Pylons as well were based on the Mastaba design and believes.

Pylons at Isis Temple on Philae Island, Aswan area.

Isis Temple, on the Philae Island compound in the Aswan area, like many other temples in Egypt, includes at the sides of the main entrance two column-like trapezoidal structures known as Pylons.

Most temples consecrated to either kings or gods were built with multiple similar architectonical features that can be seen at the Philae and Karnak Temple compounds and various others temples sites. While their dimensions and decoration vary in production, pylons and other central temples, regularly their shape maintains the same trapezoidal structure form related to their design, found in altars, temples and mastabas.

This constant characteristic is most probably because, Mastabas comprise two primary structures. The entrance level, which includes all the visible construction rooms in the surface; and the other, which contained the sarcophagus chamber and all the other features built deep underground.
And the underground chambers, thought to be the habitation abode were finally was placed the mummified body of mastaba owner. It was expected to be the afterlife dwelling place for his dead body and wishful contact to his counterpart, a divine spiritual-body (Sahu) a part of his self-entity somewhere in the Sky. Hence, in this way were presented, the Up and down environs, as the two different and distinct symbolic Sky environmental levels. For such these earthly structures likely were built in place of or in the representation of the Day and Night Sky spiritual living places, where, they expected to live in afterwards.

The Mastabas aboveground and underground setup concepts; apparently had the same significance, thanthe temple's interior and external altars, likely sharing the same idea of day and night afterlife dwelling place. As well, in concordance with the Egyptian topography. Since, the Nile River has its peculiarities, the eastern valleys, which contain the populated and fertile lands on the river's right side, thus, represents life. Contrasting, with the arid west river side valleys, which represent the land of the dead. Which probably were part of multiple additional representative ideas shared by the Pylons conceptual.

Therefore, If pylons were built as part of a larger structure, it is because the architects, were considering a higher concurrence attendance there, and probably in the afterlife, as well. Reason why, it is feasible that they also shared the same conceptual idea; since, Pylon-towers structural form were made following the same trapezoidal shape present in Mastabas, Altars and Temples appearances. For such, they also must have shared the same, night and day, up and down, life and death or/and represent two different spiritual dwelling places in their afterlife concepts. Apparently the most important factors in their eternal afterlife wishful thinking.


The Abu Simbel temple façade, carved into the mountain rock, with the four statues of Ramses II in front.

Although that the original name of this temple name is unknown, as it is located close to the city known today by the name of Abu Simbel it has come to be known by the same name. In fact, the most remarkable temples in the entirety of Ancient Egypt's architectural history.

This sanctuary was built around 1250 BC by Pharaoh Ramses II, the third ruler of the Egyptian 19th Dynasty, who is vastly known for his numerous monumental architectural exploits throughout Egypt. Ramses II is known as the "Great Builder" standing out significantly from other Pharaohs in this area. The Abu Simbel Temple façade was carved into the mountain rock, ornamented with four statues of Ramses II placed in front. This is different, but not entirely separate, a concept about other Egyptian temples, as the front, still maintains the shared trapezoidal mastaba shape.

The temple façade resembles a pylon or a Mastaba (The early Dynastic Pharaohs Tomb), framed with tubular structures similar to other temples and altars. Also, this massive front also resembles an enormous niche where can see the statue of the God Heru of the Two Horizons, the hawk-headed Sun God, standing in the front of a smaller niche. This area resembles a doorway, likely to an imaginary second stage of life in the sky.

This trapezoidal structure also resembles the goddess Hathor's headdress ornament, which has a relation to the goddess' name: "The House of Horus", meaning the sky itself as a temple. This representation greatly corresponds to the allegory of the temple entrance. Therefore, this trapezoidal form likely holds similar concepts of the Sky, allowing it to function as the Serdab in a mastaba, a symbolic afterlife sky place representing different dwelling places for two distinct spiritual components.

The temple façade arrangement has four aligned statues of the pharaoh seated on a throne, where the ground level houses the temple's entryway. However, the temple continues on inside the mountain, thus representing a cave entrance that goes underground; these are firm indicatives of the god Osiris's significance.

This passage has two arches engraved on each side, bearing the Pharaoh's ruling name, creating a gateway into the mountain interior where an enormous rectangular chamber was excavated. It was completed to allocate eight 9m (30-foot) standing statues of Osiris-Ramses II god idea. These statues were placed in sets of four at each side along the length of the great hall. Apparently indicating the underworld, a place in the on the west side of the Sky, where Osiris was expected to be king. Reinforcing the idea that the pharaoh's spirit, after his death, will be integrated into that of the God Osiris.

This temple was built to showcase, the physical success and power that had reached the Pharaoh Ramses II during his rule as king of Egypt. As well, to show him as having, the God's divine powers and ruler of all the three levels of the Sky world, where he was expected to exist in the afterlife. Although, it is obvious that the details vary depending on the degree of astronomy knowledge held by different groups, which changed even from one city to another.

Its structure could also be one of the multiple ways that ancient people interpreted the three imaginary concentric circles of their afterlife world."

The First: at the level where we walked into the temple, in the west between day and night.

The Second: the world below, the night, ruled by the moon, the kingdom of Osiris, combined with this god.

The Third: the world of light, the day, up in the daytime sky, the kingdom of the Heru or Horus, united with the hawk-headed Sun God.

Although that Abu Simbel' sculptures set up, appears to be a social representation, actually is a Sky personification. Where, the men images represent what is meant to be the circle of the Sun, with its four season divisions. And the women at his feet, the circle of the moon, with more sector and monthly phases.

An artistic concept or characteristic to show that ancient people thought to represent the Sun and Moon orbit area, as some sort of afterlife dwelling places. Thus, because the men and women size differs in this allegory, stand only for the reason of the apparent proportion that the orbit size of the Sun and Moon make going around Earth. Since Goddess Hathor, being a woman also represent the entire Sky.

Thus is possible that the four sitting Pharaoh's statues, stand in representation of the four Cardinal Points, four entries or different locations in the Sky. And even, some sort of the Pharaohs' different age periods during his life with equal sky levels. However, taking into account that people in the entire Egyptian territory did not share a common or same afterlife concept or belief, so there has to be more than one answer.

Nonetheless, Ramses II by being depicted sitting on a throne also relates him to god Osiris, the ruler of the Afterlife World. This symbolism was a common believe and had in mind as it has been stated before that, all dead Pharaohs, after death, were integrated into a the Osiris body to reborn in the following Pharaoh. Therefore, it is a reason why Ramses II, is being represented in four almost identical form. As each of them must be a representation or the gateway to the four stages or divisions of a wishful place in the afterlife, somewhere in the night Sky or underworld, in his God Osiris phase concept.

Mastaba: Body Spirit and Soul allegorical Ideas.

The corresponding Egyptian Elysian Fields Theme like this shown in Aswan's Nobles Tombs was also depicted in numerous other significant burial places in Egypt, throughout the entire Ancient Pharaonic Times.

At times when the Ancient Egyptian civilization flourished along the fertile River Nile, in contrasted with the arid North African desert lands. This scene that apparently envisages a place of abundance and leisure was the appreciated and desired sight concept of their eternal expected afterlife living.

On the circumstances that this image subject is found, carved and painted, in a man-made cave. Which is found, inside of a rocky mountain (today covered by sand) in the Nobles Tombs conglomerate, at the western lakeside of Aswan, facts which denote its funerary importance.

Matter of fact this passage figure seems to be the Egyptian theme equivalent to the Elysian Fields (Greek afterlife Mythological paradise where God conceded immortality to the most outstanding individuals) conceptual idea.

A widespread and frequently chosen mausoleum's ornamentation subject, during the Ancient Pharaonic Egypt historical period. For such, is a reason to say that this paradise manifestation presenting two distinct persons was completed in remembrance of just only one distinguished personage entombed in that particular place.

The idea behind this detailed theme always manifests the presence of two individuals with entirely features apart supposedly enjoying a wishful paradise stance rather portraying, only one sole image of a person, as it should be expected. Instead presents a motion similar to that of Gods Khemennu allegory painted on the wall, seen before in Pharaoh's Ramses I tomb in Luxor. Where, there are two images of the same deity, which also are navigating in the opposite direction concept.

Makes possible to say that this scene is representing this two individual perpetrating a similar cosmological action comparable to that God Khemennu seen before; which is, navigating in an imaginary watery Sky stance. Then, this fact means that these two different individuals of pole apart appearances, consequently must be representing two spiritual counterparts of the same person. Like distinguishing the soul from the spirit of the same person; somewhere, in an imaginable the afterlife dwelling place.

To clarify this idea is necessary to cite the "Book of the Dead" (Ancient Egyptian Ritualistic funerary book). Where is shown that Pharaonic Egyptians, not only believed that they had two components beings like body and soul but seven additional counterparts, which add up to nine:
1: Khat, represented by a fish, the body something predisposed to decay and to be buried.
2: Sahu, using ceremonies the body, acquired or changed into an active Spiritual Body, somewhere in the afterlife.
3: Ka, an image of the living person, but, presented, with two arms bend in right angle form, as a headdress. Associated to his statue.
4: Heart: The Living Essence, a Spirit like symbolism, depicted as a Hawk headed-Man.
5: Sekhen, also an image, as a hierarchy or power symbol of the individual.
6: Ba, the Soul, a bird symbol that was supposed to be dwelling, in its eternal living place, in company with the Gods in Heaven. But, as the Ba needed to be nourished, also did have close dealing-relation with the Ka and the Heart, as well.
7: Khaibit, the Shadow, the person projection, although independent, in a way or other was associated with its Soul and Spirit.
8: Khu, a kind of imaginary shining body coverture, at times represented by a bird, others as a mummy, thought to be its Intelligence or Spirit component.
9: The Rem, the name by which the individual was known.

Although, this theme of the Egyptian paradise (equivalent to Grek Elysian Fields) is only showing two of all supposed nine imaginary spiritual component. Having people at that time different points of view, there can be many alternatives to interpret this motive, which makes hard to precise, which two are exactly represented there.

Going further in this allegory, each personage is joined by multiple members and possible servants, who present dissimilar characteristics. Indeed, the people who seem to accompany these persons, apparently are suspended in the air, giving the idea that they were standing on different sky stage levels. Likewise, their bodies are painted with dissimilar color and depicted in the company of wives or women, holding different kind of flowers, hands and body position and names, are also dissimilar.

The most important factors, which put in evidence that, in formerly Egypt people believed in the existence habitable regions in the afterlife at that particular Sky level.

Considering that the spirit in Ancient Egypt was represented by a figurative human-headed bird and likewise the fish in hieroglyphics means, the dead human body. This image with an abundant number of flying birds and the water element is present as a pond that contains numerous fish. Therefore, the only thinkable reason, to justify the manifestation of an individual, in double appearance, the personages color factors, also play a very import role in this allegory.

1. One has a lighter color than the other and holding in his hand birds, likely presenting the spiritual elevation to Sky or Heaven idea, possibly referring to the Daylight Sky.

2. And the other, of darker color, is catching two fish with a harpoon, in what looks like a pond full of fish. Thus, he is possibly pointing to the Night phase or body in the tomb. Hence, emulating the color of mud deposited by the Nile River that devastates in its way everything that is cultivated, in each yearly cycle flood. But also, being the humus, a natural nutrient that fertilizes the terrain, it will renew the coming crops, for such, the symbolic darker color is also the symbol of revival.

As a result, although these are two different person's images, they are the same being, equivalent as the Day differs from the Night; nevertheless, both add up, to one entire Day. Or like the two River Nile banks, which also differ. On accounts that, the East side is where the agriculture and all the living activity take place and the West, mainly used for a burial ground, both makes up the whole Nile Valley.

Therefore, these figures clearly are representing the two different imaginary afterlife worlds, one in the Sky or Air component and the other in the Water element. Manifested as two spiritual individual dwelling places, because as these elements, were the most significative components for Life also were taken as necessary in the afterlife.

In the other hand, since their navigation direction sense also indicates two different directions, they are likely also based on the Sun and Moon trajectory in the Sky. Because, even so that the Moon can be seen going across the sky from east to west, as the sun does. While, the Moon path about the stars, actually goes in the opposite direction, traveling from the west to the east pathway, precisely the reverse of sun's course. Changing every day its position, approximately moving through one constellation to another each four days.

In brief, without any doubt, this illustration has to be the hypothetical manifestation of the body and soul of only one person on two differing environments and not two individuals as it is perceived to be. However, they are simultaneously living in dual places, in the afterlife. Which, definitively appears to be located in somewhere, in an apparent two different sectors in the Celestial Sphereregion, demarcated by the ecliptic, the Sun's imaginary Sky path.

Bottom Line, Since this allegory was made on behalf of one single person, it is representing two of his spiritual components. Portrayed in two different paradise afterlife realms, as the body spirit and soul of a just one individual living in the sky' Day, and Night spheres at the same time.

The two brothers Mastaba presents an artist' concept, of how people visualized at that time, the most transcendental debut moment in their afterlife existence idea.

In the burial compound at Sakkara, there is a Mastaba known by the name, "The Two Brothers". Given the fact that this illustrated assembly was meant to be shown in a sacred place, and this particular theme repeatedly appears in various walls of this memorial. As a result, it has to be taken as one of the principal subjects in this tomb. A theme that present two different characters face to face against each other.

For such reason, can be said that it is another possible way to understand the ancient imaginary concept of double spirit domains thought to exist in the afterwards world. However, they are depicted having two different identities; they and painted with different skin color, diverse names, wife, family and various other identifiers. Which, at the present time will signal that they are completely two distinct personages apart. And the reason why people qualify them as brothers and why this mastaba is appealed, "The Two Brothers Mastaba".

This Mastaba presents one person depicted as two different individuals, which, besides the corresponding Egyptian Elysian Fields concept, which are the central decorative entrance allegories of this mastaba. Both themes are represented multiple times on the interior walls of this place. Likely, having equal or similar symbolic motive significance importance. Therefore, it is deductible that both illustrations subject must have a similar or related afterlife value.

It is important to note that the external extended arms of both personages present a left hand, rather than showing a right and left, as it should be when two persons are standing in that position. A factual evidence that both individuals are nothing but the two different spiritual components of the same person entombed there.

Also can be noticed that the frontal decoration of the garment that they wear, has a significant difference. One shows a sharp white triangle and the other a rounded gold arch, a detail which possible was done to differentiate the corresponding east and west positioning of the individuals. Facts that clarifies the meaning of this arrangement, as an artist's illustration of the afterlife concept, concerning daylight and night environments.

Baked on that idea, is possible to say that both together are representing an imaginary mirror-like image idea, apparently showing the Body Spirit and Soul of the sole mastaba owner as one. But, at the precise moment of departing from this world. However, most possible, at a point of start or debut in their multiple existences in the afterlife.
In the other hand, that there is not much written about, to specify if they are being united or coming apart. Since later, there is written evidence that eventually, they unite or became part of God Khnemu in the Eternal Waters of the Sky.

In the other hand, since this two personages, hold the same privileged title of "Royal Manicurist", a qualifying designation that permitted to touch their god, the Pharaoh, otherwise punished by immediate death. States their position, which necessarily had to be that of a priest. Indeed a very high standing priest, like the former Vizier Ptahshepses; a very well-known personage, famous because he did build one of the most luxurious Mastaba ever at Abusir, North of Sakkara. He married Pharaoh Nyuserre (2445 B.C. _ 2421 B.C. Sixth ruler of the Fifth Dynasty) daughter and became Vizier. Ptahshepses previously was a high priest and the same title of Royal Manicurist, during the same pharaoh's reign. Therefore, being so complex and selective to become a Royal Manicurist, and all of the mythological concepts above there is no ground to consider two persons, rather than one.

God Khemennu, the Sky' Water God, who is also portrayed at times, as a supernatural double identity being.

Khemennu or Khnum, the Ram-headed god, was thought to be a solar deity, the personification of some kind of Sun manifestation or Sky behavior during the night, in accord with Ancient Egypt's mythological and sky mechanics attributes. Thus, they assigned to him an East and West singularities, as starting points of the Daylight and Nocturnal Sky spheres that were also taken as two different personified identities, but of feminine character.
Nonetheless, he was also was believed to be the ruler of the sky's eternal waters, and the reason why, he is portrayed with a green face that correspondingly relates him to the Nighttime kingdom domains like, Osiris, Ptah and others gods.

Likewise, even though that God Khnemu is just one deity, also was depicted by two different images, navigating in opposite direction, presenting double deity appearances. As seen before in the allegory in Aswan and the "Two Brothers Mastaba". A characteristic, which confirms that they were obviously representing two self-components of the same person.

Possible thinking that one of the body components was abiding in the mastaba Serdab at ground level and the other dwelling in the sarcophagus chamber below the surface. Although, living there for some determinate time, or similar conceptual belief. Nonetheless, was also expected that eventually they will unite again, to enjoy eternal life forever and ever, or some other correlated concept that they had.

Niches and Arches were the Afterlife world's gateway.

Mastaba Falce door Niche

Aswan Nobles Tomb detail, showing a false door in a wall and window niches in columns.

Expectantly, niches or false doors and windows were thought to be a doorway or pathway to the afterwards stellar worlds. The heavenly place where the owner of the Mastaba was estimated to be after his departure from this life on Earth.

For such reason, these decorative items were made to conduct a ceremonial offering in particular to the person who was entombed there; as well, to multiple deities associated with his principles and beliefs. These ceremonies directed during precise dates and yearly commemorative events; were done, when people visited the place and brought their offerings and presents to these niches, imagining a wishful moment shared with the referred notable.

Niches were also probably taken as a place to get some guidance for procedures of personal or family dealings of significance to the concurrence. Since the keeper of the mastaba obligatorily had to be associated with the corresponding influential clerical body of their clan, he gave the legal advice and legitimacy to their accordance, adding more significance to the position.

Saqqara Mastaba is presenting a three concentric niches or false doors entry assembly.

Not all the Niches were the same, had different purpose and category. Examining this external Mastaba Niche, with doorstep and offerings-table, at the Sakkara burial compound area. Has inscribed details, which denotes that, it was done, to perform certain ritualistic funerary ceremonies and to be use as a symbolic gateway, to some imaginary figurative region beyond human reach.

This particular external ornamented niche, in a Mastaba at Sakkara, shapes like multiple doorways, includes three inner arches, placed one inside the other like onion skins. For such, the primary purpose of this object was not only made to hide its typical entry to the building where it stands, but also to point out the dignitary's hierarchical level, who apparently had reached various honorary social levels.

Therefore, as it is presenting the three different entry to circle levels that he was also entitled to have, about his various spiritual counterparts dwelling places in the afterlife. Hence, apparently done, also to perform the apparent rituals, and place to bring the pertinent contributions from the concurrence at each level.

Ancient Egyptian Life and Nobility symbols look alike, is conceivable that both signs have an akin Sky or afterlife meaning.

It is also important to notice that the pendant that the sandal carrier has in his neck in this palette allegory is an Ancient Egyptian nobility; it is a symbol that resembles the Greek letter Pi and to the previous mastaba door outline seen before.
Also, the entire neckless ensemble, look a lot like the Ancient Egyptian Cross or Life Symbol, which makes possible to deduce that both signs have a similar or same Sky or afterlife meaning and functions.

Furthermore, knowing that the letter Pi has a symbolic importance in the math world, likely because its twelve angles, a number that have reference concerning the Sky. For the reason that during an entire year, can be seen twelve Full-Moons, whose appearance occurs in successive positions in the yearly Sun-Path or Ecliptic, a notion that divides the Sky Equatorial Line or Zodiac into twelve sectors. A factor that permits to know and calculate the exact date as the calendar does, by just tracking the Sun and the Moon positions during the year.

Going back to the Egyptian symbols, and taking the circular portions of the neckless cord and the Egyptian Cross apart, as symbols of the Sky; because both are circular, as they thought that the entire Sky circulated us. Also, because as they are depicted in such particular shape, representing a drop of water (the greatest symbol of Life) drawn backwards; for such, is possible to say that these symbols do share a mutual afterlife implication function or connotation, representing the eternal waters of the Sky.

This Mastaba Niche shape, gives a hint, about possible Egyptian Cross cosmological arch path functions, to reach a new Life afterwards.

Again, referring to the shape of the arch, but close as a whole as it is, the contour of its shape only contains eight angles. Which on the other hand, the number eight also plays a significant role; since, taking it as an imaginary vertical circle with eight divisions, it points to sunrise, mid-morning Midday, mid-afternoon sunset, evening, midnight, and down.

Also, at times without the modern techniques, to guide yourself to any point was necessary to create an imaginary circle around (horizontally) and fallowing the directions of your body when pointing your face towards the Sun. There are four cardinal points (East, Noth, West, and South) and the four subdivisions ( NE, NW, SE and SW). Which are the points in between that permits to take the best directional way to get to the desired location, like seen before in the previous mastaba door outline.

Going back to the Egyptian symbols, and taking the circular portions of the neckless cord and the Egyptian Cross apart, because both are circular and not linear as the other parts. Considering that ancient Egyptians thought that the entire Sky circulated around us and its particular apparently representing a drop of water (the greatest symbol of Life) drawn backwards. For such, is possible to say that these symbols are most likely, representing the eternal waters of the Sky.

Consequently, this information, explains why the Egyptian Cross in numerous times drawn with two legs or jambs that make a figure like the Nobility symbol pendant without the cord and alike to the Greek letter Pi, a twelve angles figure. In others, the Cross appears only with one leg, which looks like our letter T, that has only eight angles, corresponding to the cardinal points orientation symbol. A detail that shows an outstanding graphic illustration concept; an ingenious way to explain how, it was possible to transform a figure from eight angles to twelve.

And by so, representing the capabilities of an arch.
When close, show the eight angle point of view, the cardinal points at ground level.
When open, as it transforms into a figure of twelve angles, becomes the pathway to the Eternal Waters in the Sky.

Breaking apart, a Mastaba triple arch-niche compound.

Accordingly, to its imaginary funerary functions, any arch entry, is either a symbolic or real entrance to some imaginary place, like a door entrance lead to a respective room. Therefore, this imaginary triple pass-way made of three figurative arches inside of each other also must stand for tree different afterlife dwelling places, represented as only one single pathway.

Done probably inspired in three concentric spheres, covering the Sky, Ground, and Underground Levels; in any case, three sky living circle levels with day and night scopes. However, this rule can have many variations since Ancient Egyptians, tomb owners and artists did not share the same thinking concept regarding this matter. Which makes possible, to be mindful of many other alternatives and variations. In any case, in this particular example, could stand for the fallowing concordance interpretation.

The first, the top and biggest arch as a whole, which is likely representing the highest Sky level, is composed of two section:
The lintel, where appears five persons, most to be expected to be his own spiritual components at a different stage of his life.
The jambs, which are as well guarded by two personages implying the same counterpart's idea.
The total number of persons in this arch representation is seven that has some Lunar or planetary attributions, equivalent to their god Horus, who was supposed to have seven Sekhens (A symbol of power) or like the week that has seven days.

The second or Middle Arch, likely representing the ground level, resembles either an Altar, Temple or Mastaba, because of the tubular circumference; although, most probably supposedly in other dimension but as a dwelling place in the afterward.
This arch is divided into three sectors:
First, a complete rectangular, white arch that has only inscriptions; whose jambs, as well are guarded by personages holding a scepter, same as in the other jambs.
The second sector is a tubular arch, probably thought to have circulating water.
Third, a roof abundant in reeds, the central characteristic of the symbolic Reed Garden of the Sekhet-Hetepu (Papyrus swamp or marsh) corresponding to the Egyptian Paradise illustrations.

The third, and interior arch differ from the other because its lintel has three staged sectors, where the middle one depicts a sitting dignitary on a throne; thus, symbolizing stillness. Hence, an allegory associated with the night, the underworld, the realm of the dead or the Osiris kingdom. Nonetheless, implying a close relation to the mastabas Serdab room.

Mastaba  Niche

This arch is not just a symbolic artifact it is a real Mastaba-arch entrance to the underground sarcophagus area.

This image is showing the actual entrance to the burial sarcophagus area; however, after performing the ceremony rituals was sealed and turned into an offering Niche.
Hence, a detail that explains why, this arch, which is the most inner arch on a false door representation concept, the lintel allegory presents two persons; they are sitting on a throne, enjoying their afterward reward, instead of one individual as customarily shown in the symbolic false doors. Thus, the reason is that this arch had a previous genuine function.

A significant lintel detail, when comparing a typical figurative innermost arch representation with the Sakkara's "Two Brothers Mastaba" burial underground-arch.

Therefore, since being entombed in such honorable place, was an act conceded only to a single individual; hence, the only possible reason for that to happen had to be a figurative representation. Showing two body or spiritual components of a single being, at the departure moment from this world; that apparently which were supposed to unite again once done the ceremonial burial rituals.

Finally, after the burial rite, the two individual names are united in one, also sharing part of water God Khnemu name in tie Sky's Eternal Waters.

On the upper side of the niche's cavity entry of the "Two Brothers" Mastaba at Sakkara, presents a cylindrical traversal tube-like beam, resembling a water-well shaft, probably representing the Sun's path in the believed water element of the night sky sphere. Since, what holds the key to the entire undisclosed dilemma is there inscribed in hieroglyphic texts; which indicates that, these two different individuals were united conforming one single being, in the afterlife world.

Also, based on the fact that the water jars Hieroglyphs that compose their names correspond to those that identify God Khemennu or Khnum, a kind of nocturnal Sun God. And the fact that the Egyptian Cross or Life symbol has been also included in their name. Are details which, indicates that they had to acquire a new existence, somewhere in a watery Sky or Heaven.
Undoubtedly bring into being as spiritually glorified compound coming to life again, but assimilated to the mentioned God. Idea based, on the fact that, Ancient Egyptians by simply uniting names of gods, they thought to be able to formulate a new one.
Taking as an example, the name of God AmonRa, was made adding the names Amon and Ra to conform such deity compound.

Mastaba  Niche

As this paintings indicate, after their separation and departure from this world, their soul and body-spirit will be united again in the afterward divine plentiful of power and pleasures realm.

These decorative paintings of a symbolic niche, also indicate, that two spiritual counterparts, after their separation and departure from this world, their soul, and body-spirit, will be united again in the afterward divine plentiful dwelling place. The abundant realm where the mastaba owner will eventually expect to go, to exercise his power and enjoy all the worldly pleasures in profusion, in compensation for his deeds in life.

Sun Tech Egypt