Clay figurines represent one of the ideal object categories for tracing the profile of their makers since they preserve traces of the maker’s gestures. The scope of the article is to reconstruct the different manufacturing steps of clay figurines, assess the complexity of the shaping sequences and study fingerprints to trace the profile of people who produced such artefacts in the ancient village of Lahun (Egypt, MBA II, c. 1800–1700 BC). The high number of production chains revealed that, despite an apparent roughness, clay figurine production was characterised by high stylistic and technological variability, indicating several levels of skill possessed by their producers. On this basis, Lahun clay figurines were not an extemporary or standardised product. A neat division can be established between anthropomorphic figurines and those representing animals, which show a lower degree of complexity and an attempt not to define clear shapes. Most of the figurines were revealed to be mainly shaped by adults, while children contributed in a marginal way to their production. However, the presence of sub-adult fingerprints on some of the clay figurines indicates that children were active agents producing material culture and integrating part of the adult production process through cooperation and/or playing.

泥人代表了追踪制作者轮廓的理想物体类别之一，因为它们保留了制作者手势的痕迹。本文的范围是重建泥人的不同制造步骤，评估成型顺序的复杂性，并研究指纹以追踪在拉洪古村（埃及，MBA II，c）生产此类工艺品的人们的概况。。公元前 1800 年至公元前 1700 年）。大量的生产链表明，尽管泥人的生产表面上很粗糙，但其风格和技术的可变性很高，这表明其生产者拥有不同的技能水平。由此看来，拉浑泥人并不是临时性的、标准化的产品。拟人雕像和代表动物的雕像之间可以建立清晰的划分，它们表现出较低的复杂程度，并且试图不定义清晰的形状。据透露，大多数雕像主要是由成年人塑造的，而儿童对其制作的贡献很小。然而，