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The sensational discovery （感官之旅） of the tomb of the pharaoh Tutankhamen (18th dynasty; 1539–1292 BC) revealed the fabulous treasures that accompanied an Egyptian sovereign, both during his lifetime and after his death, as well as the high degree of mastery attained by Egyptian goldsmiths.
This treasure is now housed in the Egyptian Museum in Cairo and represents the biggest collection of gold and jewelry in the world. （世界最偉大、出土量最大的黃金珠寶）The pharaoh\’s innermost coffin was made entirely of gold, and the mummy was covered with a huge quantity of jewels.
More jewels were found in cases and boxes in the other rooms of the tomb. The diadems（寶冠）, necklaces, pectorals（肩膀及胸的片狀寶飾組）, amulets, pendants, bracelets, earrings, and rings are of superb quality and of a high degree of refinement that has rarely been surpassed or even equaled in the history of jewelry.
The ornaments in Tutankhamen\’s tomb are typical of all Egyptian jewelry.
The perpetuation of iconographic and chromatic principles（圖像與色彩學） gave the jewelry of ancient Egypt—which long remained uncontaminated in spite of contact with other civilizations（與外來文化的接觸）—a magnificent, solid homogeneity, infused and enriched by magical religious beliefs.
Ornamentation is composed largely of symbols that have a precise name and meaning, with a form of expression that is closely linked to the symbology of hieroglyphic writing.
The scarab（聖甲蟲）, lotus flower, Isis knot, Horus eye（霍拉斯之眼）, falcon, serpent, vulture, and sphinx are all motif symbols tied up with such religious cults as the cult of the pharaohs and the gods and the cult of the dead.
In Egyptian jewelry the use of gold is predominant, and it is generally complemented by the use of the three colours of carnelian, turquoise, and lapis lazuli or of vitreous pastes imitating them. （綠松石、青金石、紅玉髓）
Although there was a set, fairly limited repertoire of decorative motifs in all Egyptian jewelry, the artist-craftsmen created a wide variety of compositions, based mainly on strict symmetry or, in the jewelry made of beads, on the rhythmic repetition of shapes and colours.（對稱、重複、規律性的節奏）
The concept of symmetry was utilized on the small pectoral（寬大及胸腰處的寶飾） or pendant (3.3 ´ 2.4 inches, or 8.4 ´ 6.1 centimetres) that belonged to Sesostris III in the 12th dynasty (1938–1756 BC); the superbly rhythmic composition is framed by an architectonic design obtained by leaving open all of the nonfigurative part.
The jewel is coloured with carnelian, turquoise, and lapis lazuli inlays, while the function of the gold separating these materials is limited to creating the design.
The victorious pharaoh is represented by two lions with the plumed heads of falcons in a symmetric position in the act of trampling conquered Nubians and Libyans. （雙獅與老鷹頭：象徵征服弩比亞與利比亞）
Over the scene is the protective vulture of Upper Egypt with wings outspread (Egyptian Museum). These memorial or dedicatory pendants, as well as other small jewels such as earrings, bracelets, and rings, consist exclusively of symbols.（老鷹代表上埃及，眼鏡蛇為下埃及）
Necklace beads—generally made of gold, stones, or glazed ceramic（即法安斯陶）—are cylindrical, spherical, or in the shape of spindles or disks and are nearly always used in alternating colours and forms in many rows.
The necklaces have two distinct main forms. One, called menat, was the exclusive attribute of divinity and was therefore worn only by the pharaohs. Tutankhamen\’s menat is a long necklace composed of many rows of beads in different shapes and colours, with a pendant and with a decorated fastening that hung down behind the shoulders.
The other, much more widely used throughout the whole period, was the usekh, which, like the vulture-shaped necklace from the tomb of Tutankhamen, also has many rows and a semicircular form.
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