KV62 is the most famous tomb in the Valley of the Kings—because it was found in 1922 with an extraordinary concentration of burial goods and seals still in place. Although the tomb is small compared with many royal tombs, its burial chamber preserves vivid yellow‑ground paintings (including the “Opening of the Mouth” scene) and the site became a turning‑point for modern Egyptology, conservation, and heritage management. [2][3][4][5]
A fast, practical snapshot of KV62—what it is, why it matters, and what you’ll notice on a visit.
Valley of the Kings, West Bank of Luxor (Ancient Thebes), in the East Valley. [1][7]
Tutankhamun (18th Dynasty), an Amarna‑period successor who re‑centered royal ideology around Thebes and Amun. [2][5]
Reign commonly placed around c. 1332–1323 BCE (late 18th Dynasty). [5]
Compact plan: stairs/corridor → antechamber + annex → burial chamber + treasury. Wall painting is concentrated in the burial chamber. [1][2][5]
Carter’s clearance revealed nested “layers” of protection and prestige: a gilded shrine complex, a stone sarcophagus, multiple coffins, and hundreds of objects—ritual equipment, chariots, beds, boxes, food offerings, clothing, and the famous gold mask. Many items are now conserved and displayed in Cairo. [2][3][5]
KV62 is one of the Valley’s most visited interiors. Access rules (tickets, time slots, photography, group size) can change—treat on‑site signage as the final authority. Interiors are tight and carefully managed to protect the paintings and microclimate. [4]
Go early if you can. Fewer people means lower humidity, clearer views, and a calmer experience—especially in small chambers like KV62.
Deep context, written for curious travelers and history lovers: the tomb’s setting, design, paintings, discovery story, and modern conservation.
KV62 is short and compact compared with many royal tombs—yet it became the Valley of the Kings’ most famous site because it was found with seals, packed chambers, and a vast assemblage of objects that had not been dispersed in antiquity to the same extent as most royal burials. [2][5]
The tomb sits at the end of the turbulent Amarna period. Tutankhamun’s court restored older cults and re‑established connections with Thebes. Elements of the era’s art style still appear inside KV62—especially in the burial chamber painting style and proportions. [5]
Think of KV62 as two “experiences” in one: (1) a compact architectural route through the tomb, and (2) the burial chamber— where the painted scenes, shrines, coffins, and protection rituals come together as a carefully staged passage into the afterlife. [2][5]
The basic route is easy to grasp: a short descent and corridor leads into the antechamber, from which two side rooms branch (annex and burial chamber), and the burial chamber has its own side treasury. Plans published by the Theban Mapping Project are the easiest way to visualize it. [1]
KV62 is far shorter than the grand corridor‑and‑pillared‑hall designs of later Ramesside kings. Scholars often discuss whether its layout reflects a rushed burial after the young king’s death, possible reuse/adaptation, or both. [2][5]
In 1922, walls and doorways were found blocked and sealed with official impressions—physical “bureaucratic fingerprints” of the burial process. Some partitions were later removed during clearance to extract large objects like shrines. [2][5]
A short approach that quickly brings you into the “core” rooms—very different from long royal corridors elsewhere in the Valley. [1]
The famous “packed room” in early photos, where large objects were staged and later documented and removed. [2][3]
A side storeroom for additional goods—its disorderly appearance in photos hints at ancient disturbance and hurried storage. [2][5]
The decorated heart of the tomb, with a side room for additional ritual and funerary equipment. [1][5]
Unlike many royal tombs, KV62’s wall scenes are concentrated in the burial chamber. The figures are painted rather than carved in relief, and the overall program is “selective”—powerful, but not extensive. [5]
The north wall includes the famous scene of Ay (Tutankhamun’s successor) performing the Opening of the Mouth ritual on the king’s mummy— a scene that also communicates political legitimacy. Nearby, Tutankhamun is shown welcomed by the goddess Nut and embraced with/alongside Osiris. [5]
A procession scene—common in private tombs, rare in royal Valley tombs—shows the movement of the king toward burial and ritual completion. [5]
The west wall shows twelve baboons—an extract from the first section of the Amduat (a netherworld text about the sun god’s nightly journey), often read as a shorthand for the hours of the night and the rhythm of rebirth. [5]
Deities such as Hathor, Anubis, and Isis appear as protectors and guides. Parts of the painted program were affected when partitions were removed during excavation and clearance. [2][5]
In November 1922, the excavation led by Howard Carter (funded by Lord Carnarvon) uncovered steps leading down to a sealed doorway. The following months and years produced one of archaeology’s most documented excavations, with Harry Burton’s photographs recording objects in situ, packing, and removal. [2][3]
KV62 was not “emptied in a week.” The process of recording, conserving, and removing the objects took years, producing detailed diaries, notes, and an enormous photographic archive used by researchers today. [2][3]
Much of the primary documentation is associated with the Griffith Institute’s Tutankhamun archive, which preserves photographs and records from the excavation. These materials are essential for understanding what was where—and how conservation decisions were made. [3]
KV62 is one of the Valley’s most heavily visited spaces. Visitor breath and heat can raise humidity and carbon dioxide; dust can settle on walls; and tiny fluctuations matter when you’re conserving fragile paint on plaster. This is why modern management focuses on barriers, platforms, and environmental control. [4]
Conservation work has included monitoring and improving the tomb’s internal environment (air movement and filtration, visitor pathways, and updated infrastructure) to reduce dust and humidity spikes while keeping the site accessible. [4]
Brown discolorations have been noted on the walls since at least the early documentation. Conservation research has focused on understanding the materials, deterioration mechanisms, and the safest long‑term approach to stabilization and monitoring. [4]
KV62 is best enjoyed slowly but briefly: take a deep look at the burial chamber scenes, then step out so the next visitors can enter without overcrowding the air. If you want extensive wall‑to‑wall decoration, combine KV62 with a more elaborate royal tomb in the Valley. [1][5]
Some researchers have proposed that parts of a larger tomb might extend beyond KV62’s walls (including famous hypotheses involving Nefertiti). Multiple geophysical surveys and analyses have produced mixed results; the topic remains a case study in how science, interpretation, and public interest interact. [6]
Because KV62 is short, many visitors pair it with one “grand narrative” tomb (long corridors, many scenes) and one “art highlight” tomb (strong color or relief). Your guide or ticket options on the day will shape the best combo.
Quick answers to common questions visitors ask about KV62.
“KV” stands for King’s Valley (Valley of the Kings). Numbers were assigned as tombs were recorded and cataloged. KV62 is the 62nd tomb registered in the system—not the 62nd built. [1]
KV62 was exceptionally complete compared with most royal tombs, but evidence suggests it was disturbed in antiquity and then re‑sealed. What made it extraordinary was the survival of seals, blocking, and a huge amount of material still present and documented. [2][5]
Most objects were transferred to Egyptian collections in Cairo after documentation and conservation. Some are on display, and others remain in controlled storage or are being prepared for new galleries. The tomb you visit today is primarily the architectural shell and painted burial chamber. [2][3][4]
The interior route is short. Many visitors spend around 10–20 minutes actively viewing (plus any queue time). Aim for a focused look at the burial chamber scenes, then exit so the microclimate stays stable for everyone. [4]
Photography policies in the Valley can change by season and by tomb. Treat signage and staff instructions as definitive. Regardless of policy, avoid flash and keep equipment close to your body in tight spaces to prevent accidental contact with walls. [4]
Some researchers have proposed voids or extensions beyond KV62 based on architectural interpretation and geophysical scanning. Subsequent surveys and analyses have produced mixed conclusions, and no single interpretation is universally accepted. It’s a useful example of how evidence, method, and interpretation evolve. [6]
References used for the historical/archaeological summary. (Access rules can change—always confirm locally.)