2019 Winter In-depth Egypt Travelogue (14) – Cairo Egyptian Museum

The Cairo Egyptian Museum is located near Tahrir Square in downtown Cairo, close to the east bank of the Nile. It was designed and built by the renowned French archaeologist Auguste Mariette, whom Egyptians call the 'Father of the Egyptian Museum.' It is one of the world's most famous museums, housing the largest and most extensive collection of ancient Egyptian artifacts. It holds over 300,000 items, spanning from prehistoric times to the ancient, Middle, and New Kingdoms, as well as Greek and Roman art. Exhibits include giant stone statues of pharaohs, gilded chariots, prehistoric pottery and stone tools, various artworks crafted by ancient artisans, papyrus documents recording science, literature, history, and law, as well as mummies from thousands of years ago, still well-preserved in gold-and-gem-studded coffins.

The Egyptian Museum is a neoclassical building. Its facade features a finely crafted arch, topped with a white granite semi-arch bearing the image of Isis, the most important goddess in ancient Egyptian mythology. She wears the Hathoric crown with a solar disk and cow horns, gazing forward with a gentle, serene expression. On both sides of the main entrance are relief statues of pharaohs holding papyrus and lotus, symbols of Upper and Lower Egypt.

The Egyptian Museum has two floors, with over 100 exhibition halls and a large library. The first floor mainly displays large stone artifacts from the Old, Middle, and New Kingdoms, arranged by period. The second floor houses precious artifacts organized by theme. Among the many themed halls, the Tutankhamun Treasure Hall is the most striking. The sheer volume and variety of exhibits are astonishing, but only about 63,000 pieces—less than 5% of the collection—are on display.

Since moving to its current location in 1902, the museum has continuously received new archaeological finds, far exceeding its design capacity, resulting in overcrowded exhibits. To better protect artifacts and enhance visitor experience, the Egyptian government announced in 2002 (the museum's centennial) the construction of the Grand Egyptian Museum, located 3 km northwest of the Giza Pyramids.

We visited the Cairo Egyptian Museum on January 1, 2020. On this special New Year's Day, we stepped into this cultural hall embodying thousands of years of ancient Egyptian civilization with excitement and reverence, and were instantly awed! Every artifact here is thousands of years old; every stone records stories from millennia ago. Any single exhibit taken from this museum could become the centerpiece of another museum. The building itself, over a century old, is an artifact in its own right. A thorough visit would take months, so we had to focus on highlights based on our interests.

First is one of the museum's top treasures: the Narmer Palette, the earliest known artifact with hieroglyphic writing, dating to around 3100 BC. The palette's front shows Narmer wearing a crown, holding a mace and grabbing a captive's hair, with a sandal-bearer behind him and defeated enemies below. Narmer's name, a combination of fish and chisel, is inscribed in a rectangular frame between two cow-headed human faces at the top. On the upper right, a hawk stands on papyrus with a human head, the papyrus representing land—the Nile Delta—and the hawk symbolizing Narmer. The scene depicts Narmer's conquest of the Nile Delta.

The second must-see is the ivory statuette of Pharaoh Khufu (2609–2584 BC), builder of the largest and tallest pyramid. This is the only known statue of Khufu, standing just a few centimeters high, yet his pyramid remains a marvel of human architecture.

It seems Egyptians do not regard Khufu as particularly remarkable; his sole surviving statue is displayed in an ordinary case in a common area. Without a guide, a casual visitor might pass it by and miss it entirely.

The third notable artifact is the 'Maidum Geese,' from the tomb of Nefermaat (son of Sneferu, first pharaoh of the 4th Dynasty) and his wife Itet, located in the ancient city of Meidum. The geese are part of a mural frieze, measuring 175 cm long and 46 cm high. The painting features harmonious colors, balanced composition, flowing lines, rhythmic patterns, and decorative feather textures. Six geese, distinguishable as male and female, are vividly depicted. This masterpiece of Old Kingdom painting, over 4,500 years old, holds a significant place in world art history.

Despite its importance, this piece is placed in an inconspicuous spot, reportedly being prepared for transfer to the new museum—covered in plastic wrap. I had to search and lift the film to see it. What luck! Perhaps next time I'll find it only in a corner of the new museum.

The fourth treasure is the statue of Pharaoh Khafre (4th Dynasty), owner of the second-largest pyramid at Giza. Khafre wears a royal headdress, a short kilt, and a false beard, with the falcon god Horus standing behind him, protecting the pharaoh and his kingship. Carved from diorite, the statue remains well-preserved after millennia.

The fifth treasure is the triad statue of Pharaoh Menkaure, owner of the third Giza pyramid. This dynamic triad showcases the ancient Egyptians' athletic physiques. Menkaure stands in the center, left leg forward as if striding. On his right is the goddess Hathor, and on his left a female figure representing Egypt personified, symbolizing the land under the pharaoh's control. Both women wear tight-fitting long dresses, accentuating their full figures, contrasting with the pharaoh's robust build.

The sixth treasure is the statue pair of Rahotep and his wife Nofret. Rahotep (2613–2589 BC), brother of Khufu, served as High Priest of Heliopolis, army commander, and building supervisor.

These painted limestone statues, carved from two separate blocks, are perfectly preserved with vivid colors and life-like proportions. The faces and costumes are detailed with realism. Rahotep is bare-chested, wearing a white collar and white kilt, with a short mustache and dark skin. Nofret has a dignified expression, black hair to her shoulders, a white headband with colorful floral patterns, and a black, blue, and red necklace. Her full figure appears graceful in a white dress. The skin color difference reflects ancient Egyptian aesthetic norms.

The most striking feature is the pair of eyes, meticulously crafted from rock crystal. The crystal was ground into jelly-like translucent eyeballs, perfectly replicating human eyes (including pupils). These magical eyes seem to infuse the statues with the souls of the couple, granting them eternal life. Legend says that in 1871, French archaeologist Auguste Mariette, upon seeing the shining eyes in a dimly lit tomb, was so startled he fled.

The seventh treasure is the colossal stone statue of Amenhotep III and his wife, positioned at the top of the museum's main hall. It is the largest stone statue in the Egyptian Museum. Amenhotep III, the ninth pharaoh of the 18th Dynasty, ascended the throne young and reigned for 38 years. He developed the economy, maintained good relations with Babylon, Mitanni (now northern Syria), and Cyprus, and built numerous grand structures, including the Western Theban temples, the Colossi of Memnon in Luxor, and the Temple of Amenhotep. This statue has reportedly stood here since before the museum was built, over 3,400 years ago.

The eighth treasure is the granite sphinx of Queen Hatshepsut (1502–1482 BC), from her mortuary temple in Luxor. This painted limestone sphinx has lion-like mane and beautifully carved face, exuding feminine elegance. By having herself depicted as a sphinx, the queen proclaimed that she possessed both human wisdom and lion-like courage.

Hatshepsut's sphinx statue was originally a pair; the other is now in the Metropolitan Museum of Art in New York.

The ninth treasure is the painted limestone statue of a scribe from the early 5th Dynasty (mid-25th century BC). In ancient Egypt, scribes held high social status and were essential to the bureaucracy. This unnamed statue appears on the highest denomination Egyptian banknote (200 pounds).

The tenth treasure is the 'Sheikh el-Beled' (Village Chief) wooden statue, over 4,000 years old and 110 cm tall. It depicts a slightly overweight, kind-faced priest named Ka-aper, holding a staff and stepping forward as if approaching viewers. Workers who unearthed it nicknamed it 'the village chief' because it resembled a local leader. It is the only wooden statue in the museum, perfectly preserved, with eyes made of quartz and rock crystal that shine brilliantly—a pinnacle of ancient Egyptian woodworking.

These are our top ten recommendations, but the most unmissable is 'Tutankhamun's Treasure'!

Pharaoh Tutankhamun, the 12th pharaoh of the 18th Dynasty (1334–1323 BC), ascended the throne at age nine and died at nineteen. How he became king and received such a lavish burial remains a mystery, a subject of ongoing archaeological debate. His fame rests on the vast treasures discovered in his tomb.

In ancient Egypt's long pharaonic history, Tutankhamun was obscure due to his short reign. His tomb entrance, located beneath that of Ramesses VI and hewn into rock, remained hidden through centuries of rampant looting in the Valley of the Kings. In late 1922, British archaeologist Howard Carter expected a modest burial when he discovered the entrance, but the subsequent three-year excavation stunned the world. This was the only intact, best-preserved pharaonic tomb ever found, yielding the greatest discovery in Egyptian and world archaeology.

The golden death mask, an exact likeness of Tutankhamun's face, used 10 kg of gold and is inlaid with precious stones, primarily lapis lazuli. The eyes are made of obsidian and rock crystal, still appearing vivid. The mask's smooth lines and exquisite craftsmanship make it one of the most magnificent treasures in human civilization.

This wooden throne, covered with gold and silver foil and decorated with lion legs, was Tutankhamun's royal seat, akin to a Chinese dragon throne. The backrest depicts the coronation scene: the pharaoh wears a pleated kilt with a sash hanging in front, while the queen, in a thin, pleated gown that reveals her graceful figure, lovingly anoints him. They gaze at each other contentedly. Above them, a golden sun sends rays bestowing life. This is arguably the most beautiful Egyptian artwork ever found, often reproduced on papyrus paintings and scarves as a symbol of love.

Tutankhamun's coffin set consists of four nesting shrines, each gilded and inlaid with gems, with the outermost measuring 5 m long, 3.3 m wide, and 2.75 m high. Three of these are displayed in the museum, painted and intricately carved, of great aesthetic value.

This alabaster chest is divided into four compartments, each with a lid bearing the pharaoh's bust. Inside were canopic jars holding Tutankhamun's stomach, liver, intestines, and lungs.

The canopic chest itself is shaped like a shrine, with four goddesses on the sides protecting the deceased, and black texts containing their blessings. Inside are four jars, each with a lid in the form of Tutankhamun's head. For some reason, only three lids were visible during our visit.

This statue of Anubis as a jackal, dignified and solemn, guards the pharaoh's tomb. Anubis, also known as the jackal god, is the guide and protector of the dead in Egyptian mythology. Only with his protection can souls be guided to the underworld. Such images are common in tomb murals and papyrus scrolls.

This exquisite model of a solar boat stands on a base representing a rectangular pool. The bow and stern feature goat-head decorations. In the center, a coffin containing the pharaoh's mummy rests under a canopy supported by four pillars decorated with lotus and papyrus. A princess kneels at the bow holding a lotus, while a woman stands at the stern punting the boat, carrying the deceased pharaoh to the realm of the gods.

These are guardian statues from Tutankhamun's burial chamber, with dark skin and robust bodies, befitting royal guards. Their headdresses and armor are golden.

Tutankhamun's treasures are so vast that what I can show is barely a fraction—over 5,000 artifacts were recovered from his tomb. Let's return to other halls and share more items.

This statue of Akhenaten (Amenhotep IV, 1379–1362 BC) shows the pharaoh who renamed himself 'Akhenaten,' meaning 'Servant of the Aten.' He initiated a religious revolution to replace the cult of Amun with the sun-disk Aten as the sole god, creating the first monotheistic religion. The pharaoh became the sole intermediary between god and people, bypassing the powerful priesthood.

This statue depicts Akhenaten with a large head, wide hips, an obese belly, but short, thin legs. Why the pharaoh allowed such a depiction remains a mystery; perhaps he sought a naturalistic style. Archaeologists suggest his physique may have resulted from genetic disorders due to inbreeding, and his son Tutankhamun also suffered from hereditary conditions.

This stone is the pyramidion (capstone) from the pyramid of Pharaoh Amenemhat III of the 12th Dynasty, originally covered in gold. Thieves stole the gold, leaving the stone. Known as a benben stone, it was traditionally placed atop temples in Heliopolis to receive the first rays of the sun.

Ancient Egyptian papyrus paintings, over 3,000 years old, are among the world's oldest paper artworks. Made from papyrus plants along the Nile, they were hand-crafted into sheets and painted by scribes with reed brushes.

The museum has a separate mummy hall requiring an additional ticket. We skipped it due to time constraints and the eerie atmosphere, but there were some mummies on the second floor—presumably of nobles, if not pharaohs.

Of course, there are countless artifacts whose details I haven't researched. Any single piece could be a centerpiece in another museum.

As our ancestors said, 'To do a good job, one must first sharpen one's tools.' Several halls on the second floor showcase ancient Egyptian tools. It was eye-opening to see the variety and sophistication of tools used 3,000–4,000 years ago, filling two or three halls—a testament to ancient Egyptian ingenuity.

The Egyptian Museum has so many artifacts that items considered priceless elsewhere are piled in hallways without clear labels. It's a pity.

But this is changing. With the Grand Egyptian Museum nearing completion, many artifacts are being relocated. During our visit, staff were packing items for transfer. Perhaps you'll see them in their new home next time.

Outside the museum, in the garden west of the main entrance, stands a statue of the museum's founder and designer, French archaeologist Auguste Mariette (1821–1881). He made immense contributions to preserving Egyptian antiquities and is called the 'Father of the Egyptian Museum.' He rests here, forever accompanying the artifacts he loved.

Leaving the museum, I felt we had traversed over 5,000 years of frozen time. Witnessing the brilliance of ancient Egyptian civilization, faced with millennia of profound cultural heritage, all I could do was browse and photograph, hoping to capture lasting memories.

This section concludes our travelogue of the 2019 autumn/winter trip to Turkey, Israel, Jordan, and Egypt. Two years have passed since that trip—unusual years, as the COVID-19 pandemic ravaged the globe, transforming our world. While domestic travel in China remains possible despite intermittent outbreaks, overseas travel seems distant. The Delta and Omicron variants followed the original virus, and new mutants may emerge. It seems we can never return to the pre-COVID era. So, let's focus on domestic travel plans and appreciate our country's beautiful landscapes and rich history.

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