In the Topographical Bibiliography by Porter and Moss, the tomb of Ramose (TT 46) is listed as probably belonging to “the time of Amenhotep III (?)”. This tomb was first recorded by John Gardner Wilkinson in the 19^th Century. On the basis of Wilkinson's manuscript, Helck gave some of Ramose's titles in Urkunden IV. Graefe later published a brief communication concerning Ramose's titles based on this limited information. In 1991 Bohleke assumed that Ramose's career and tomb should date to the reigns of Tutankhamun, Ay, and perhaps, the first year of Horemheb. Most recently, Kampp discussed tomb 46, mainly focusing on architecture. She dates TT 46 to the reigns of Amenhotep III and Amenhotep IV, with Ramose as the usurper of a tomb originally constructed for someone from the end of the Seventeenth Dynasty to the beginning of the Eighteenth Dynasty.
As a part of my study on the reign of Tutankhamun, I had the opportunity to visit the tombs of officials active during the reigns of Tutankhamun and his successors from the late Eighteenth Dynasty in the Theban Necropolis. A certain Ramose who has the title of Overseer of Granaries of Upper and Lower Egypt is mentioned in the year 3 stela of King Ay from Giza. Since Ramose, the owner of TT 46, also has the title of Overseer of Granaries of Upper and Lower Egypt, the tomb and the stela seem to refer to the same person, and thus the generally accepted date of Ramose's tomb seems to be questionable. During my study of TT 46, it became clear that this is a tomb from the post-Amarna period for the following reasons: 1. Ramose held the titles of the Steward of the temple of Aten as well as the High Priest of Amun in Mn-st at the same time. The names of Amun were not expunged at all but those of Aten were clearly chiseled out on the tomb walls. This strongly indicates the tomb was decorated after the Amarna period. 2. The artistic style also suggests that the tomb was decorated in the post-Amarna period. 3. A headless block statue of Ramose, Overseer of Double Granaries, may support this date. 4. Since it is known that Khaemhat was the Overseer of Granaries during the later part of the reign of Amenhotep III, Ramose could not have served as the Overseer of Double Granaries of Upper and Lower Egypt at that period.
Therefore, it is likely that Ramose served in the post-Amarna period, most probably under Tutankhamun as well as Ay, as the Overseer of Granaries of Upper and Lower Egypt, Steward of the Temple of the Aten, and High Priest of Amun in Mn-st. If so, his titulary provides the first Theban evidence that the temple of Aten was still functioning even after the Amarna period, supplementing the contemporary evidence from the Memphite necropolis.

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Three independent houses are preserved at the Palace of Amenhotep III in Malqata, locating to the west bank of Thebes. In the rectangular plan, a square hall is located at the center of each house with an entrance to the northeast side and a master's bedchamber is located at the southwest corner, similar to the standard Amarna-type houses. As it is evident that these houses were built before the Amarna period, they can be regarded as forerunners of the high-ranked houses in Amarna city. A study on these buildings would further contribute to the research on the origins of this house-type.

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This paper aims to examine the pottery dating to the reign of Amenhotep III in a layer of limestone chips which had accumulated above the tomb of Userhat, Overseer of King’s Private Apartment under Amenhotep III, at al-Khokha area in the Theban necropolis, Egypt, in order to understand how the pottery was used at the tomb. The chisel marks on the limestone suggest that the layer of limestone chips above the tomb of Userhat had been deposited as debris from the tomb construction. Furthermore, the location and direction of the layers show that the limestone chips originated from surrounding tombs constructions, the most probably from the tomb of Userhat. Therefore, the pottery from this layer is assumed to be related to the tomb construction activities.

　The pottery vessels from the limestone chips layer are classified into two groups: the vessels associated with the actual construction of the tomb, such as plaster containers and lamps, and the vessels related to the tomb construction rituals, such as red slipped lids and dishes, white washed bowls with burned traces and a blue painted pottery jar. It has been generally recognized that the ritual pottery vessels from tombs were used in funerary rituals or in cults carried out subsequently at the tomb. However, the pottery above the tomb of Userhat is related to the tomb construction activities, hence, it seems that those pottery vessels were used in the tomb construction rituals. Little is known about tomb construction rituals at private tombs so far, and the study of pottery above the tomb of Userhat has revealed new possibilities of tomb construction rituals.

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ガラスの起源は紀元前21世紀頃のメソポタミアで，同15世紀以降はミタンニ王国を中心に北メソポタミアにおいて製造がさかんになり，同15世紀にエジプトにその技術が伝えられた．当時もっとも多く製造されたガラスは銅着色の青色及び水色のガラスである．本研究はそうした銅着色ガラスに着目し，高エネルギー放射光蛍光X線分析によりガラス中の微量重元素に着目した組成の特性化を図った．分析の結果，エジプトとメソポタミアではスズとアンチモンの含有量に大きな違いが見られた．メソポタミアの銅着色水色ガラスには顕著な量のアンチモンが含まれており，白濁剤であるアンチモン酸カルシウムを添加することで意図的に白濁させていたことが分かった．またデジタルマイクロスコープにより細かい気泡による白濁技法が用いられていることが初めて見いだされた．また古代エジプトの銅着色ガラスでは，初期のものはメソポタミアの銅着色ガラスとの組成的類似性が見られた．その後のマルカタ・アマルナ期になるとアンチモンの添加が抑えられた代わりに，微量のスズを含む傾向が見られた．このスズは青色着色剤として使用されていた青銅に由来するものと考えられる．しかし，さらにその後のラメセス朝のガラスからはスズ・アンチモン共にまったく検出されず，銅の原材料もしくは技術的な変化が生じた可能性が示された．このように，高エネルギー放射光蛍光X線分析を用いることで，古代エジプト及びメソポタミアの銅着色ガラスに含まれる微量重元素を非破壊で高感度に検出でき，従来の分析法では困難な非破壊で重元素による高精度の特性化を行うことができた．

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Three independent houses preserved at the Malqata Palace have overall similarities with the standard Amarna-type houses, nevertheless they present some architectural differences related to the official building characters, and the simpler details possibly show the tentative phases before the completion of this house-type. A careful study of the remaining brick pavement of the central hall in "Malqata-House A" concluded that a large stone dais for the master had been placed on the rear wall and that the roof of this hall had been supported by two columns resting on the edges of a stone dais, or more appropriately that it had been spanned by one single wood beam without any columns.

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This paper aims to reconstruct the history of Japanese Egyptology from its birth in the 19th century to the work of Seitaro Okajima in the 1940s. Where exactly did this discipline originate, and what kind of discipline is it? By exploring these questions, this paper attempts to demonstrate that the birth of Japanese Egyptology owes a great deal to the efforts of Shogoro Tsuboi and Kei’ichiro Kume. Next, it examines how Takashi Sakaguchi, who inspired Seitaro Okajima, and Kosaku Hamada, who received over 1,500 Egyptian artefacts from Flinders Petrie, paved the way for academic Egyptology. Finally, this paper explores how Okajima, who had studied under both Sakaguchi and Hamada, developed the discipline to a fuller extent, and the governing idea of his works is discussed.

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A heavily ruined palace-city founded by Amenhotep III is preserved at Malqata on the West bank of Thebes, Egypt. It consists of various structures in the desert; several residential palaces, a temple of Amen, a festival hall, houses and apartments for attendants, and a desert altar “Kom al-Samak”, all of which were constructed by mud bricks with gaily decorative paintings on walls and ceilings. Since 1985 this area has become a concession of the Waseda University Mission, and re-excavation works have been carried out at the several rooms in the main palace. The innermost room of the main palace is the king's bedchamber, from where numerous fragments of the paintings on ceiling have been recovered. One of the most remarkable motifs is a succession of great vultures representing the Goddess Nekhbet outspreading the wings as reported by the Metropolitan Museum of Art, the former excavator, under each of which the names and titles of Amenhotep III are depicted. The succession of vultures is surrounded by geometrical patterns such as rosette and checker patterns.
The first attempt to reconstruct the whole ceiling painting was carried out in 1988, and a detailed study through the record work of each fragment with assembling trials since 1989 has revealed the fact that the images of Nekhbet had been 8, not 7 as supposed in the earlier stage of reconstruction. All the 9 lines of inscriptions are also reconstructed with considering the each find spot on the floor. In the King's bedchamber, the floor of the innermost part is raised where the king's bed had been placed. It was come to light that the ceiling of this upper level is drawn more elaborate than that of the lower level; The inscriptions is slightly longer, and the color of the center circle of rosette pattern is also changed from red to green.
The fragments of the northernmost ceiling suggest that the ceiling of this part would have been slightly curved down toward the north wall, and this reminds us a roof shape of pr-wr, a traditional shrine of the Upper Egypt, with a roof sloping down from the front. At the lower part of the walls the paneled pattern and a wavy line are depicted, but the rest of the interior decoration of this bed chamber is basically painted in glossy transparent yellow presumably imitating gold color, much similar to the shrines of Tutankhamun.
In this paper the reconstruction process is described, with some technical reports on the construction method for obtaining the vast painting area of the ceiling without projecting the large wooden beams.

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