由于发现了数量极多的奢华珠宝，埃及图坦卡蒙法老王（Tutankhamun）的陵墓1922年出土，就引起了世人的关注。发掘之后，参与者不少人在短时间内接连暴病身亡，包括考古队的赞助人卡纳冯爵士、考古队负责人霍华德·卡特的女儿等，死亡人数共有17人之多。这使图坦卡蒙的坟墓发掘，蒙上了神秘的色彩。

　　史载，图坦卡蒙登基的时候才9岁，领导埃及仅有短短的10年，就辞别人世。

　　图坦卡蒙墓葬共有5000多件随葬品，霍华德·卡特的考古队花了三年功夫才全部将物品取出。

　　1976至1979年，古埃及法老王图坦卡蒙考古发现展在纽约举行，创下了800万观众的纪录。

　 　今天，在纽约时报广场44街的Discovery Times Square Exposition，纽约人再次有机会亲眼目睹1922发掘出来的这批珍贵文物，包括主人图坦卡蒙那座精美绝伦的金面罩、层层叠叠的棺木、各种各样的随葬物品，每一件，都透视出3000多年前埃及的墓葬习俗。

　 　由美国国家地理学会等机构组织的“图坦卡蒙及法老王的黄金时代”展览，带来了130多件珍贵的文物，包括图坦卡蒙墓的展品50件以及相关墓主的展品80 件，大多数展品第一次在纽约展出。主办者采用文物、图片、录像等方式，展示了文物出土时候的珍贵镜头，以及与这批文物相关的科学考证活动。尤其是对图坦卡蒙国王本人木乃伊进行得的DNA检验过程的录像，以及与实物1比1大小的木乃伊复制品。

　　最精彩的当然是图坦卡蒙的金面罩，以纯金打造而 成，上面镶了宝石。这是3300年来发掘的唯一一个完好无缺的法老陵墓，也是埃及最豪华的陵寝。国王的金面罩出现在第三口内棺里，金光璀璨的法老的纯金面 具，眼睛用的是白石和黑曜石，眉毛和眼圈用的是透明蓝玉，表情严峻，面容生动。法老的前额上镶嵌着艳丽的眼镜蛇和兀鹰，那是上埃及和下埃及的图徽。最内层豪华惊人，是由整块的纯金片打制而成，重达6千克以上，为古代黄金工艺品中所罕见。

　　作为人类历史上的文明高峰之一，古埃及曾经辉煌一时。虽然文字的记载不一定可靠，但今天依然存世的高耸金字塔，以及丰富的考古发现的文物，让我们找到了可信的古代文明证据。

　　纽约是这个展览全球巡展的最后一站，目前参观者的数字已经超过1600万之众。主办机构指出，展览的收入将用于建设一座保存这些珍贵文化的博物馆，让这些珍宝拥有一个永远的家。

（原文载《侨报》2010年7月15日，图片为主办机构提供）侨报文章链接：

http://epaper.uschinapress.com:81/qiaobao/html/2010-07/15/content_323276.htm

　　展览：《图坦卡蒙和法老的黄金时代》（Tutankhamun and the Golden Age of the Pharaohs）

　　时间：2010年6月9日至2011年1月9日，七天开放，上午10点至下午8点

　　地点：Discovery Times Square Exposition

　　地址：226 West 44th Street，New York, NY 10036（七八大道之间）。

　　票价：27.5元，耆老：25.5元。

　　网站：www.kingtutnyc.com。

图坦卡蒙最新研究文章：《考古杂志Archaeology》2010年3-4月,链接：

http://www.archaeology.org/1003/etc/tut.html

Sculptures from Luxor prove the "Boy King" was the scourge of Egypt's foes

A painted wood box from Tut's tomb shows him vanquishing Nubians and Syrians. (Araldo De Luca)

Little was known about Tutankhamun when his tomb was discovered in 1922. He ruled sometime after the heretic pharaoh Akhenaten--who abandoned the traditional Egyptian pantheon headed by the god Amun in favor of Aten, a solar deity--and presumably died young after an insignificant reign. Since then, the "boy king" tag has colored our understanding of the young king. But new discoveries contradict that early assessment. Recent CT scanning of his mummy shows that Tut was no boy at death, but was a grown man by the standards of the time and may have been 20 years old. And his 9- to 10-year reign toward the end of the 14th century B.C. was one of the greatest periods of restoration in the history of Egypt. Under Tut, the damage caused by Akhenaten's iconoclastic fury against the state god Amun, which tore the country's social, political, and economic fabric asunder, was repaired and Amun's cult restored.

The rich array of objects found in Tutankhamun's tomb speak to the opulence of the Egyptian court and the young king's pampered life. But other items, including numerous throwsticks (sort of non-returning boomerangs), spears, bows and arrows, and chariots--many inscribed with his name and clearly used--attest his athleticism and youthful energy. Today, new evidence of Tutankhamun's reign has emerged that shows he was much more active than was thought, and may have led military campaigns against the Syrians and Nubians before he died.

Carved sandstone blocks--apparently from Tut's funerary temple--suggest the battle scenes record real events. (Courtesy W. Raymond Johnson)

For 20 years the Epigraphic Survey of the Oriental Institute at the University of Chicago has worked in Luxor Temple, copying and publishing its inscribed walls.The survey has recorded hundreds of broken wall fragments from the temple that had been reused in medieval buildings. The temple walls from which they had been quarried and recycled originally depicted rites celebrated at Luxor Temple, including the great river procession of Amun and his divine family from Karnak Temple to Luxor and back during the annual festival of Opet, during which the god and king experienced rebirth.

Along with sandstone blocks from Tut's additions to Luxor Temple, identifiable by their lively carving style in light raised relief, we discovered blocks from a completely different temple of Tutankhamun, recognizable by the carving style and the presence of his name. These blocks and fragments preserved offering and barge procession scenes, rituals associated with the cult of the king, and even what appeared to be military scenes, but all smaller in scale. Further inspection revealed the surprising fact that they were all talatat, the small blocks favored by Akhenaten for quick building construction (about 20 x 9 x 10 inches). Many of them preserved relief decoration typical of Akhenaten's period, often upside down, on the backs. It was clear that Tutankhamun had not simply added scenes to an existing structure of Akhenaten but had actually taken down one of his buildings dedicated to the solar god Aten and reused the blocks! Many believe Akhenaten was Tut's own father (my own belief, however, is that they were brothers). This proves that Tutankhamun himself, and not his successors, began reversing his Akhenaten's religious changes on a large scale, even demolishing his temples.

We now know that these "Tutankhamun talatat" were quarried from Karnak Temple's second pylon or gateway (where some can still be seen), and that the small blocks and a series of larger blocks came from a temple of Tutankhamun called "The Mansion of Nebkheperure [Tut], Beloved of Amun, Founder of Waset (Thebes)," or for short, "The Mansion of Nebkheperure in Waset." The scenes suggests that this was Tutankhamun's mortuary temple, completed after his death as a memorial by Ay (Tut's immediate successor and possibly his grandfather). This temple was later dismantled by Horemheb, who was Tutankhamun's general before he later became pharaoh himself, for reuse as fill in the second gateway of Karnak Temple.

Tutankhamun, shown as a sphinx, tramples Egypt's traditional foes, a Syrian or Asiatic and a Nubian. (Araldo De Luca)

Two sets of battle-themed carvings from Tut's mortuary temple survive, one depicting a Nubian campaign, and one larger group that shows several episodes of Tutankhamun in a chariot leading the Egyptian forces against a Syrian-style citadel. Other blocks depict the king receiving prisoners, booty, and the severed hands of the enemy dead, as is traditional, though in this case the hands have been strung on spears like shish kabobs, a detail that is unique in Egyptian art. The second set shows a royal flotilla returning up the Nile, with a manacled Syrian prisoner hanging in a cage from the sailyard of the king's barge. Pieces of a concluding scene show the king offering prisoners and booty to the divine family of Amun, his wife Mut, and son Khonsu. Before now, we thought that Sety I of the 19th Dynasty invented this genre of battle narrative, but it is now clear that the tradition goes back at least to Tutankhamun and the late 18th Dynasty, and probably earlier.

The historical implications are profound. Contemporary reliefs in the private tomb of Horemheb preserve scenes showing Syrian and Nubian prisoners being brought before Tutankhamun, as well as a military camp scene. The grisly details in the Tutankhamun mortuary temple battle narrative suggest that they were observed and recorded on the battlefield during real campaigns. Egyptian art at this time stressed truthfulness. Tut's presence in these scenes indicates that the young king participated in these campaigns.

The recent reexamination of Tutankhamun's body suggests that his death was the result of an accident that injured his leg, leading to a fatal infection. An accident of this sort might have taken place while the young king was on a military campaign, but we will probably never know, because on matters such as the accidental death of a king Egyptian sources are traditionally silent.

But the battle reliefs now being reassembled from Tutankhamun's mortuary temple and from the painted casket from his tomb may commemorate the king leading Egypt's armies into battle against Syrians and Nubians. It is clear from them that the young king was considerably more active than has been assumed, and it is also possible that this cost him his life. Tutankhamun's social status and wealth couldn't save him from the mortality of all men, even those who considered themselves to be gods.

W. Raymond Johnson is director of the Epigraphic Survey, Oriental Institute, University of Chicago.

• For more on Tutankhamun and the exhibition, see TutWatch.