UNUSUAL VARIANTS FOR THE FORMATION OF THE ATTRIBUTIVE SET OF NOTABLE GRANDEES IN OLD EGYPTIAN TOMB RELIEFS

This paper considers the functioning mechanism of the Egyptian private tomb of the Old Kingdom as a system of architectural and pictorial components. The wall reliefs depicting economic activities, rituals, and everyday life of the inhabitants of the Nile Valley are of greatest interest to Egyptologists and culturologists. However, when studying this rich material, one must take into account that its selection, content, and methods of depiction are significantly correlated with the purpose of the burial itself and the specific ideas of the Egyptians about the mechanism of its functioning. In order to maintain the existence of the customer's Double, the Egyptian artist sought to create in his tomb a system of graphic and architectural components, the elements of which interact with each other on several levels, using the principles of allusion and combination of iconographic forms. The paper studies the mechanisms of correlation between the components of the level system "iconography of a large image of the owner - the content of the scene located nearby", thus the previously stated hypothesis of a direct interdependence between them is confirmed. The work used the publications from more than a hundred tombs from Giza, Saqqara, and Deshashe. The analysis carried out allows us to assert that the attribute set of a nobleman can be formed by an artist in several atypical ways. In particular, it can be supplemented by the nobleman's entourage - a son, a priest, servants, who either carry in their hands the objects the nobleman needs, or hand them to the nobleman, or include in their iconography the elements necessary for the nobleman - the nobleman's belt and of the priest-reader's ribbon. Sometimes the artist combined plots of different content in one scene, which prompted him to combine the items and elements of clothing into the attributive set of the nobleman, which the owner used in real life, but at different times and in different places. The artist could include the socalled "dual-used" objects in the nobleman's attribute set: to depict a prison or a stalk of reeds as a staff or as a wand in the scene of the nobleman swimming in a reed boat. Thanks to this, the functionality of the image of the owner of the burial was expanded, and the correlation between the iconography of the nobleman and the scene, necessary for the functioning of the tomb, was established.