The exhibition, which opened for the first time since the excavations of 1922, features more than 5,500 "remarkable items" that, as the curators hope, will evoke a sense of awe in viewers.
The central theme of the Grand Egyptian Museum, which rises against the backdrop of the Giza pyramids, is the collection of Tutankhamun. This unique mega-complex, which opened its doors this week, has been under construction for several decades.
“This is a gift from Egypt to the whole world,” said Egyptian President Abdel Fattah el-Sisi during the museum's opening ceremony. Countless beautifully preserved artifacts are displayed here, which have fascinated archaeologists and historians for centuries.
For the Egyptian government, this museum has become a symbol of its ambitions to elevate the country's status and attract tourists, which is crucial for Egypt's economy.
For many Egyptians, the new art museum represents an opportunity to assert that their most significant ancient artifacts should be on their homeland, not in European museums.
“Arguments against repatriation are becoming increasingly unconvincing,” noted Monica Hanna, a renowned Egyptologist from Cairo. The new museum, she said, demonstrates that “Egypt is ready, willing, and has all the necessary conditions to preserve its heritage.”
The museum's creators had high hopes for it, despite delays of more than 20 years caused by revolutions, pandemics, and economic difficulties.
The complex, covering 5.4 million square feet, is essentially several museums in one, and it is impossible to explore it in a single day.
The pyramidal alabaster entrance leads to a majestic staircase, where illuminated statues and enormous columns create an atmosphere. The main building houses magnificent sculptures, exquisite jewelry, and vibrant friezes in 12 halls.
Some halls were opened for preview visits during a month-long "soft" opening, but the most anticipated exhibition remains the collection of Tutankhamun.
Visitors enter the galleries of this pharaoh through a corridor adorned with bright hieroglyphs, where exhibits tell the story of the young king's life and death.
One can also start with the hall dedicated to the excitement surrounding the discovery of Tutankhamun's tomb. Here, among other items, is a gilded stool with carved legs and a translucent vase with lotus flowers, alongside screens displaying archival images of the excavations.
Some exhibits, including Tutankhamun's armor, are displayed for the first time after long restoration. This armor is made from pieces of leather stitched together to mimic fish scales.
The famous exhibits can now be seen in a new, spacious hall, which offers more room for contemplation than the crowded Egyptian Museum in downtown Cairo. The high ceilings and dimly lit spaces of the new museum create an atmosphere for a more detailed study of exquisite artifacts.
Tutankhamun's burial mask undoubtedly takes center stage in this hall, illuminated from above.
For those interested in the controversies surrounding the early death of the boy king, a separate section is dedicated to new forensic technologies and genetic studies that may shed light on the mystery of his demise.
The galleries of Tutankhamun connect to another 11 halls filled with artifacts.
Egyptian historians emphasize that they are captivated not only by the towering statues and luxurious jewelry but also by exhibits that reflect the everyday life of ancient Egyptians.
Here, there are statues of brewers and bakers, as well as busts with unique women's hairstyles, from short bobs to curly wigs. A tiny figurine of a man petting his dog symbolizes the centuries-old bond between humans and dogs.
“The most significant items are those that connect us to ordinary people, to everyday life,” asserts Egyptologist Hanna.
To convey the atmosphere of daily life, the museum employs high technology. For example, in the reconstruction of one of the tombs, colorful projections of the original friezes alternate: gazelle hunters and farmers with baskets.
Egypt hopes that the museum will attract many tourists and bring in much-needed currency. Minister of Tourism and Antiquities Sherif Fathy predicts that the museum will welcome up to five million visitors annually, and builders are rushing to construct around 12,000 hotel rooms for their accommodation.
However, the museum is also important for Egypt's 108 million population.
On the opening day, a large number of visitors came not only from abroad but also from various corners of the country. Elderly men in traditional clothing posed for photos, while young Egyptian fashionistas took selfies against the backdrop of colorful exhibits.
26-year-old Mai Mohammed, a budding blogger who attended the opening, noted that she lost count of how many times she had been to this museum. “It’s important for me to see the reactions of other people,” she added.
According to local authorities, one of the goals of the museum is to delight the public, but it also provides new opportunities for the restoration and return of Egyptian heritage to the hands of Egyptians.
“This direction was established in Egypt, but it continues to develop beyond its borders,” said the museum's director Ahmed Ghoneim. “We strive to bring it back.”
This is just the beginning for many Egyptian historians who have long been calling for the return of significant artifacts from Ancient Egypt. The list of the most requested items includes the bust of Nefertiti from Berlin, the Rosetta Stone from the British Museum, and the Dendera Zodiac from the Louvre.
Despite the legality of exporting these artifacts during the colonial era, activists argue that modern Egyptian museums are capable of effectively preserving treasures, which refutes previous doubts.
Even Tutankhamun has not escaped problems: in 2014, workers accidentally damaged his burial mask while installing lighting in the old museum.
Many Egyptologists believe that the arguments against the return of artifacts are losing their strength.
They argue that the Grand Egyptian Museum is not only capable of preserving artifacts but also highlights the issues faced by European institutions.
“Don’t talk to me about protection,” said renowned Egyptologist Bassam El-Shamaa. “We need to get our things back, especially from the Louvre.”
Many Egyptians are convinced that the legal arguments against the return of artifacts are outdated.
“It’s wrong that we have to travel abroad to see our heritage,” noted influencer Mohammed. “They are ours; it’s part of our identity.”
Egyptian officials express caution.
The Secretary-General of the Supreme Council of Antiquities of Egypt, Mohamed Ismail Khaled, noted in an interview the legal complexities associated with the return of artifacts.
Nevertheless, Egypt hopes to persuade European museums to send such iconic exhibits as Nefertiti to the museum, at least for temporary exhibitions.
“We would like them to be able to come to us — even if only for a while,” he concluded. “So that Egyptians can see their ancestors.”
