Interpreting igural grafiti: case studies from a funerary context Nico Staring Introduction Both written and igural grafiti are a common phenomenon in pharaonic Egypt. In spite of their abundant occurrence, there are at present only a handful of monuments for which a complete inventory of grafiti has been published (cf. Fábián 1992; Raven 1999; Jacquet-Gordon 2003; Cruz-Uribe 2008b). The general tendency in Egyptology to “attach a somewhat undue importance to textual inscriptions” and “neglect non-lingual evidence” (Raven 1999, 81) has certainly affected the study of igural grafiti. Studies on textual grafiti are comparatively numerous (recently e.g. Peden 2001 and Navrátilová 2007a), whereas those focusing particularly on their igural equivalent are much less common. This makes an all-encompassing study of the subject, particularly with regard to searching for reference material, extremely dificult. Notwithstanding the subject’s marginalisation in the literature, not all types of grafiti are just “momentary ideas or inspirations” (Franke 2001, 38) or unattractive scribbles defacing a monument, as they can represent mementoes of former visitors to the tomb, temple or site under consideration. While a inished tomb or temple represents the motives and intentions of those responsible for its construction, grafiti, inter alia, present us an indication to the way people dealt with either existing, functioning or possibly desolate or ruinous structures. Such continued use or re-use forms an integral part of the use-life of a monument, either systemic or non-systemic (�an Walsem 200�, 112, after Polz 1987, 122�123). Grafiti, deined as unoficial �an Walsem 200�, 112, after Polz 1987, 122�123). Grafiti, deined as unoficial �123). Grafiti, deined as unoficial 3). Grafiti, deined as unoficial ). Grafiti, deined as unoficial writings and drawings that are incised, scratched or painted on rocks, walls or artefacts, provide a graphic testimony to attitudes towards earlier monuments (Málek 1992, �7), and could even be considered as one of the key groups of sources for the study of Egyptian uses of the past (Navrátilová 2007b, 1371). The gap between intention and practice might, as Kemp (200�, 209) has appositely demonstrated, be considerable. The merging of grafiti with inscriptions in already existing tombs and funerary installations, e.g. interaction of initial and secondarily applied ‘decoration’, is subject of the present paper. Scope of (igural) grafiti Before attempting to interpret the material presented below, it is irst necessary to address the rationale for applying grafiti in ancient Egypt. In other words, for what reasons did the Egyptians leave behind testimonies of their presence in for example temples or tombs that were not built for them personally?