭﻳﺘﻜﻮﻥ ﻣﻌﻈﻤﻬﺎ ﻓﻰ ﺍﻟﻌﺎﺩﺓ ﻣﻦ ﺭﺣﺒﺔ ﻛﺒﻴﺮﺓ‪ ،‬ﺑﻬﺎ ﺑﺎﺏ ﺍﻟﻤﺪﺧﻞ‪.‬‬
‫ﻭﺳﻘﻔﻬﺎ ﻣﺤﻤﻮﻝ ﻋﻠﻰ ﺃﻋﻤﺪﺓ ﻓﻰ ﺍﻟﻐﺎﻟﺐ‪ .‬ﻭﻳﻠﻴﻬﺎ ﺩﻫﻠﻴﺰ ﻳﻮﺍﺟﻪ ﺍﻟﻤﺪﺧﻞ ﻭﻳﻨﺘﻬﻰ ﺑﻤﻘﺼﻮﺭﺓ ﻳﻮﺿﻊ ﻓﻴﻬﺎ ﺗﻤﺜﺎﻝ ﺍﻟﻤﻴﺖ‬
‫ﻭﺃﻗﺎﺭﺑﻪ‪ .‬ﻭﻳﻮﺟﺪ ﻓﻰ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻏﺮﻓﺘﺎﻥ ﻋﻠﻰ ﺟﺎﻧﺒﻰ ﺍﻟﺪﻫﻠﻴﺰ ﺍﻟﻤﺬﻛﻮﺭ‪ ،‬ﻛﻤﺎ ﻛﺎﻥ ﻳﻮﺟﺪ ﻓﻨﺎء ﺻﻐﻴﺮ ﺃﻣﺎﻡ ﻣﺪﺧﻞ‬
‫ﺍﻟﻤﻘﺒﺮﺓ ﺃُﻋﺪ ﻟﺘﻘﺪﻳﻢ ﺍﻟﻀﺤﺎﻳﺎ ﻭﺍﻟﻘﺮﺍﺑﻴﻦ‪ .‬ﺃﻣﺎ ﺍﻟﻨﻘﻮﺵ ﺍﻟﺘﻰ ﻛﺎﻧﺖ ﺗﺘﻌﺎﻗﺐ ﻋﻠﻰ ﺟﺪﺍﺭ ﺍﻟﺮﺣﺒﺔ ﻓﺘُﻤﺜﻞ ﺍﻟﻤﻴﺖ ﻭﻫﻮ ﻳﻘﻮﻡ‬
‫ﺑﺄﻋﻤﺎﻟﻪ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻓﻰ ﺣﻴﺎﺗﻪ ﺍﻷﺭﺿﻴﺔ‪ ،‬ﻭﻟﺬﺍ ﻓﺈﻧﻬﺎ ﺗﻠﻘﻰ ﺿﻮءﺍ ﻋﻠﻰ ﻃﺮﻳﻘﺔ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻤﺼﺮﻳﺔ ﺍﻟﻘﺪﻳﻤﺔ ﺃﻳﺎﻡ ﺍﻟﺪﻭﻟﺔ‬
‫ﺍﻟﺤﺪﻳﺜﺔ‪ .‬ﺃﻣﺎ ﺍﻟﻨﻘﻮﺵ ﺍﻟﺘﻰ ﻓﻰ ﺍﻟﺪﻫﻠﻴﺰ‪ ،‬ﻓﺈﻧﻬﺎ ﺗﻤﺜﻞ ﻓﻰ ﺍﻟﻌﺎﺩﺓ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺠﻨﺎﺋﺰﻳﺔ‪.‬‬
 ‫ﺃﺣﺪ ﻣﻨﺎﻇﺮ ﻣﻘﺎﺑﺮ ﺍﻟﻨﺒﻼء‪.‬‬

‫ﻭﻟﻤﺎ ﻛﺎﻥ ﺍﻟﺤﺠﺮ ﺍﻟﺠﻴﺮﻯ ﺍﻟﺬﻯ ﺣُﻔﺮﺕ ﻓﻴﻪ ﻫﺬﻩ ﺍﻟﻤﻘﺎﺑﺮ ﻫﺸﺎً ﺿﻌﻴﻔﺎً‪ ،‬ﻏﻄﻴﺖ ﺍﻟﺠﺪﺭﺍﻥ ﺃﻭﻻً ﺑﻄﺒﻘﺔ ﻣﻦ ﺍﻟﻐﺮﻳﻦ ﺗُﺪﻫﻦ‬
‫ﺑﺎﻟﺠﻴﺮ ﺛﻢ ﺗُﺠﻠّﻰ ﺑﻌﺪ ﺫﻟﻚ ﺑﺎﻟﻨﻘﻮﺵ ﻭﺍﻷﻟﻮﺍﻥ‪ .‬ﻭﺃﻫﻢ ﺍﻟﻤﻘﺎﺑﺮ ﺍﻟﻤﻮﺟﻮﺩﺓ ﻓﻰ ﻫﺬﻩ ﺍﻟﻤﻨﻄﻘﺔ ﻣﻘﺎﺑﺮ "ﻧﺨْﺖ"‪ ،‬ﻭ"ﻣﻨﻨﺎ"‪،‬‬
‫ﻭ"ﺭﺡ ﻣﻰ ﺭﻉ"‪ ،‬ﻭ"ﺭﻉ ﻣﻮﺯﺍ"‪ ،‬ﻭ"ﺳﻴﻨﻮﻓﺮ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﻧﺨﺖ ﺭﻗﻢ ‪52‬‬

 ‫ﺭﺳﻢ ﻣﻌﻤﺎﺭﻯ ﻟﻤﻘﺒﺮﺓ "ﻧﺨﺖ"‪.‬‬

‫ﻛﺎﻥ "ﻧﺨﺖ" ‪ Nakht‬ﻫﺬﺍ ﻛﺎﺗﺒﺎً ﻟﻠﻤﺨﺎﺯﻥ ﻓﻰ ﻋﻬﺪ ﺍﻟﻤﻠﻚ "ﺗﺤﺘﻤﺲ ﺍﻟﺮﺍﺑﻊ" ﻣﻦ ﺍﻷﺳﺮﺓ ﺍﻟﺜﺎﻣﻨﺔ ﻋﺸﺮﺓ ﻭﺗﺘﻜﻮﻥ‬
‫ﻣﻘﺒﺮﺗﻪ ﻣﻦ ﻣﺪﺧﻞ ﻳﻮﺻﻞ ﺇﻟﻰ ﺻﺎﻟﺔ ﻋﺮﺿﻴﺔ‪ ،‬ﺗﻮﺻﻞ ﺑﺪﻭﺭﻫﺎ ﺇﻟﻰ ﺻﺎﻟﺔ ﻃﻮﻟﻴﺔ‪ ،‬ﺗﻨﺘﻬﻰ ﺑﻨﻴﺶ ‪) niche‬ﺣﻴﺚ ﻳﻮﺟﺪ‬
‫ﺍﻟﺘﻤﺜﺎﻝ(‪ .‬ﻭﺍﻟﻐﺮﻓﺔ ﺍﻷﻭﻟﻰ ﻓﻘﻂ ﻫﻰ ﺍﻟﺘﻰ ﻳﻮﺟﺪ ﻋﻠﻰ ﺟﺪﺭﺍﻧﻬﺎ ﺻﻮﺭ ﺑﺪﻳﻌﺔ ﻻ ﺗﺰﺍﻝ ﻣﺤﺘﻔﻈﺔ ﺑﺠﻤﺎﻟﻬﺎ‪.‬ﻭﻣﻌﻈﻢ ﻫﺬﻩ ﺍﻟﺼﻮﺭ‬
‫ﺗُﻤﺜﻞ ﺍﻟﺤﻴﺎﺓ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻓﻰ ﻣﺼﺮ ﺍﻟﻘﺪﻳﻤﺔ ﻣﻦ ﺣﺮﺙ ﺍﻷﺭﺽ ﻭﺑﺬﺭ ﺍﻟﻘﻤﺢ ﻭﺣﺼﺎﺩﻩ‪ ،‬ﻭﻛﺬﻟﻚ ﻣﻨﺎﻇﺮ ﻗﻄﻒ ﺍﻟﻌﻨﺐ ﻭﻋﺼﺮﻩ‪،‬‬
‫ﻭﺻﻨﺎﻋﺔ ﺍﻟﻨﺒﻴﺬ‪ .‬ﻛﻤﺎ ﺗﻮﺟﺪ ﻣﻨﺎﻇﺮ ﻟﻠﺼﻴﺪ ﻓﻰ ﺍﻟﺒﺮ ﻭﺍﻟﺒﺤﺮ‪ ،‬ﻭﻣﻨﺎﻇﺮ ﻟﻤﺠﺎﻟﺲ ﺍﻟﻤﻮﺳﻴﻘﻰ ﻭﺍﻟﺮﻗﺺ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﻣﻨﻨﺎ ﺭﻗﻢ ‪69‬‬

‫ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﺧﺎﺻﺔ ﺑﺸﺨﺺ ﻳﺪﻋﻰ "ﻣﻨﻨﺎ" ‪ Menna‬ﻛﺎﻥ ﻛﺎﺗﺒﺎً ﻟﻠﺤﻘﻮﻝ ﺍﻟﻤﻠﻜﻴﺔ ﻓﻰ ﻋﻬﺪ "ﺗﺤﺘﻤﺲ ﺍﻟﺮﺍﺑﻊ" ﺃﻳﻀﺎً‪.‬‬
‫ﻭﻳﻈﻦ ﺍﻟﻨﺎﺱ ﺍﻟﻌﺎﻣﺔ ﺃﻥ ﻣﻘﺒﺮﺗﻪ ﻫﻰ ﻣﻘﺒﺮﺓ ﻭﺯﻳﺮ ﺍﻟﺰﺭﺍﻋﺔ ﻷﻥ ﻣﻌﻈﻢ ﻣﻨﺎﻇﺮ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﺗﺪﻭﺭ ﺣﻮﻝ ﺍﻟﺰﺭﺍﻋﺔ ﻣﻦ ﺣﺮﺙ‬
‫ﺍﻷﺭﺽ ﻭﺑﺬﺭ ﺍﻟﺤﺒﻮﺏ‪ ،‬ﻭﺯﺭﺍﻋﺔ ﺍﻟﻜﺘﺎﻥ ﻭﺗﻤﺸﻴﻄﻪ‪ ،‬ﻭﻣﻨﺎﻇﺮ ﺍﻟﺤﺼﺎﺩ‪ ،‬ﻭﺑﻌﺾ ﻣﻨﺎﻇﺮ ﺍﻟﺒﺤﺮ ﻭﺍﻟﺒﺮ‪ ،‬ﻛﻞ ﻫﺬﺍ ﺑﺈﺷﺮﺍﻑ‬
‫"ﻣﻨﻨﺎ"‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺭﺡ ﻣﻰ ﺭﻉ ﺭﻗﻢ ‪100‬‬

‫ﺇﻧﻬﺎ ﻣﻘﺒﺮﺓ ﺍﻟﻮﺯﻳﺮ "ﺭَﺡ ﻣﻰ ﺭﻉ" ﺍﻟﺬﻯ ﻋﺎﺵ ﻓﻰ ﻋﻬﺪ " ﺗﺤﺘﻤﺲ ﺍﻟﺜﺎﻟﺚ"‪ ،‬ﻭ"ﺃﻣﻨﺤﻮﺗﺐ ﺍﻟﺜﺎﻧﻰ" ﻣﻦ ﻣﻠﻮﻙ ﺍﻷﺳﺮﺓ‬
‫ﺍﻟﺜﺎﻣﻨﺔ ﻋﺸﺮﺓ‪ .‬ﻭﺗﺮﺟﻊ ﺃﻫﻤﻴﺔ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﻟﻤﺎ ﻋﻠﻰ ﺣﻮﺍﺋﻄﻬﺎ ﻣﻦ ﻧﻘﻮﺵ ﺗﺸﺮﺡ ﺑﺎﻟﺘﻔﺼﻴﻞ ﻣﻬﺎﻡ ﻭﺯﺭﺍء ﺫﻟﻚ ﺍﻟﻌﻬﺪ ‪،‬‬
‫ﻓﻨﺮﻯ ﺍﻟﻮﺯﻳﺮ ﺗﺎﺭﺓ ﻭﻫﻮ ﻳﺘﺴﻠﻢ ﺿﺮﻳﺒﺔ ﺍﻷﻗﺎﻟﻴﻢ ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻧﺮﺍﻩ ﻭﻫﻮ ﻳﺮﺃﺱ ﻣﺤﻜﻤﺔ ﺍﻟﻌﺪﻝ ﻭﻳﻔﺼﻞ ﺑﻴﻦ‬
‫ﺍﻟﻨﺎﺱ ﺑﺎﻟﻌﺪﻝ ﻭﺍﻟﻘﺴﻄﺎﺱ‪ .‬ﻭﻓﻰ ﺑﻌﺾ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻷﺧﺮﻯ ﻧﺮﺍﻩ ﻭﻫﻮ ﻳﺸﺮﻑ ﺑﻨﻔﺴﻪ ﻋﻠﻰ ﻣُﺨﺘﻠﻒ ﺍﻟﺼﻨﺎﻋﺎﺕ ﻣﻦ ﻧﺠﺎﺭﺓ‪،‬‬
‫ﻭﺣﺪﺍﺩﺓ‪ ،‬ﻭﺻﺒﺎﻏﺔ ﺍﻟﺠﻠﻮﺩ ﻭﺩﺑﻐﻬﺎ‪ .‬ﻛﻤﺎ ﻧﺮﺍﻩ ﻳُﺸﺮﻑ ﻋﻠﻰ ﺃﻋﻤﺎﻝ ﺍﻟﻤﻌﺎﺑﺪ ﻭﺗﺸﻴﻴﺪﻫﺎ‪ ،‬ﻭﺇﻋﺪﺍﺩ ﺍﻟﻄﻮﺏ ﺍﻟﺨﺎﺹ ﺑﻤﺒﺎﻧﻴﻬﺎ‪.‬‬
 ‫ﻭﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﺗﺘﻜﻮﻥ ﻣﻦ ﻓﻨﺎء ﻳﺘﻮﺳﻄﻪ ﻣﺪﺧﻞ ﻳﻮﺻﻞ ﺇﻟﻰ ﺻﺎﻟﺔ ﻋﺮﻳﻀﺔ ﺑﻬﺎ ﻣﺪﺧﻞ ﻓﻰ ﺍﻟﺠﺪﺍﺭ ﺍﻟﻤﻮﺍﺟﻪ ﻟﻠﺪﺍﺧﻞ ﻳﻮﺻﻞ‬
‫ﺇﻟﻰ ﺩﻫﻠﻴﺰ ﻃﻮﻳﻞ ﻳﻤﺘﺪ ﻓﻰ ﻗﻠﺐ ﺍﻟﺼﺨﺮ ﻟﻤﺴﺎﻓﺔ ﺗﺰﻳﺪ ﻋﻦ ‪ 30‬ﻣﺘﺮ‪ .‬ﻭﺍﻟﺮﺳﻮﻡ ﺍﻟﻤﻮﺟﻮﺩﺓ ﻋﻠﻰ ﺍﻟﺠﺪﺭﺍﻥ ﻋﻠﻰ ﺟﺎﻧﺐ ﻋﻈﻴﻢ‬
‫ﻣﻦ ﺍﻷﻫﻤﻴﺔ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺭﻉ ﻣﻮﺯﺍ ﺭﻗﻢ ‪55‬‬

 ‫ﻟﻮﺣﺘﺎﻥ ﻣﻦ ﻣﻘﺒﺮﺓ "ﺭﻉ ﻣﻮﺯﺍ" ﺭﻗﻢ‪. 55‬‬

‫ﻛﺎﻥ "ﺭﻉ ﻣﻮﺯﺍ" ‪ Ramose‬ﻳﺸﻐﻞ ﻣﻨﺼﺐ ﺣﺎﻛﻢ "ﻃﻴﺒﺔ" ﻭﻭﺯﻳﺮ ﻓﻰ ﻋﻬﺪ ﻛﻞ ﻣﻦ "ﺃﻣﻨﺤﻮﺗﺐ ﺍﻟﺜﺎﻟﺚ" ﻭﺑﺪﺍﻳﺔ ﻋﻬﺪ‬
‫"ﺃﺧﻨﺎﺗﻮﻥ"‪ .‬ﻭﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﻏﺎﻳﺔ ﻓﻰ ﺍﻷﻫﻤﻴﺔ ﻭﺫﻟﻚ ﻷﻥ ﻣﻘﺒﺮﺓ ﻫﺬﺍ ﺍﻟﺸﺨﺺ "ﺭﻉ ﻣﻮﺯﺍ" ﻳﻌﻮﺩ ﺗﺎﺭﻳﺨﻬﺎ ﺇﻟﻰ‬
‫ﻋﺼﺮ "ﺇﺧﻨﺎﺗﻮﻥ"‪ ،‬ﻭﻫﻰ ﻣﻦ ﺃﻛﺒﺮ ﻭﺃﻫﻢ ﻣﻘﺎﺑﺮ ﺍﻟﺠﺒﺎﻧﺔ‪.‬‬

‫ﻭﻧﻘﻮﺵ ﻫﺬﻩ ﺍﻟﻤﻘﺒﺮﺓ ﺟﻤﻌﺖ ﺑﻴﻦ ﻧﻮﻋﻴﻦ ﻣﺨﺘﻠﻔﻴﻦ‪ :‬ﺍﻷﻭﻝ ﻳﺸﻤﻞ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﺪﻗﻴﻘﺔ ﺍﻟﻤﻔﺼﻠﺔ ﻭﺍﻟﻤﺮﺳﻮﻣﺔ ﺑﺎﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ‬
‫ﻋﻠﻰ ﺍﻟﺤﺠﺮﺓ ﻣﻦ ﻏﻴﺮ ﺃﻟﻮﺍﻥ‪ ،‬ﻭﺗُﻤﺜﻞ ﻓﻦ ﺍﻷﺳﺮﺓ ﺍﻟﺜﺎﻣﻨﺔ ﻋﺸﺮﺓ‪ .‬ﻭﺍﻟﻘﺴﻢ ﺍﻟﺜﺎﻧﻰ ﻳﺸﻤﻞ ﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﺘﻰ ﺗﺮﺟﻊ ﺇﻟﻰ‬
‫"ﺇﺧﻨﺎﺗﻮﻥ" ﻭﻣﻌﻈﻤﻬﺎ ﻣﺼﻮﺭﺓ ﺑﺎﻷﻟﻮﺍﻥ ﻓﻮﻕ ﻃﺒﻘﺔ ﺍﻟﺠﺺ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺳﻴﻨﻮﻓﺮ ﺭﻗﻢ ‪96‬‬

‫ﻣﻘﺒﺮﺓ "ﺳﻴﻨﻮﻓﺮ" ﺭﻗﻢ ‪ 96‬ﻭﻫﻰ ﺃﺣﺪ ﻣﻘﺎﺑﺮ ﺍﻟﻨﺒﻼء‬

‫ﻋﻤﻞ ﺍﻷﻣﻴﺮ "ﺳﻴﻨﻮﻓﺮ" ‪) Sennofer‬ﻭﻫﻮ ﻣﻦ "ﻃﻴﺒﺔ"( ﻣﺸﺮﻓﺎً ﻋﻠﻰ ﺣﺪﺍﺋﻖ ﻣﻌﺒﺪ "ﺁﻣﻮﻥ" ﻓﻰ ﻋﻬﺪ ﺍﻟﻤﻠﻚ‬
‫"ﺃﻣﻨﺤﺘﺐ )ﺃﻣﻨﻮﻓﻴﺲ( ﺍﻟﺜﺎﻧﻰ"‪ .‬ﻭﺗُﺰﻳﻦ ﺳﻘﻒ ﺍﻟﺤﺠﺮﺓ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻤﻘﺒﺮﺗﻪ ﺗﺸﻜﻴﻼﺕ ﻣﻦ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﻟﻤﺘﺪﺍﺧﻠﺔ ﻭﻫﻰ‬
‫ﻓﻰ ﻏﺎﻳﺔ ﺍﻟﻮﺿﻮﺡ‪ ،‬ﺃﻣﺎ ﺍﻟﺤﻮﺍﺋﻂ ﻭﺍﻷﻋﻤﺪﺓ ﺍﻟﻤﺤﻴﻄﺔ ﻓﻤﻌﻈﻢ ﺍﻟﻤﺸﺎﻫﺪ ﺍﻟﻤﺮﺳﻮﻣﺔ ﻋﻠﻴﻬﺎ ﺗُﺼﻮﺭ ﺍﻷﻣﻴﺮ "ﺳﻴﻨﻮﻓﺮ" ﻣﻊ‬
‫ﺃﺧﺘﻪ‪.‬‬

‫ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ‬

‫‪ 19‬ﻭ‪ 20‬ﻣﻦ ﺍﻟﺪﻭﻟﺔ ﺍﻟﺤﺪﻳﺜﺔ‪ .‬ﻭﻗﺪ ﺳﻜﻦ‬‫ﻣﻨﻈﺮ ﻋﺎﻡ ﻟﻤﻨﻄﻘﺔ "ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ" ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﻮﺟﺪ ﻗﺮﻳﺔ ﻟﻠﻌﻤﺎﻝ ﻭﺍﻟﻔﻨﺎﻧﻴﻦ ﺗﺮﺟﻊ ﺃﺳﺎﺳ ًﺎ ﻟﻸﺳﺮﺗﻴﻦ‬
‫ﻋﺼﺮ‬
‫ﻫﺬﻩ ﺍﻟﻤﻨﻄﻘﺔ ﺃﻳﻀ ًﺎ ﺭﻫﺒﺎﻥ ﻣﻦ ﺍﻟﻌﺼﻮﺭ ﺍﻷﻭﻟﻰ ﻟﻠﻤﺴﻴﺤﻴﺔ ﻭﻟﺬﻟﻚ ﺳُﻤﻰ ﺍﻟﻤﻜﺎﻥ ﺑـ"ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ"‪ .‬ﻭﺗﻮﺟﺪ ﺑﺎﻟﻤﻨﻄﻘﺔ ﺑﻘﺎﻳﺎ ﻣﻌﺒﺪ ﻣﻦ‬
‫ﺍﻟﺒﻄﺎﻟﻤﺔ ﻛﺎﻥ ﻣﻜﺮﺳ ًﺎ ﻟﻺﻟﻬﺔ "ﺣﺘﺤﻮﺭ" ﻭﺍﻹﻟﻬﺔ "ﻣﻌﺎﺕ" )ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻭﻓﻰ ﻭﺳﻂ ﺍﻟﺼﻮﺭﺓ(‪ .‬ﻭﻗﺪ ﺃﻧﺸﺄ ﺍﻟﻌﻤﺎﻝ ﻣﻘﺎﺑﺮ ﺻﺨﺮﻳﺔ ﻷﺳﺮﻫﻢ ﻓﻰ‬
‫ﺟﺎﻧﺐ ﺍﻟﺠﺒﻞ ﺍﻟﻐﺮﺑﻰ ﺍﻟﺬﻯ ﻳﺸﺮﻑ ﻋﻠﻰ ﻗﺮﻳﺘﻬﻢ ﻭﺍﻟﺬﻯ ﺍﻟﺘﻘﻄﺖ ﻣﻦ ﻓﻮﻗﻪ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ‪ .‬ﻛﻤﺎ ﺍُﻛﺘﺸﻔﺖ ﺍﻷﺳﺎﺳﺎﺕ ﺍﻟﺤﺠﺮﻳﺔ ﻟﻠﺒﻴﻮﺕ ﺍﻟﺘﻰ ﻛﺎﻥ‬
‫ﻳﺴﻜﻨﻬﺎ ﻫﺆﻻء ﺍﻟﻌﻤﺎﻝ )ﻓﻰ ﻣﻨﺘﺼﻒ ﺍﻟﺼﻮﺭﺓ ﺇﻟﻰ ﺍﻟﻴﻤﻴﻦ(‪ .‬ﻭﻣﻦ ﻫﺬﻩ ﺍﻟﺒﻴﻮﺕ ﻛﺎﻥ ﺍﻟﻌﻤﺎﻝ ﻳﺘﺠﻬﻮﻥ ﺷﻤﺎ ًﻻ ﺇﻟﻰ ﻗﻤﺔ ﺍﻟﺠﺒﻞ ﺍﻟﻐﺮﺑﻰ‪ ،‬ﺛﻢ ﺇﻟﻰ ﺃﺳﻔﻞ‬
‫ﻟﻴﺼﻠﻮﺍ ﺇﻟﻰ ﻭﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ ﺣﻴﺚ ﻛﺎﻧﻮﺍ ﻳﺒﻨﻮﻥ ﻭﻳﺰﻳﻨﻮﻥ ﻣﻘﺒﺮﺓ ﺍﻟﻔﺮﻋﻮﻥ ﺍﻟﺤﺎﻛﻢ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﺨﺎﺩﻡ ﺳﻴﻨﻴﺪﺟﻴﻢ ﺭﻗﻢ ‪ 1‬ﺑﺪﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﻛﺮﺳﻰ ﻳﺮﺟﻊ ﺇﻟﻰ ﺍﻷﺳﺮﺓ ‪) 19‬ﺣﻮﺍﻟﻰ ﺳﻨﺔ ‪ 1250‬ﻕ‪.‬ﻡ( ﻋُﺜﺮ ﻋﻠﻴﻪ ﻓﻰ ﻣﻘﺒﺮﺓ "ﺳﻴﻨﻴﺪﺟﻴﻢ" ﺑـ"ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ" ﻏﺮﺑﻰ "ﻃﻴﺒﺔ"‪ ،‬ﻭﻫﻮ ﻣﻐﻄﻰ‬
‫ﺑﺎﻟﻜﺎﻣﻞ ﺑﺎﻟﻄﻼء ﻭﻏﻴﺮ ﻣﺘﻘﻦ ﺍﻟﺼﻨﻊ‪.‬‬

‫ﻣﻘﺒﺮﺓ ﺍﻟﺨﺎﺩﻡ "ﺳﻴﻨﻴﺪﺟﻴﻢ" ﺑـ"ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ"‬

‫ﻛﺎﻥ "ﺳﻴﻨﻴﺪﺟﻴﻢ" ‪ Sennedjem‬ﺧﺎﺩﻣﺎً ﻓﻰ ﻋﻬﺪ ﺍﻷﺳﺮﺓ ‪ ، 19‬ﻭﺗﺘﻜﻮﻥ ﻣﻘﺒﺮﺗﻪ ﺑـ"ﺩﻳﺮ ﺍﻟﻤﺪﻳﻨﺔ" ﻣﻦ ﺣﺠﺮﺓ ﻭﺍﺣﺪﺓ‬
‫ﻓﻘﻂ‪ ،‬ﻟﻜﻦ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﺤﺎﺋﻄﻴﺔ ﺑﻬﺎ ﺗُﻌﺪ ﺁﻳﺔ ﻓﻰ ﺍﻟﺮﻭﻋﺔ ﻭﺍﻟﺠﻤﺎﻝ‪ .‬ﻭﻣﻦ ﺃﺟﻤﻞ ﻫﺬﻩ ﺍﻟﺮﺳﻮﻣﺎﺕ ﻣﺸﻬﺪ ﻟﻘﻂ ﻳﻘﺘﻞ ﺛﻌﺒﺎﻧﺎً‪،‬‬
‫ﻭﻳﻤﻜﻦ ﺭﺅﻳﺔ ﻫﺬﺍ ﺍﻟﻤﻨﻈﺮ ﺃﻋﻠﻰ ﻣﺪﺧﻞ ﺣﺠﺮﺓ ﺍﻟﺪﻓﻦ‪.‬‬

‫ﻟﻤﺤﺔ ﻋﻦ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﺘﻰ ﻛﺎﻧﺖ ﺳﺎﺋﺪﺓ ﻓﻰ ﻋﺼﺮ ﺍﻟﺪﻭﻟﺔ ﺍﻟﺤﺪﻳﺜﺔ‬

‫ﻛﺎﻧﺖ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﺴﺎﺋﺪﺓ ﻓﻰ ﻋﺼﺮ ﺍﻟﺪﻭﻟﺔ ﺍﻟﺤﺪﻳﺜﺔ ﺗﻘﻮﻝ ﺃﻥ ﺍﻟﻤﻠﻚ ﺣﻴﻦ ﻳﻤﻮﺕ ﻳﺴﻴﺮ ﻣﻊ ﺍﻹﻟﻪ "ﺭﻉ" ﺃﻯ ﺍﻟﺸﻤﺲ‬
‫ﻓﻰ ﺳﻔﻴﻨﺘﻪ ﺍﻟﻤﻘﺪﺳﺔ ﻃﻮﺍﻝ ﺍﻟﻠﻴﻞ‪ ،‬ﺣﻴﺚ ﺗﺠﺘﺎﺯ ﻣﻌﻪ ﺍﻟﻌﻘﺒﺎﺕ ﺇﻟﻰ ﺍﻟﻤﻘﺒﺮﺓ‪ ،‬ﺍﻟﺘﻰ ﻣﺎ ﻫﻰ ﺇﻻ ﺻﻮﺭﺓ ﻣﺼﻐﺮﺓ ﻟﻠﻌﺎﻟﻢ ﺍﻟﺴﻔﻠﻰ‬
‫ﺑﺠﻤﻴﻊ ﺃﺟﺰﺍﺋﻪ ﻭﺳﻜﺎﻧﻪ‪ .‬ﻟﺬﻟﻚ ﺣﻔﺮﻭﺍ ﻣﻘﺎﺑﺮ ﻣﻠﻮﻛﻬﻢ ﻋﻠﻰ ﺷﻜﻞ ﺃﻧﺎﺑﻴﺐ ﻣﺴﺘﻄﻴﻠﺔ ﺿﻴﻘﺔ‪ ،‬ﻋﻠﻰ ﻣﺜﺎﻝ ﻣﺎ ﺗﺼﻮﺭﻭﻩ ﻋﻦ‬
 ‫ﺍﻟﻄﺮﻳﻖ ﺍﻟﻤﻈﻠﻢ ﺍﻟﺬﻯ ﻳﺴﻴﺮ ﻓﻴﻪ ﻣﻮﻛﺐ ﺍﻟﺸﻤﺲ ﻓﻰ ﺭﺣﻠﺘﻪ ﺍﻟﻠﻴﻠﻴﺔ ﺍﻟﺘﻰ ﺗﻮﺻﻞ ﻟﻠﻌﺎﻟﻢ ﺍﻟﺴﻔﻠﻰ‪ ،‬ﺛﻢ ﻧﻘﺸﻮﺍ ﻋﻠﻰ ﺣﻮﺍﺋﻂ‬
‫ﺍﻟﻤﻘﺒﺮﺓ ﺻﻮﺭﺍً ﻓﺮﻳﺪﺓ ﻟﻤﻮﻛﺐ ﺍﻟﺸﻤﺲ ﻓﻰ ﺭﺣﻠﺘﻪ ﺍﻟﻨﻬﺎﺭﻳﺔ ﺣﻮﻝ ﺳﻤﺎء ﺍﻟﺪﻧﻴﺎ‪ ،‬ﺛﻢ ﺭﺣﻠﺘﻪ ﺍﻟﻠﻴﻠﻴﺔ ﻋﺒﺮ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺴﻔﻠﻰ‪ .‬ﻭﻓﻰ‬
‫ﺗﻠﻚ ﺍﻟﺮﺣﻠﺔ ﻳﺠﺘﺎﺯ ﺇﻟﻪ ﺍﻟﺸﻤﺲ "ﺭﻉ" ﺍﺛﻨﺘﻰ ﻋﺸﺮﺓ ﻣﻨﻄﻘﺔ ﻓﻰ ﻫﺬﺍ ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻟﻜﻞ ﻣﻨﻬﺎ ﺑﺎﺏ ﺗﺤﺮﺳﻪ ﺃﻓﺎﻉ ﻭﺁﻟﻬﺔ ﻭﺃﺭﻭﺍﺡ‬
‫ﻃﻴﺒﺔ‪ ،‬ﻭﻛﺎﻧﻮﺍ ﻳُﻤﺜﻠﻮﻥ ﻋﻠﻰ ﺍﻟﺤﺎﺋﻂ ﻛﻴﻒ ﻳﺠﺘﺎﺯ ﺍﻹﻟﻪ ﺍﻟﻌﻈﻴﻢ ﺗﻠﻚ ﺍﻟﻤﻨﺎﻃﻖ ﻭﺍﺣﺪﺓ ﺑﻌﺪ ﺍﻷﺧﺮﻯ ﻣﺘﺨﻄﻴﺎً ﻋﺪﺓ ﺃﺧﻄﺎﺭ‪.‬‬

‫ﻭﻛﺎﻥ ﺍﻟﻤﻠﻮﻙ ﻳﻌﺘﻘﺪﻭﻥ ﺃﻧﻪ ﺇﺫﺍ ﻣﺎﺕ ﺃﺣﺪﻫﻢ ﺍﺗﺤﺪﺕ ﺭﻭﺣﻪ ﻣﻊ ﺍﻹﻟﻪ "ﺭﻉ" ﻭﻻﺯﻣﺘﻪ ﻓﻰ ﺭﺣﻠﺘﻴﻪ ﺍﻟﻨﻬﺎﺭﻳﺔ ﻭﺍﻟﻠﻴﻠﻴﺔ‪ .‬ﻭﺑﺬﻟﻚ‬
‫ﺗﺘﺠﺪﺩ ﺣﻴﺎﺗﻬﻢ ﻛﻠﻤﺎ ﺃﺷﺮﻗﺖ ﺍﻟﺸﻤﺲ‪ .‬ﻭﻟﻜﻰ ﺗﻤﺮ ﺭﻭﺡ ﺍﻟﻤﻴﺖ ﺑﺴﻼﻡ ﻓﻰ ﺻﺤﺒﺔ ﻣﺮﻛﺐ ﺍﻟﺸﻤﺲ‪ ،‬ﻛﺎﻥ ﺍﻟﻮﺍﺟﺐ ﺃﻥ ﺗُﺘﻠﻰ‬
‫ﺗﻌﺎﻭﻳﺬ ﻃﻮﻳﻠﺔ ﻭﺻﻴﻎ ﺧﺎﺻﺔ ﺃﻣﺎﻡ ﻛﻞ ﺑﺎﺏ ﻣﻦ ﺃﺑﻮﺍﺏ ﺗﻠﻚ ﺍﻟﻤﻨﺎﻃﻖ ﻛﻰ ﻳﻔﺘﺢ ﻟﻬﺎ ﺍﻟﻄﺮﻳﻖ‪ .‬ﻭﻗﺪ ﺟﻤﻌﺖ ﺗﻠﻚ ﺍﻟﺘﻌﺎﻭﻳﺬ ﻓﻰ‬
‫ﻋﺪﺓ ﻛﺘﺐ ﻣﻨﻬﺎ ﻛﺘﺎﺏ "ﻣﺎ ﻓﻰ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺴﻔﻠﻰ" ﺛﻢ ﻛﺘﺎﺏ "ﺍﻟﺒﻮﺍﺑﺎﺕ"‪ ..‬ﻭﺗﻮﺟﺪ ﻛﺜﻴﺮ ﻣﻦ ﻧﺼﻮﺹ ﻫﺬﻳﻦ ﺍﻟﻜﺘﺎﺑﻴﻦ ﻋﻠﻰ‬
‫ﺟﺪﺭﺍﻥ ﺍﻟﻤﻘﺎﺑﺮ ﺑﻮﺍﺩﻯ ﺍﻟﻤﻠﻮﻙ‪.‬‬

‫ﺑﻌﺪ ﺍﻟﻤﻮﺕ ﻛﺎﻧﺖ ﺍﻷﺭﻭﺍﺡ ‪ -‬ﺭﺟﺎﻻً ﻭﻧﺴﺎء ‪ -‬ﺗﺘﺠﻪ ﺇﻟﻰ ﺍﻟﻮﺍﺩﻯ ﺍﻟﺮﻫﻴﺐ‪ ،‬ﻭﻫﻮ ﻋﻠﻰ ﺷﻜﻞ ﻧﺼﻒ ﺩﺍﺋﺮﺓ‪ ،‬ﺭﺳﺒﺖ ﻋﻠﻰ‬
‫ﺟﻮﺍﻧﺒﻪ ﺻﺨﻮﺭ ﻭﺟﺒﺎﻝ ﺷﺎﻣﺨﺔ‪ .‬ﻭﻓﻰ ﺑﻄﻨﻪ ﺟﺮﻯ ﻧﻬﺮ ﺍﻟﺪﻳﻨﻮﻧﺔ )ﺍﻟﺤﺴﺎﺏ( ﺍﻟﻤﺨﻴﻒ‪ .‬ﺗﻠﻚ ﻛﺎﻧﺖ ﻣﻤﻠﻜﺔ ﺍﻟﻈﻼﻡ‪ ،‬ﻓﻤﻴﺎﻩ‬
‫ﺍﻟﻨﻬﺮ ﻋﻜﺮﺓ ﺩﺍﻛﻨﺔ ﺗﻨﺒﻌﺚ ﻣﻨﻬﺎ ﺃﺑﺨﺮﺓ ﺧﺎﻧﻘﺔ ﻻ ﻳﺴﺘﻨﺸﻘﻬﺎ ﺇﻧﺴﺎﻥ ﻭﻳﻌﻴﺶ‪ ،‬ﻭﻋﻠﻰ ﻃﻮﻝ ﻣﺠﺮﺍﻩ ﻣﻨﺎﻇﺮ ﻣﺮﻭﻋﺔ ﻳﺮﺗﻌﺶ‬
‫ﺃﻣﺎﻣﻬﺎ ﺃﺷﺠﻊ ﺍﻟﺸﺠﻌﺎﻥ‪ .‬ﻭﻟﻢ ﻳﻜﻦ ﺑﺪﱡ ﻣﻦ ﺃﻥ ﺗﻘﻄﻊ ﺍﻷﺭﻭﺍﺡ ﻫﺬﺍ ﺍﻟﻄﺮﻳﻖ ﻗﺒﻞ ﻭﻟﻮﺟﻬﺎ ﻓﺮﺩﻭﺱ ﺍﻟﻨﻌﻴﻢ‪.‬‬

‫ﻛﺎﻥ ﺍﻟﻮﺍﺩﻯ ﻣﻘﺴﻤﺎً ﺇﻟﻰ ﺍﺛﻨﺘﻰ ﻋﺸﺮﺓ ﻣﻨﻄﻘﺔ‪ ،‬ﻳﺸﻴﺮ ﻛﻞ ﻣﻨﻪ ﺇﻟﻰ ﺳﺎﻋﺔ ﻣﻦ ﺳﺎﻋﺎﺕ ﺍﻟﻠﻴﻞ ﺍﻟﺒﻬﻴﻢ‪ ،‬ﻭﻣﺪﺧﻠﻪ ﻣﺤﺼﱠﻦ‬
‫ﺑﺄﺳﻮﺍﺭ ﻣﺮﺗﻔﻌﺔ ﻭﺑﻮﺍﺑﺎﺕ ﺿﺨﻤﺔ ﻳﻘﻮﻡ ﻋﻠﻰ ﺣﺮﺍﺳﺘﻬﺎ ﻭﺣﺶ ﺩﻣﻴﻢ‪ .‬ﻭﻋﻠﻰ ﺷﺎﻃﺊ ﺍﻟﻨﻬﺮ ﻭﻓﻰ ﺛﻨﺎﻳﺎ ﺍﻟﺼﺨﻮﺭ ﻛﻤﻨﺖ‬
‫ﺍﻷﻓﺎﻋﻰ ﺫﻭﺍﺕ ﺍﻷﻋﻴﻦ ﺍﻟﻨﺎﺭﻳﺔ ﻭﺍﻟﻔﺤﻴﺢ ﺍﻟﺬﻯ ﻳﺨﻠﻊ ﺍﻟﻘﻠﻮﺏ‪ ،‬ﻭﺃﻃﻠﺖ ﺍﻟﺜﻌﺎﺑﻴﻦ ﺍﻟﻘﺎﺗﻠﺔ ﻣﻦ ﺟﺤﻮﺭﻫﺎ ﻣﺘﺮﺑﺼﺔ ﻛﻠﻬﺎ‬
‫ﺑﺎﻟﺤﺠﺎﺝ‪ ،‬ﺍﻟﺬﻳﻦ ﻟﻢ ﺗﺘﻬﻴﺄ ﻟﻬﻢ ﺃﺳﻠﺤﺔ ﺍﻟﻨﺼﺮ ﻓﻰ ﻫﺬﻩ ﺍﻟﺮﺣﻠﺔ ﺍﻟﻤﺮﻳﺮﺓ‪.‬‬

‫ﻭﻟﻢ ﻳﻜﻦ ﻓﻰ ﺍﺳﺘﻄﺎﻋﺔ ﺍﻟﺮﻭﺡ ﺃﻥ ﺗﺠﺘﺎﺯ ﺍﻟﻮﺍﺩﻯ ﺍﻟﻤﻈﻠﻢ ﺑﻤﻔﺮﺩﻫﺎ‪ ،‬ﻟﻬﺬﺍ ﻛﺎﻧﺖ ﺗﺘﺠﻤﻊ ﺍﻷﺭﻭﺍﺡ ﺣﻮﻝ ﺍﻟﻤﺪﺧﻞ ﺍﻟﺮﺋﻴﺴﻰ‪،‬‬
‫ﺣﺘﻰ ﺇﺫﺍ ﺍﻗﺘﺮﺏ "ﺭﻉ" ﻋﻨﺪ ﻣﻐﻴﺐ ﺍﻟﺸﻤﺲ ﺍﺯﺩﺣﻢ ﺍﻷﻣﻮﺍﺕ ﺍﻷﺭﻭﺍﺡ ﻣﺤﺎﻭﻟﻴﻦ ﺍﻟﺘﺴﻠﻖ ﻭﺍﻟﺪﺧﻮﻝ ﻓﻰ ﺍﻟﺰﻭﺭﻕ ﺍﻹﻟﻬﻰ‪،‬‬
‫ﻭﻳﻨﺠﺢ ﻋﺪﺩ ﻣﻨﻬﻢ ﻓﻰ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺃﻣﻜﻨﺔ ﻓﻰ ﺍﻟﻘﺎﺭﺏ‪ ،‬ﺃﻣﺎ ﺍﻟﺬﻳﻦ ﺗﻨﻘﺼﻬﻢ ﺃﺳﻠﺤﺔ ﺍﻟﺒﺮ ﻭﺩﺭﻉ ﺍﻟﻔﻀﻴﻠﺔ‪ ،‬ﻓﺘﺠﺮﻓﻬﻢ‬
‫ﺍﻟﺰﺣﺎﻓﺎﺕ ﺃﻭ ﺗﺒﺘﻠﻌﻬﻢ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺤﺎﻟﻜﺔ‪ ،‬ﺃﻭ ﺗﻠﺘﻬﻤﻬﻢ ﺃﻓﻮﺍﻩ ﺍﻟﺘﻤﺎﺳﻴﺢ‪.‬‬

‫ﺛﻢ ﻳﺪﺧﻞ ﺍﻟﺰﻭﺭﻕ‪ ،‬ﻭﻳﺒﺪﺃ ﺍﻷﻣﻮﺍﺕ ﺭﺣﻠﺘﻬﻢ ﻓﻰ ﻇﻞ ﺭﻭﺡ ﺍﻹﻟﻪ "ﺭﻉ"‪ .‬ﻋﻠﻰ ﺃﻥ ﺫﻟﻚ ﻟﻢ ﻳﻌﻔﻬﻢ ﻣﻦ ﻣﻮﺍﺟﻬﺔ ﺍﻷﻋﺪﺍء‬
‫ﺍﻟﻤﻨﺒﺜﻴﻦ ﻋﻠﻰ ﺟﺎﻧﺒﻰ ﺍﻟﻨﻬﺮ‪ ،‬ﻭﺍﻷﺭﻭﺍﺡ ﺍﻟﺨﺒﻴﺜﺔ ﺍﻟﺘﻰ ﺗﺤﺎﻭﻝ ﺃﻥ ﺗﻘﻠﺐ ﺍﻟﺰﻭﺭﻕ ﻭﺗﺤﻄﻤﻪ ﺑﻤﻦ ﻓﻴﻪ‪ .‬ﻟﻜﻨﻬﻢ ﺍﺳﺘﻨﺎﺩﺍً ﻋﻠﻰ‬
‫ﺫﺭﺍﻉ "ﺭﻉ" ﻳﺘﻤﻜﻨﻮﻥ ﻣﻦ ﺻﺪﱢ ﺍﻟﻮﺣﻮﺵ ﺍﻟﻬﺎﺋﻤﺔ ﻓﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺨﻤﺲ ﺍﻷﻭﻟﻰ‪ .‬ﺃﻣﺎ ﻋﻨﺪ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺴﺎﺩﺳﺔ ﺣﻴﻨﻤﺎ‬
‫ﻳﻨﺘﺼﻒ ﺍﻟﻠﻴﻞ ﻓﻼ ﺣﻮﻝ ﻭﻻ ﺣﻴﻠﺔ ﻟﻺﻟﻪ‪ .‬ﺑﻞ ﺃﻥ "ﺭﻉ" ﻳﺘﺨﻠﱠﻰ ﻋﻨﻬﻢ ﻣﺘﻨﺤﻴﺎً ﻣﻜﺎﻧﺎً ﻗﺼﱢﻴﺎً‪ ،‬ﻭﻳﻘﻔﻞ ﻭﺭﺍءﻩ ﺍﻟﺒﺎﺏ ﻛﻰ ﺗﻮﺍﺟﻪ‬
‫ﺍﻟﺮﻭﺡ ﻣﺼﻴﺮﻫﺎ ﻭﺣﺪﻫﺎ ‪ ...‬ﺇﻧﻬﺎ ﻣﺤﻜﻤﺔ "ﺃﻭﺯﻳﺮﻳﺲ" ﺍﻟﻌﻈﻴﻢ ﺭﺋﻴﺲ ﺍﻟﻘﻀﺎﺓ ﻭﺩﻳﺎﻥ ﺍﻟﻤﻮﺗﻰ ‪...‬‬

‫ﺭﺩﻫﺔ ﻛﺒﺮﻯ ﻳﻨﺘﻈﻢ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺍﺛﻨﺎﻥ ﻭﺃﺭﺑﻌﻮﻥ ﺇﻟﻬﺎً ﻣﻤﺜﻠﻴﻦ ﻋﺪﺩ ﺍﻹﻣﺎﺭﺍﺕ ﻓﻰ ﺍﻟﻤﻤﻠﻜﺔ ﺍﻟﻤﺼﺮﻳﺔ‪ ،‬ﻳﺠﻠﺲ ﻛﻞ ﻣﻨﻬﻢ‬
‫ﻋﻠﻰ ﻋﺮﺵ ﻋﺎﺟﻰ ﻣﺬﻫﺐ‪ ،‬ﻳﺘﻮﺳﻄﻬﻢ "ﺃﻭﺯﻳﺮﻳﺲ" ﺍﻟﻤﻬﻴﺐ ﻓﻮﻕ ﻣﻨﺼﺔ ﺗﻌﻠﻮ ﺗﺴﻊ ﺩﺭﺟﺎﺕ‪ ،‬ﻣﺘﺮﺑﻌﺎً ﻋﻠﻰ ﻋﺮﺵ ﻣﻦ‬
‫ﺫﻫﺐ ﺧﺎﻟﺺ‪ ،‬ﻓﻰ ﻳﺪﻩ ﺍﻟﺼﻮﻟﺠﺎﻥ ﻭﻋﻠﻰ ﺭﺃﺳﻪ ﺗﺎﺝ ﻣﺼﺮ ﺍﻟﻤﺰﺩﻭﺝ‪ .‬ﻭﺃﻣﺎﻣﻪ ﻳﺄﺗﻰ ﺍﻹﻟﻪ "ﺃﻧﻮﺑﻴﺲ" ﻭﺍﺯﻥ ﺍﻟﻘﻠﻮﺏ‬
‫ﺑﻤﻴﺰﺍﻥ ﺍﻟﺤﻖ ﺍﻟﺪﻗﻴﻖ )ﻭﺃﺣﺪ ﺁﻟﻬﺔ ﺍﻟﻤﻮﺗﻰ ﻭﺣﺎﺭﺱ ﺍﻟﻤﻘﺎﺑﺮ ﻭﻛﺎﻧﻮﺍ ﻳﺼﻮﺭﻭﻧﻪ ﺑﺮﺃﺱ ﺍﺑﻦ ﺁﻭﻯ(‪ ،‬ﻭﻳﻀﻊ ﻓﻰ ﺇﺣﺪﻯ ﻛﻔﺘﻴﻪ‬
‫ﺭﻳﺸﺔ ﺍﻟﻌﺪﻝ ﺍﻹﻟﻬﻰ‪ ،‬ﻭﺑﺠﺎﻧﺒﻪ ﻳﻨﺤﻨﻰ "ﺗﺤﻮﺕ" ﺣﺎﺭﺱ ﺍﻟﻘﺎﻧﻮﻥ ﻭﻣﺴﺠﻞ ﺍﻷﺣﻜﺎﻡ‪ ،‬ﻭﻣﻦ ﻭﺭﺍﺋﻪ ﻫﻮﺓ ﺳﺤﻴﻘﺔ ﺍﺣﺘﻔﺮﻫﺎ‬
‫ﺯﺑﺎﻧﻴﺔ ﺍﻟﺠﺤﻴﻢ‪ ،‬ﻭﻣﻨﻬﺎ ﻳﺒﺮﺯ ﺗﻨﻴﻦ ﻟﻌﻴﻦ‪ ،‬ﻭﻗﺪ ﻛﺸﻒ ﻋﻦ ﺃﻧﻴﺎﺑﻪ ﻣﻨﺘﻈﺮﺍً ﻓﺮﺍﺋﺴﻪ ﺑﺎﺑﺘﺴﺎﻣﺔ ﺳﺎﺧﺮﺓ‪.‬‬

‫ﺇﻧﻪ ﻟﻤﺸﻬﺪ ﺗﺮﺗﻌﺪ ﻟﻪ ﻓﺮﺍﺋﺺ ﺍﻟﺮﻭﺡ ﺣﻴﻨﻤﺎ ﺗﺪﺧﻞ ﺑﻬﻮ ﺍﻟﻤﺤﻜﻤﺔ‪ ،‬ﻓﺘﻐﻴﻢ ﺃﻣﺎﻣﻬﺎ ﺍﻟﺼﻮﺭ‪ ،‬ﻭﺗﺘﺮﺍﻗﺺ ﺃﺷﺒﺎﺡ ﺍﻵﻟﻬﺔ‪ ،‬ﻟﻜﻦ‬
‫ﺍﻟﻘﺎﺿﻰ ﺍﻷﻋﻈﻢ ﻳﻌﻄﻰ ﻓﺮﺻﺔ‪ ،‬ﻓﻴﺼﺒﺮ ﺣﺘﻰ ﻳﺴﺘﻔﻴﻖ ﺍﻟﻤﻴﺖ ﻣﻦ ﺍﻟﺬﻫﻮﻝ‪ .‬ﺛﻢ ﺗﺒﺪﺃ ﺍﻟﻤﺤﺎﻛﻤﺔ ﻋﻠﻰ ﺍﻟﻔﻮﺭ ﻓﺘﻨﻬﺎﻝ ﺍﻷﺳﺌﻠﺔ‬
‫ﻋﻠﻰ ﺍﻟﻨﺤﻮ ﺍﻟﺘﺎﻟﻰ‪:‬‬

‫‪ -‬ﻫﻞ ﺍﺭﺗﻜﺒﺖ ﺟﺮﻳﻤﺔ ﺃﻭ ﻧﻄﻖ ﻟﺴﺎﻧﻚ ﺑﺎﻟﻜﺬﺏ؟‬

‫‪ -‬ﻫﻞ ﻏﺪﺭﺕ ﺑﺠﺎﺭﻙ ﺷﺎﻫﺪﺍً ﺑﺎﻟﺰﻭﺭ‪ ،‬ﺃﻭ ﻗﺘﻠﺖ ﺃﺧﺎﻙ ﻋﻦ ﻋﻤﺪ ﻭﺇﺻﺮﺍﺭ؟‬
 ‫‪ -‬ﻫﻞ ﺃﻋﻄﻴﺖ ﻣﺠﺪﺍً ﻟﻶﻟﻬﺔ‪ ،‬ﻭﻫﻞ ﺃﺣﺒﺒﺖ ﻗﺮﻳﺒﻚ ﻛﻨﻔﺴﻚ؟‬

‫ﻭﻳﻨﺘﻈﺮ ﺍﻟﺮﺋﻴﺲ ﻗﻠﻴﻼً ﺣﺘﻰ ﻳﺴﺘﻌﻴﺪ ﺍﻟﻤﻴﺖ ﻫﺪﻭءﻩ ﻣﻦ ﻫﻮﻝ ﺍﻟﻤﻮﻗﻒ‪ ،‬ﻭﻳﺒﺪﺃ ﺃﻋﻀﺎء ﺍﻟﻤﺤﻜﻤﺔ ﺍﺳﺘﺠﻮﺍﺑﻪ ﻓﻴﻤﺎ ﻳﻜﻮﻥ ﻗﺪ‬
‫ﺍﺭﺗﻜﺒﻪ ﻣﻦ ﺫﻧﻮﺏ ﻭﺁﺛﺎﻡ‪ ،‬ﻓﻴﺴﺄﻟﻮﻧﻪ ﻋﻦ ﺟﺮﺍﺋﻢ ﺍﻟﻜﺬﺏ ﻭﺍﻟﺴﺮﻗﺔ ﻭﺍﻟﻘﺘﻞ ﻭﺍﻟﺨﻴﺎﻧﺔ ﻭﺷﻬﺎﺩﺓ ﺍﻟﺰﻭﺭ ﻭﺇﻳﺬﺍء ﺍﻟﻘﺮﻳﺐ‬
‫ﻭﻋﺼﻴﺎﻥ ﺍﻵﻟﻬﺔ‪ .‬ﻭﻳﺠﻴﺐ ﺍﻟﻤﻴﺖ "ﺍﻟﺮﻭﺡ" ﻋﻠﻰ ﻫﺬﻩ ﻛﻠﻬﺎ ﺇﺟﺎﺑﺎﺕ ﻣﺮﺿﻴﺔ ﻣﺴﺘﻌﻴﻨﺎً ﻓﻰ ﺻﻴﺎﻏﺘﻬﺎ ﺑﻤﺎ ﺗﻌﻠﻤﻪ ﻣﻦ ﻛﺘﺒﻪ‬
‫ﺍﻟﻤﻘﺪﺳﺔ‪ ،‬ﻭﻣﺎ ﺗﻠﻘﺎﻩ ﻓﻰ ﺣﻴﺎﺗﻪ ﻣﻦ ﺃﻓﻮﺍﻩ ﺍﻟﻜﻬﺎﻥ‪.‬‬

‫ﺛﻢ ﺗﺤﻴﻦ ﺍﻟﻠﺤﻈﺔ ﺍﻷﺧﻴﺮﺓ ﺍﻟﺤﺎﺳﻤﺔ ﻓﻮﺭ ﺍﻧﺘﻬﺎء ﺍﻻﺳﺘﺠﻮﺍﺏ‪ ،‬ﻟﺤﻈﺔ ﻗﺎﺳﻴﺔ ﻻ ﻳﺴﺘﺨﻔﻰ ﺃﺛﻨﺎءﻫﺎ ﺳﺮ‪ ،‬ﺑﻞ ﻛﻞ ﺷﺊ ﻣﻜﺸﻮﻑ‬
‫ﻭﻋﺮﻳﺎﻥ‪ .‬ﻓﻴﺘﻘﺪﻡ "ﺣﻮﺭﺱ" "ﻗﻮﻣﻨﺪﺍﻥ" ﺍﻟﺤﺮﺱ ﻗﺎﺑﻀﺎً ﻋﻠﻰ ﺍﻟﻤﻴﺖ‪ ،‬ﻭﻳﺨﻄﻮ ﺑﻪ ﻧﺤﻮ ﻣﻨﺼﺔ ﺍﻟﺮﺋﻴﺲ ﺍﻟﺬﻯ ﻳﺼﺪﺭ‬
‫ﺍﻷﻣﺮ ﺑﺨﻠﻊ ﻗﻠﺒﻪ ﺍﻟﺮﻭﺣﺎﻧﻰ‪ ،‬ﻓﻴﺘﺴﻠﻤﻪ "ﺃﻧﻮﺑﻴﺲ"‪ ،‬ﻭﻳﻀﻌﻪ ﻓﻰ ﺇﺣﺪﻯ ﺍﻟﻜﻔﺘﻴﻦ ﻣﻘﺎﺑﻞ ﺭﻳﺸﺔ ﺍﻟﺤﻖ ﻓﻰ ﺍﻟﻜﻔﺔ ﺍﻷﺧﺮﻯ‪،‬‬
‫ﻭﻳﺮﺍﻗﺐ "ﺗﺤﻮﺕ" ﺣﺮﻛﺔ ﺍﻟﻤﻴﺰﺍﻥ ﺑﺪﻗﺘﻪ ﺍﻟﻤﻌﻬﻮﺩﺓ‪ ،‬ﻛﻤﺎ ﻳﺮﺍﻗﺒﻬﺎ ﺻﺎﺣﺐ ﺍﻟﻘﻠﺐ ﺍﻟﻤﻮﺯﻭﻥ ﻓﻰ ﺭﻫﺒﺔ ﻭﻓﺰﻉ‪ ،‬ﻭﻫﻮ ﻳﺮﻯ‬
‫ﺑﻌﻴﻨﻪ ﺷﺮﺍﻫﺔ ﺍﻟﻮﺣﺶ ﺍﻟﻨﻬﻢ ﺍﻟﺮﺍﺑﺾ ﻓﻰ ﺍﻟﺤﻔﺮﺓ ﻣﻦ ﻭﺭﺍء‪ .‬ﻓﺈﺫﺍ ﺭﺟﺤﺖ ﻛﻔﺔ ﺍﻟﻘﻠﺐ ﺃﻭ ﺗﺴﺎﻭﺕ ﻓﻰ ﺍﻟﺜﻘﻞ ﻣﻊ ﺭﻳﺸﺔ ﺍﻟﺤﻖ‬
‫ﻓﻰ ﺍﻟﻜﻔﺔ ﺍﻟﺜﺎﻧﻴﺔ‪ ،‬ﺭﺿﻰ ﻋﻨﻪ "ﺃﻭﺯﻭﺭﻳﺲ" ﻭﺳﺠﻠﻪ "ﺗﺤﻮﺕ" ﻓﻰ ﻗﺎﺋﻤﺔ ﺍﻟﻔﺎﺋﺰﻳﻦ‪.‬‬

‫ﻭﻳﺎ ﻭﻳﻞ ﻣﻦ ﺣﺬﻑ ﺍﺳﻤﻪ ﻣﻦ ﻛﺸﻒ ﺍﻟﻤﻘﺒﻮﻟﻴﻦ!‬

‫ﻭﻳﺎ ﻭﻳﻞ ﻣﻦ ﻏﺶﱠ ﺍﻵﻟﻬﺔ ﻓﻴﻔﻀﺢ ﻏﺸﻪ ﺍﻟﻤﻴﺰﺍﻥ!‬

‫ﻭﻳﺎ ﻋﺬﺍﺏ ﻣﻦ ﻳﻮﺟﺪ ﻗﻠﺒﻪ ﻓﻰ ﺍﻟﻜﻔﺔ ﺇﻟﻰ ﻓﻮﻕ!‬

‫ﻓﻼ ﺍﻟﺪﻣﻮﻉ ﻭﻻ ﺍﻟﻨﺤﻴﺐ ﻭﻻ ﺍﻟﺘﻮﺳﻞ ﻭﻻ ﺍﻟﺘﻮﺑﺔ ﺗﺸﻔﻊ ﻓﻴﻪ ﺍﻵﻥ‪ ،‬ﻭﺳﺮﻋﺎﻥ ﻣﺎ ﻳﺘﻘﺪﻡ ﺍﻟﺤﺮﺍﺱ ﺍﻷﺷﺪﺍء ﻓﻴﻘﻮﺩﻭﻧﻪ‬
‫ﻭﻳﺴﻮﻗﻮﻧﻪ ﺇﻟﻰ ﺣﻴﺚ ﻳﺘﻠﻘﻔﻪ ﺍﻟﻮﺣﺶ ﺍﻟﺨﺒﻴﺚ ﺑﻴﻦ ﻓﻜﻴﻪ‪ ،‬ﻭﻳﻤﺮﻕ ﺑﻪ ﺩﺍﺧﻞ ﺍﻟﻬﻮﺓ ﺍﻟﺘﻰ ﻻ ﻗﺮﺍﺭ ﻟﻬﺎ‪ ،‬ﻫﺎﺋﻤﺎً ﺑﺎﻟﺮﻭﺡ ﺃﻋﻮﺍﻣﺎً‬
‫ﻭﺃﺩﻫﺎﺭﺍً ﻓﻰ ﺑﺤﻴﺮﺓ ﻣﻦ ﻧﺎﺭ‪.‬‬

‫ﺃﻣﺎ ﺍﻟﻤﻜﺘﻮﺑﻮﻥ ﻓﻰ ﺳﻔﺮ ﺍﻟﺤﻴﺎﺓ ﻓﻴﺨﺮﺟﻮﻥ ﻣﻦ ﺑﻬﻮ ﺍﻟﻤﺤﻜﻤﺔ ﺇﻟﻰ ﺍﻟﺒﺎﺏ ﺍﻟﺨﻠﻔﻰ‪ ،‬ﺣﻴﺚ ﻳﻨﺘﻈﺮﻫﻢ "ﺭﻉ"‪ ،‬ﻭﻳﺤﻤﻠﻬﻢ ﻣﻌﻪ‬
‫ﻓﻰ ﻗﺎﺭﺑﻪ ﺇﻟﻰ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺴﺎﺑﻌﺔ ﻓﻰ ﻭﺍﺩﻯ ﻇﻞ ﺍﻟﻤﻮﺕ‪ .‬ﻭﻣﻦ ﻫﻨﺎ ﺗﺒﺪﻭ ﺃﻣﺎﻣﻬﻢ ﺍﻟﺮﺣﻠﺔ ﺃﻛﺜﺮ ﺳﻬﻮﻟﺔ ﻭﺃﺧﻒ ﻋﺒﺌﺎً‪ ،‬ﻷﻧﻬﻢ‬
‫ﻧﺎﻟﻮﺍ ﻗﻮﺓ ﺑﻌﺪ ﺍﺟﺘﻴﺎﺯﻫﻢ ﺃﻗﺴﻰ ﺍﻣﺘﺤﺎﻥ‪ .‬ﻓﻴﻌﺒﺮﻭﻥ ﻣﻨﻄﻘﺔ ﺑﻌﺪ ﺃﺧﺮﻯ ﺳﺎﺣﻘﻴﻦ ﺃﻋﺪﺍءﻫﻢ ﺩﻭﻥ ﻛﺒﻴﺮ ﻋﻨﺎء‪ ،‬ﺣﺘﻰ ﻳﻘﺘﺮﺑﻮﺍ‬
‫ﻣﻦ ﺁﺧﺮ ﺍﻷﻗﺴﺎﻡ‪.‬‬

‫ﻟﻜﻦ ﺃﻇﻠﻢ ﺳﺎﻋﺔ ﻓﻰ ﺍﻟﻠﻴﻞ ﺗﺴﺒﻖ ﺍﻟﻔﺠﺮ‪ ،‬ﻭﻛﺎﻥ ﻋﻠﻰ ﺍﻷﺭﻭﺍﺡ ﺃﻥ ﺗﺠﺘﺎﺯ ﺍﻟﺨﻄﺮ ﺍﻷﺧﻴﺮ ﺍﻟﺠﺎﺛﻢ ﺃﻣﺎﻡ ﺯﻭﺭﻕ ﺍﻟﺰﻣﺎﻥ‪ .‬ﻓﻘﺪ‬
‫ﺭﺑﻀﺖ ﻓﻰ ﻣﺼﺐ ﻧﻬﺮ ﺍﻟﺪﻳﻨﻮﻧﺔ ﺃﻓﻌﻰ ﻫﺎﺋﻠﺔ ﺍﻟﻀﺨﺎﻣﺔ‪ ،‬ﺑﺤﻴﺚ ﻟﻢ ﺗﺘﺮﻙ ﻛﺘﻠﺘﻬﺎ ﻣﻜﺎﻧﺎً ﻟﻠﺰﻭﺭﻕ ﻳﻨﻔﺬ ﻣﻨﻪ‪ ،‬ﻭﻻ ﻣﻦ ﺣﻮﻟﻬﺎ‬
‫ﻭﻻ ﻣﻦ ﻓﻮﻗﻬﺎ‪ ،‬ﻭﻟﻢ ﻳﻜﻦ ﺑﺪﱡ ﻣﻦ ﺃﻥ ﻳﺸﻖ ﺍﻟﺰﻭﺭﻕ ﻃﺮﻳﻘﻪ ﻓﻰ ﺟﻮﻓﻬﺎ‪.‬‬

‫ﻭﻋﻠﻰ ﺷﺪﺓ ﻣﺎ ﺍﻧﺘﺎﺏ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺴﺎﺑﻘﺔ ﻣﻦ ﺳﻮﺍﺩ ﺣﺎﻟﻚ ﻭﻋﺘﻤﺔ ﻋﺘﻤﺎء‪ ،‬ﻓﺈﻧﻬﺎ ﻻ ﺗُﻘﺎﺱ ﺑﻬﺬﻩ ﺍﻟﻈﻠﻤﺔ ﺍﻟﻜﺜﻴﻔﺔ ﻓﻰ ﺑﻄﻦ‬
‫ﺍﻟﺤﻴﺔ ﺍﻟﺮﻗﻄﺎء ‪ -‬ﻫﺬﻩ ﺍﻟﻜﺜﺎﻓﺔ ﺍﻟﻤﻈﻠﻤﺔ ﻳُﺤﺘﻤﻞ ﺃﻥ ﺗﺘﻴﻪ ﻓﻴﻬﺎ ﺍﻟﺮﻭﺡ ﻭﻫﻰ ﻋﻠﻰ ﻋﺘﺒﺔ ﻋﺎﻟﻢ ﺍﻟﻨﻮﺭ‪ ،‬ﻟﻮ ﻟﻢ ﺗﻜﻦ ﻗﻮﺓ "ﺭﻉ"‬
‫ﺣﺎﺭﺳﺔ ﻭﻣﺴﻴﱢﺠﺔ ﻣﻦ ﺣﻮﻟﻬﺎ‪.‬‬

‫ﻭﻓﻰ ﻧﻬﺎﻳﺔ ﺍﻟﻤﻄﺎﻑ ﻳﻈﻬﺮ ﻗﺒﺲ ﻣﻦ ﺍﻟﻨﻮﺭ ﺿﺌﻴﻞ‪ ،‬ﻭﺑﺴﺮﻋﺔ ﺗﺰﺩﺍﺩ ﺍﻟﺨﻴﻮﻁ ﺗﻮﻫﺠﺎً ﻭﺇﺷﺮﺍﻗﺎً‪ .‬ﺛﻢ ﺗﻨﻔﺘﺢ ﺍﻟﺒﻮﺍﺑﺔ ﺍﻷﺧﻴﺮﺓ‬
‫ﻋﻠﻰ ﻣﺼﺮﺍﻋﻴﻬﺎ ﻭﻳﺒﺮﺯ ﻣﻨﻬﺎ ﺍﻟﺰﻭﺭﻕ ﺍﻟﺬﻯ ﻳﻄﻮﻯ ﻣﻼﻳﻴﻦ ﺍﻟﺴﻨﻴﻦ ﺳﺎﺑﺤﺎً ﻓﻰ ﻧﻮﺭ ﺍﻟﺸﻤﺲ ﺍﻟﻮﺿﺎء‪ ،‬ﻓﺘﺴﺘﻘﺒﻠﻪ ﺍﻵﻟﻬﺔ‬
‫ﺑﺄﻧﺎﺷﻴﺪ ﺍﻟﻨﺼﺮ ﻭﺃﻏﺎﺭﻳﺪ ﺍﻟﻔﺮﺡ‪.‬‬

‫ﻭﻋﻨﺪﻣﺎ ﻳﻨﺸﺮ "ﺍﻹﻟﻪ" ﺃﺷﻌﺘﻪ ﺍﻟﺬﻫﺒﻴﺔ ﺣﻮﻝ ﺍﻷﺭﺽ ﻳﺸﺘﺮﻙ ﺍﻷﺿﻴﺎﻑ ﺍﻟﺬﻳﻦ ﺣﻤﻠﺘﻬﻢ ﺳﻔﻴﻨﺔ ﺍﻟﺰﻣﺎﻥ ﻣﻊ ﺃﺟﻮﺍﻕ ﺍﻷﺭﻭﺍﺡ‬
‫ﺍﻷﺑﺮﺍﺭ ﺍﻟﺴﺎﺑﻘﻴﻦ ﻓﻰ ﺃﻏﻨﻴﺔ ﺣﻠﻮﺓ ﺷﺠﻴﺔ‪ ،‬ﺗﺮﺣﻴﺒﺎً ﺑﺪﺧﻮﻝ ﺍﻟﻔﻮﺝ ﺍﻟﺠﺪﻳﺪ ﺇﻟﻰ ﺣﻘﻞ ﺍﻟﺴﻼﻡ ﻓﻰ ﻓﺮﺩﻭﺱ ﺍﻟﻨﻌﻴﻢ‪.‬‬