This golden statuette is ᴀssociated with the reign of Pharaoh Tutankhamun, dating to the late 18th Dynasty of Ancient Egypt, approximately 1336–1327 BCE. The object was discovered in 1922 within Tomb KV62 in the Valley of the Kings, near Luxor, one of the most significant archaeological sites of the ancient world. The tomb was famously uncovered by British archaeologist Howard Carter, under the financial patronage of Lord Carnarvon. Unlike many royal tombs that had been looted in antiquity, Tutankhamun’s burial was found largely intact, offering an unprecedented glimpse into royal funerary practices of the New Kingdom. This statuette formed part of the dense ᴀssemblage of ritual and symbolic objects placed to accompany the young king into the afterlife.
The statuette is crafted primarily from hammered and cast gold, a material closely ᴀssociated with divinity and eternity in ancient Egyptian belief. Gold was considered the “flesh of the gods,” incorruptible and eternal, making it especially suitable for royal and sacred objects. The figure depicts the pharaoh in an idealized youthful form, wearing a traditional royal headdress and kilt. Fine incised lines define the musculature, pleated garments, and facial features, demonstrating the high level of metallurgical and artistic skill achieved by New Kingdom craftsmen. Traces of inlaid materials, such as glᴀss paste or semi-precious stones, may have originally enhanced the eyes or ceremonial elements, though some details have been lost over time.
Archaeologically, this statuette is understood as a ritual object rather than a decorative sculpture alone. It likely functioned as a magical subsтιтute or protective representation of the king, intended to act on his behalf in the afterlife. Such figures were believed to embody royal authority and divine protection, ensuring the deceased pharaoh’s regeneration and eternal rule among the gods. The pose—often ᴀssociated with ritual movement or offering—connects the object to temple ceremonies and funerary rites. Within the tomb, the statuette would have operated as part of a symbolic system, reinforcing the king’s transformation from mortal ruler to divine being.
The significance of this statuette extends beyond its aesthetic value. It provides critical evidence for understanding New Kingdom burial ᴀssemblages, royal ideology, and workshop practices. Because Tutankhamun’s tomb remained largely undisturbed, objects like this allow archaeologists to study original spatial arrangements and symbolic groupings. The statuette also contributes to discussions about standardized versus individualized royal imagery, as its features align closely with canonical representations of kingship. From an archaeological perspective, it serves as a reference point for comparing looted or fragmentary finds from other tombs of the same period.
Today, this golden statuette stands as both an archaeological artifact and a cultural icon. Preserved and studied by museums and research insтιтutions, it continues to shape modern understanding of ancient Egyptian religion, art, and political symbolism. The discovery by Howard Carter and his team not only transformed Egyptology but also altered public perceptions of archaeology itself, highlighting the importance of careful excavation and documentation. As an object, the statuette bridges time—linking ancient belief systems with contemporary scholarship—and reminds us that archaeology is not merely about uncovering the past, but about interpreting how material culture once structured human thought, power, and hope.
