What makes this tomb stand out among the 39 large rock-cut tombs at Beni Hasan is the well known scene of the Aamu group, Asiatic nomadic traders who are sometimes considered Hyksos or at least their forerunners; the group, led by a man called Absha (or Abisha, Abishai), was bringing offerings to the deceased.
Though there are fifteen people depicted in the scene, the accompanying inscription mentions there were 37 persons.

The west end of the wall has another large-scale figure of Khnumhotep II only here he is facing right and using a bow to hunt in the desert which is on the edge of the Egyptian world, the boundary between order (maat) and chaos.
It has been interpreted that in this scene Khnumhotep II is assuming the role of the king dominating over the chaotic power of the desert.

The east wall houses the entrance to the shrine, as well as two large depictions of Khnumhotep II hunting in the marshes, one on the north side and the other on the south side.
To the south he is harpooning two fishes and to the north he is fowling with a throwing stick.
These hunting in the marshes scenes help protect the deceased in the afterlife as well as guarantee his rebirth through connotations of sexuality.
Beneath him, north of the door, there are pictures of several people fishing and beneath him on the south side are representations of fighting boatmen.
Collectively this wall represents the perpetual renewal of Khnumhotep II.

The fourth wall of this tomb, south wall, was dedicated to the celebration of the cult meal of Khnumhotep II and his wife Khety.
The east end of the wall  features the deceased seated in front of an offering table covered with offerings holding a flail, traditionally seen as a symbol of royalty or divinity, in his right hand.
At the west end of the wall there is an illustration of Khety sitting in front of a full offering table.
She is facing left and participating in her husband's meal presented by his cult.
The shrine portrays a smaller version of the offering cult and in many ways can be seen as an expansion from the false door of the Old Kingdom, where a statue inside a niche could have been integrated.
The placing of statues in the chapel itself is a new funerary art style that appeared in the Middle Kingdom tombs.
What makes this tomb stand out among the 39 large rock-cut tombs at Beni Hasan is the well known scene of the Aamu group, Asiatic nomadic traders who are sometimes considered Hyksos or at least their forerunners; the group, led by a man called Absha (or Abisha, Abishai), was bringing offerings to the deceased. Though there are fifteen people depicted in the scene, the accompanying inscription mentions there were 37 persons.
The west end of the wall has another large-scale figure of Khnumhotep II only here he is facing right and using a bow to hunt in the desert which is on the edge of the Egyptian world, the boundary between order (maat) and chaos. It has been interpreted that in this scene Khnumhotep II is assuming the role of the king dominating over the chaotic power of the desert.
The east wall houses the entrance to the shrine, as well as two large depictions of Khnumhotep II hunting in the marshes, one on the north side and the other on the south side. To the south he is harpooning two fishes and to the north he is fowling with a throwing stick. These hunting in the marshes scenes help protect the deceased in the afterlife as well as guarantee his rebirth through connotations of sexuality. Beneath him, north of the door, there are pictures of several people fishing and beneath him on the south side are representations of fighting boatmen. Collectively this wall represents the perpetual renewal of Khnumhotep II.
The fourth wall of this tomb, south wall, was dedicated to the celebration of the cult meal of Khnumhotep II and his wife Khety. The east end of the wall  features the deceased seated in front of an offering table covered with offerings holding a flail, traditionally seen as a symbol of royalty or divinity, in his right hand. At the west end of the wall there is an illustration of Khety sitting in front of a full offering table. She is facing left and participating in her husband's meal presented by his cult. The shrine portrays a smaller version of the offering cult and in many ways can be seen as an expansion from the false door of the Old Kingdom, where a statue inside a niche could have been integrated. The placing of statues in the chapel itself is a new funerary art style that appeared in the Middle Kingdom tombs.
Khnumhotep II