The tomb was one of about eleven tombs open to early travelers. KV2 contains the second-highest number of ancient graffiti within it (after KV9), with 656 individual graffitos left by both Ancient Greek and Roman visitors. This tomb also contains around 50 or so examples of Coptic graffiti, mostly sketched onto the right wall by the entranceway, The tomb was likely used as a dwelling by Coptic monks, and there are also depictions of Coptic saints and crosses on the tomb's walls.

Originally intended to be much larger, tomb KV2 was cut short at 89 meters on the early death of the pharaoh (circa 1147 BCE) and a pillared hall was converted to be the burial chamber. The sarcophagus is in place with a magnificent goddess Nut filling the ceiling above it.

circa 1155–1149 BCE

Like other tombs of the 20th Dynasty, KV2 is laid out along a straight axis. The successors of Ramesses III from this dynasty constructed tombs that follow this pattern and most were decorated in a similar manner to one other. The tomb has a maximum length of 88.66 meter and consists of three slowly descending corridors. This is followed by an enlarged chamber, and then the burial chamber. Past the burial chamber lies a narrow corridor, flanked by three side chambers.

The tomb comprises three corridors that lead to Burial Chamber J. This space was originally designed to function as a pillared hall; however, upon the king’s death, it was rapidly repurposed and converted into a burial chamber.

circa 1155–1149 BCE

Entryway A
Entryway A has a width of 3.66 meters and a length of 14.01 meters. The space is characterized by an open approach that contains a series of steps separated by a central ramp. This ramp descends gradually and leads toward Gate B, providing a structured transition between the outer approach and the gate itself. The architectural arrangement suggests an organized circulation system that may have accommodated both pedestrian movement along the steps and the use of the ramp for easier passage. In addition to its structural features, the entryway preserves several instances of graffiti near the gate area. Among these inscriptions are texts written in Coptic, indicating later historical interactions with the site and reflecting the presence or activity of communities who used the Coptic language.

Corridor B
Corridor B has a height of 4.3 meters, a width of 3.16 meters, and a length of 15.17 meters. Archaeological evidence indicates that the tomb has remained open since antiquity, which is reflected in the presence of hundreds of inscriptions and images left by later visitors. The walls preserve numerous Christian icons, personal names, and other forms of Christian graffiti, suggesting that the corridor was frequented during the Christian period and likely served as a place of visitation or devotional activity. Despite these later additions, traces of the original Egyptian decorative program are still visible.

The remaining scenes include elements of the Litany of Re, an important funerary text associated with the sun god and the king’s journey in the afterlife. The ceiling is ornamented with symbolic motifs such as winged scarabs, vultures, and falcons, along with the royal name, all of which emphasize themes of protection, rebirth, and divine kingship. Architectural features at the beginning of the corridor further indicate the presence of an earlier structural installation. The raised ceiling and the visible post holes suggest that a pair of doors once stood at the entrance to this space, likely serving to seal or control access to the inner areas of the tomb.

Corridor C
Corridor C measures 4.23 meters in height, 3.15 meters in width, and 12.66 meters in length. Architectural evidence within the gate area indicates that the corridor was originally fitted with a pair of wooden doors. This is demonstrated by pivot holes carved into both the floor and the ceiling, which would have accommodated the door pivots and allowed the doors to open inward into the corridor. Such features suggest that access to this passage was once controlled, marking it as a transitional space within the tomb’s internal layout.

Near the beginning of the corridor, a pair of rectangular recesses has been cut high into the walls. These recesses are decorated with representations of the manifestations of Ra, reflecting the solar theology that characterizes the decorative program of this passage. The figures associated with these manifestations continue along the upper section of the walls, forming a register above the texts of the Litany of Ra, which extend across both walls of the corridor. These texts are part of an important royal funerary composition associated with the sun god’s cyclical journey and the king’s participation in this cosmic process. Additional frieze texts further elaborate on the king’s names and titles, reinforcing his royal identity and divine associations.

The central length of the ceiling is adorned with a solar composition featuring a disk that contains the ba of Ra. This disk is flanked by the goddesses Isis and Nephthys, depicted as protective kites, and is followed by additional manifestations of Ra that continue along the axis of the ceiling. The remainder of the ceiling surface is decorated with a star pattern, evoking the celestial sky and situating the corridor within the broader cosmological framework of the Egyptian afterlife.

Corridor D
Corridor D measures 5 meters in height, 3.12 meters in width, and 12.17 meters in length. Structural evidence within the gate indicates the former presence of two doors, as demonstrated by pivot holes that would have supported a pair of door leaves controlling access to the corridor. The architectural form of this space is distinguished by a vaulted ceiling, which creates a more expansive interior volume. At the rear ends of the corridor walls, a pair of vertical recesses has been cut low into the masonry, adding to the architectural complexity of the passage. The ceiling decoration consists of the king’s names arranged within a star pattern, reinforcing royal identity while symbolically situating the king within a celestial context.

The decorative program of the corridor also includes significant funerary texts. The south wall is decorated with the first division of the Book of Caverns, an important New Kingdom funerary composition that describes the sun god’s journey through the subterranean realms of the afterlife. The second division of this text is depicted on the north wall, continuing the narrative progression along the corridor. In addition to the original Egyptian decoration, the corridor preserves evidence of later activity. A Coptic cross has been inscribed on the north wall, and numerous graffiti in different languages and scripts—including Anatolian, Coptic, Demotic, Greek, Hieratic, and modern European inscriptions—attest to the tomb’s accessibility and continued visitation across many historical periods. Architecturally, the corridor floor slopes downward toward the next gate, guiding movement deeper into the tomb complex.

Chamber E
Chamber E measures 4.09 meters in height, 4.2 meters in width, and 3.66 meters in length. Although a well shaft—commonly found in tomb architecture—was never cut in this chamber, the floor level has been significantly altered by the presence of a descending ramp. This ramp begins in the floor of Corridor D and continues downward until it reaches Burial Chamber J, creating a continuous sloping passage that links these spaces. The level of the original chamber floor has been preserved in the form of benches along either side of the ramp, indicating the earlier floor height prior to the construction or modification associated with the ramped descent.

The walls of the chamber are decorated with inscriptions from the Book of the Dead, one of the most important collections of ancient Egyptian funerary texts intended to guide and protect the deceased in the afterlife. Among the texts represented is Spell 125, a well-known passage that describes the judgment of the deceased before the divine tribunal, often associated with the weighing of the heart. In total, the inscriptions are arranged in seventy-four vertical columns across the chamber walls, forming a dense textual program that emphasizes the religious and ritual significance of this transitional space within the tomb.

Burial Chamber J
Burial Chamber J (inspect) measures 5.22 meters in height, 8.33 meters in width, and 7.3 meters in length. The chamber occupies the space that was originally intended for a pillared hall, typically designated as Chamber F, and its transformation into a burial chamber reflects a significant alteration of the traditional royal tomb plan. This modification is generally interpreted as the result of a need to complete the tomb more rapidly than originally intended, leading to changes in both its structural and decorative design. Access to the chamber is provided by a descending ramp that begins in Corridor D and passes through Chamber E, culminating at a floor cut approximately one meter lower than the preceding level. This sloped approach emphasizes the transitional and ritual progression toward the tomb’s final resting place.

The walls of Burial Chamber J are adorned with sections of the Book of Gates, a funerary text depicting the sun god’s journey through the underworld and the challenges encountered in the afterlife, reinforcing the chamber’s sacred purpose. The ceiling is decorated with two depictions of the goddess Nut, symbolically covering the space as the celestial sky and emphasizing the cosmic protection afforded to the king in his eternal resting place. This combination of structural adaptation and detailed funerary decoration illustrates both practical considerations and the enduring theological significance within the tomb’s design.

Chamber K
Chamber K measures 3.46 meters in height, 2.58 meters in width, and 6.96 meters in length. Architectural evidence, including pivot holes in the gate, indicates that the chamber was originally equipped with a pair of doors, suggesting controlled access to this space. The chamber’s layout is defined by multiple gateways: each side wall contains a gate leading to a side chamber, beyond which lies a two-tiered recess, while a gate in the rear wall provides entry to a smaller side chamber. This configuration creates a network of interconnected spaces, reflecting a complex and carefully planned spatial design within the tomb.

The decorative program of Chamber K is extensive and symbolic. The walls of the corridor are inscribed with vertical columns of text from the Book of Caverns, which narrates the sun god’s journey through the underworld and the challenges encountered in the afterlife. Within the recesses, images of enshrined gods are depicted below offerings, emphasizing ritual devotion and the provision of divine protection. The ceiling features a central text band bearing the king’s names and epithets, flanked by a pattern of stars, symbolically situating the king within the cosmic order and reinforcing the celestial and protective significance of the chamber.

Side Chamber Ka
Side Chamber Ka measures 1.75 meters in height, 1.6 meters in width, and 3.66 meters in length. The walls of the chamber are decorated with images depicting the king in his mummiform state, emphasizing his transformation and enduring presence in the afterlife. These representations serve both a ritual and symbolic function, reinforcing the funerary purpose of the chamber as a space dedicated to the protection and veneration of the king’s remains. The compact dimensions of the chamber suggest its role as a subsidiary space within the larger tomb complex, designed to complement the central burial and ceremonial areas while maintaining the theological emphasis on the king’s eternal existence.

Side Chamber Kb
Side Chamber Kb measures 1.78 meters in height, 1.54 meters in width, and 3.72 meters in length. Located at the rear of Corridor K, the chamber extends westward and functions as a subsidiary space within the tomb complex. The side walls are decorated with depictions of a couch and stool positioned between shrines, suggesting ritual or domestic associations related to the king’s funerary provisions. Below these images, representations of canopic jars emphasize the importance of preserving the king’s internal organs in accordance with traditional Egyptian burial practices. The rear wall of the chamber is adorned with figures of two goddesses performing the nini gesture, a symbolic act of protection and divine intercession, further reinforcing the chamber’s role in safeguarding the deceased and ensuring his passage into the afterlife.

circa 1155–1149 BCE

The decorative program of Tomb KV2, belonging to Ramesses IV, presents a sophisticated synthesis of solar and underworld iconography rendered in finely executed painted sunk relief. The decorative sequence begins at the entrance and in the initial corridors with scenes from the Litany of Ra, depicting the king venerating Ra-Horakhty and various manifestations of the sun god, thereby establishing the solar framework of regeneration. Subsequent corridors and the antechamber contain passages from the Book of Caverns and Book of the Dead (notably Chapter 125), emphasizing the king’s passage through the netherworld and his justification before divine judges.

The burial chamber displays the most extensive and cohesive decorative cycle, featuring the first four hours of the Book of Gates on the walls, while the ceiling bears representations of the sky goddess Nut arching across the vault, accompanied by deities such as Shu and celestial constellations from the Book of Nut and Book of the Night. Ancillary chambers include excerpts from the Book of the Earth and additional ritual scenes portraying the king in mummiform aspect. Stylistically, the tomb is notable for its bright polychrome palette, golden-yellow backgrounds, and orderly hieroglyphic registers that maintain a high degree of visual clarity.

Thematically, the program integrates solar rebirth, Osirian resurrection, and cosmic renewal into a single theological statement, positioning Ramesses IV as both the sun god rejuvenated in the sky and the Osiris reawakened in the depths, thereby affirming his eternal unity with the divine cosmos.