Arguably one of the most remarkable painters/draughtsmen, not only in his direct surroundings of Deir el-Medina but in the history of New Kingdom painting altogether, the Chief Draughtsman Amenhotep, son of Amunnakhte has left us a substantial body of identifiable work. His artistic output includes royal and private tomb-chapels augmented by a corpus of figured ostraca numbering at 24 known pieces. It follows then that the many different types of artwork contained in his production provide an especially rich opportunity for exploring art historical themes of particular import and can inform our understanding of these in significant ways. Moving away from the habitually confronted modern reading of decorum as a manacle of artistic freedom, this contribution aims at drawing attention to how decorum seems to have been seen in essentially positive terms, an inference cognate with what transpires from the study of the works of Amenhotep.

Amunnakhte 的儿子首席绘图员阿蒙霍特普可以说是最杰出的画家/绘图员之一，不仅在他直接围绕代尔麦地那的环境中，而且在整个新王国绘画史上，他都为我们留下了大量可识别的作品。他的艺术作品包括皇家和私人墓葬教堂，并由 24 件已知作品的数字 ostraca 语料库扩充。因此，他的作品中包含的许多不同类型的艺术品为探索具有特殊意义的艺术史主题提供了特别丰富的机会，并且可以以重要的方式告知我们对这些主题的理解。摆脱习惯性地将现代阅读视为艺术自由的束缚，