Abstract
Scholarship has described Deir el-Medina as a sophisticated community composed of highly trained and educated individuals, at least compared to most ancient Egyptian villages that were primarily focused on agrarian labor. The tombs at Deir el-Medina indicate that some community members were well-off financially and may have aspired to reach elite levels in ancient Egypt’s social hierarchy. However, this understanding of Deir el-Medina’s community lacks the nuance of the hierarchical structure that defines success and status among the workers, artists, and craftspeople living in the community. This paper will investigate how one’s status within the community might dictate the allocation of artistic roles in the execution of painted royal tomb scenes. It will explore who within the community would have the privilege of depicting the primary motifs of a tomb and who would be responsible for less noticeable areas of the tomb.
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