Thousands of Tokyoites flocked to the Crevia Base exhibition hall overlooking the Sumida River in Tokyo this week to visit the Asian premier of the Ramses and the Gold of the Pharaohs Exhibition that opened last week in the city after its success in the US and Europe.
The hall was decorated with posters featuring the wooden sarcophagus of the 19th-Dynasty King Ramses II, dominating the island overlooking Sumida River where the Crevia Base hall is located.
The whole city has been seized by Egyptomania, as the metro station and streets near the exhibition hall are also plastered with images of King Ramses II, whose reign, spanning over six decades, was defined by remarkable military conquests, awe-inspiring architectural achievements, and a cultural renaissance that left a lasting legacy on ancient Egyptian history.
To celebrate the life and accomplishments of this legendary Pharaoh, the special Ramses and the Gold of the Pharaohs Exhibition has been touring the world since 2021, offering visitors a unique opportunity to journey back in time and witness the splendour of this extraordinary era.
Now, the exhibition has arrived in Japan, bringing 180 dazzling artefacts to Tokyo that are displayed in cutting-edge style with the latest digital experiences, sound, and lighting. As a result, this landmark event promises to be an unforgettable experience for visitors.
The exhibition offers visitors a captivating glimpse into the life and legacy of King Ramses II, widely known as Ramses the Great. Ruling Egypt for nearly 67 years, one of the longest reigns in ancient Egyptian history, he lived to approximately 92 years of age and became the ultimate symbol of Egypt’s power and grandeur during the New Kingdom (1539-1075 BCE), a period that marked the height of Egyptian civilisation.
Renowned as both a formidable warrior and a skilled diplomat, Ramses II secured peace with neighbouring regions and oversaw the construction of numerous monumental structures. This dazzling exhibition showcases priceless artefacts and exquisite golden treasures, including rare relics such as animal mummies, magnificent jewellery, stunning royal masks, ornate golden treasures from numerous ancient royal tombs in Dahshour and Tanis, and intricately crafted amulets, many of which are being displayed outside Egypt for the first time.
Visitors can walk among towering statues and immerse themselves in multimedia productions that re-create moments from Ramses’ life, including his triumph at the Battle of Kadesh against the ancient Hittites when the largest chariot battle in history was fought.
The exhibition also offers a virtual reality (VR) experience that takes visitors on a whirlwind tour of two of Ramses’ most impressive monuments: the Temples of Abu Simbel in Aswan and the tomb of his beloved wife Queen Nefertari in Luxor.
This VR experience tells the story of Nefertari, wife of Ramses the Great, who takes visitors on a journey into the afterlife to be with her beloved husband. During this journey, Nefertiti tells how Ramses transformed Egypt as an architect and guardian of ancient Egyptian religion. In cinematic motion chairs, viewers can fly through temples, sandstorms, and even come face-to-face with Ramses in a very special experience.
Visitors can also explore the souvenir and replica bazaar and the Egyptian Tourism Authority’s booth at the exhibition that offers promotional materials, interactive displays, and maps in Japanese, along with a QR code linking to the “Experience Egypt” tourism platform.
INAUGURATION: The exhibition was officially inaugurated by Egyptian Minister of Tourism and Antiquities Sherif Fathi and Tokyo Governor Yuriko Koike. The ceremony was attended by Egypt’s Ambassador to Japan Mohamed Abu Bakr, Secretary-General of the Supreme Council of Antiquities (SCA) Mohamed Ismail Khaled, and renowned Egyptologist Zahi Hawass, along with key figures from the tourism and heritage sectors.
In his opening remarks, Fathi highlighted that the exhibition symbolises the strong and growing strategic partnership between Egypt and Japan. He described it as an exciting opportunity for the Japanese people to explore the rich history of ancient Egypt and a key driver to encourage Japanese tourism to Egypt.
“The exhibition serves as a cultural bridge between our nations and as a compelling invitation for Japanese visitors to experience Egypt firsthand, walking the same lands where these treasures were unearthed and discovering our country’s unparalleled tourism diversity,” he said.
Fathi also underlined Egypt’s wide range of tourism offerings, including beach resorts, cultural heritage sites, spiritual and eco-tourism, and adventure travel, reinforcing the country’s tourism campaign under the slogan “Egypt: Unmatched Diversity”.
He further underscored the significance of the Grand Egyptian Museum (GEM) as a landmark collaborative project between Egypt and Japan that is set to open fully on 3 July this year. “Once inaugurated, the GEM will not just be another museum — it will be a destination in its own right,” he stated.
Yuriko Koike expressed her delight in hosting the exhibition, particularly in a year that marks the 35th anniversary of the sister-city agreement between Cairo and Tokyo. She emphasised the importance of continued bilateral cooperation and expressed hopes for further collaborations across various fields.
Khaled highlighted the exhibition’s success in previous host cities, noting that it had attracted 600,000 visitors in Paris and 500,000 in Sydney. “I am confident that Tokyo will see an even greater turnout, given Japan’s deep appreciation for Egyptian history and cultural tourism,” he said, noting that the exhibition had seen strong public interest, as 15,000 tickets had already been sold before the exhibition’s official opening.
This signals the great enthusiasm among Japanese visitors eager to explore Egypt’s ancient treasures, he said.
Hawass hailed the exhibition as “the most impressive temporary archaeological showcase ever held outside Egypt”, featuring treasures from Ramses II, a king who was a family man as well as a warrior who defeated the Hittites and signed the world’s first peace treaty and a master builder. “Every artefact tells a story, and this exhibition will captivate Japanese audiences like never before,” he said.
“NEON is thrilled to bring the Ramses and the Gold of the Pharaohs to Japan, marking the very first Asian stop for this amazing experience of immense historical value. We would like to express our gratitude to the government of Egypt for entrusting their national artefacts to us and also to our esteemed partners for venturing alongside with us on this exciting journey,” said Ron Tan, executive chairman and group CEO of NEON, the organiser of the exhibition.
“With our combined expertise and resources, we are poised to deliver unparalleled immersive experiences that will captivate audiences and elevate the entertainment landscape in Japan and beyond,” Tan said.
John Norman, president of Neon Creative, also praised the Egyptian Ministry of Tourism and Antiquities for its pivotal role in fostering cultural exchange and strengthening global appreciation for Egypt’s rich heritage. He acknowledged the ministry’s efforts in promoting Egypt as a premier travel destination, a mission that began in 2005 with the launch of the earlier Tutankhamun exhibition in Los Angeles.
“The ministry’s dedication has allowed travellers from around the world to explore and experience the wonders of Egypt. These exhibitions not only highlight Egypt’s extraordinary history and beauty but also celebrate the spirit of its people,” Norman said.
The exhibition began its world tour in November 2021, starting in Houston in the US, followed by a stop in San Francisco in August 2022 and Paris in April 2023. It continued to Sydney, Australia, in November 2023 and later reached Cologne, Germany, in July 2024 before arriving in Tokyo, where it is expected to achieve even greater success.
TEN ICONIC WORKS: The exhibition includes 10 magnificent works that illuminate Ramses II and his reign.
The limestone colossus of Ramses II portrays the king standing tall and holding a mekes, a cylindrical document case traditionally used to store papyrus scrolls. He is wearing the nemes, the iconic striped headdress reserved for Pharaohs, and sports a false beard, a symbol of divine kingship. Additionally, he carries a dagger, which is tucked securely into the belt of his intricately pleated skirt. The statue embodies the ultimate image of Ramses II as the quintessential Pharaoh, showcasing his authority, strength, and grandeur.
It is only the second time that this remarkable artefact has been exhibited outside of Egypt, making it a rare and extraordinary sight for visitors.
The funerary mask of King Amenemope is an exquisite object. It was a part of the king’s mummy-shaped gilded-wood coffin. Standing 46 cm tall, the mask is crafted from thick sheets of gold, meticulously moulded to capture the king’s distinct facial features. A masterpiece of ancient craftsmanship, it is composed of gold, wood, bronze, carnelian, and lapis lazuli. Resting on the king’s forehead is the uraeus, the regal cobra symbolising divine authority and protection.
Dating back to the 21st Dynasty of the Third Intermediate Period, this artefact is a stunning testament to the opulence and artistic excellence of ancient Egyptian royal burials.
The funerary mask of General Wendjebauendjed, a distinguished officer in the service of the Pharaoh Psusennes I during the 21st Dynasty, radiates a sense of serenity and dignity. Crafted from gold, revered by the ancient Egyptians as the “flesh of the gods”, the mask was designed to preserve an idealised portrait of the deceased. The eyes, accentuated with glass inlays, add depth and lifelike detail, enhancing its solemn beauty.
Placed over the mummy, this mask would have allowed the general to gaze into eternity, ensuring his passage into the afterlife with honour and grace.
The ostracon of Ramses IV is carved in limestone and inscribed with drawings depicting King Ramses IV in his chariot, seizing his terrified enemies by the hair in a powerful representation of his military prowess. This artwork, unearthed in the Valley of the Kings, accentuates the Pharaoh’s strength, royal authority, and dominance over chaotic forces, reinforcing his role as both a warrior king and a divine protector of Egypt.
The coffin of King Shoshenq II from the 22nd Dynasty originally contained delicate cartonnage adorned with gold leaf. The coffin portrays the king with the face of a falcon god, symbolising divine power. His arms are crossed over his chest, holding sacred sceptres, a sign of his royal authority. Surrounding him are depictions of goddesses and the sons of Horus, who safeguarded his vital organs in the afterlife. Enveloped in the divine protection of the Egyptian pantheon, the royal mummy was destined for eternal rebirth, ensuring the King’s journey into immortality.
The colossal head of Ramses II made of pink granite was unearthed in 1888 at the Temple of Ptah in Memphis. Ptah, the creator god and patron deity of goldsmiths, held great importance during the reign of Ramses II. The head is adorned with the white crown symbolising Upper Egypt and features a false beard, which is straight, smooth, and regal, a hallmark of Pharaonic majesty.
Evidence suggests that this sculpture may have been repurposed from an earlier royal statue, resized and re-carved to reflect Ramses II’s likeness. Its distinctive features, including slightly slanted eyes, a downward-curving tear duct, a hooked nose, and a subtle smile, unmistakably align with the king’s well-known facial characteristics.
The greywacke statue of Ramses II is a remarkable example of New Kingdom artistry. It was discovered in the Karnak Cachette, a vast hidden trove of statues, and portrays the king in a dynamic pose, with his left leg bent and his right leg extended backward, symbolising his act of making an offering to the gods. In his hands, Ramses II holds a small naos, a shrine-like structure, above which are depictions of Amun, Ra-Horakhty, and what appears to be a child. The hieroglyphic inscription at their feet reads: “Ramses, beloved of Amun”.
Such statues were commonly placed in temples, ensuring that the king’s offerings were eternally preserved.
The golden vase (hes ewer) was unearthed in the tomb of Psusennes I by French Egyptologist Pierre Montet in February 1940 and was part of a remarkable treasure trove. Among the gold and silver artefacts found, some pieces predated Psusennes I by centuries, including a brazier belonging to Ramses II, and this stunning ewer, known in ancient Egypt as a hes.
The hes played a vital role in libation rituals and was used to hold and pour water during religious ceremonies. A chiselled inscription on the front reveals that it was dedicated to Ahmose, the first King of the 18th Dynasty (c 1550 BCE), and reads “the perfect god Ahmose, just of voice, beloved of Osiris, lord of Abydos”.
The granodiorite bust of Ramses II was unearthed in the Temple of Amun in Tanis, a city built using stones from Piramesse, the Pharaoh’s former capital. It was once part of a larger statue depicting Ramses II seated on a throne similar to the version housed in the Egyptian Museum of Turin. The exquisite craftsmanship reflects the artistic style of the early years of Ramses II’s reign, still influenced by the refined aesthetics of his father, Seti I. The delicate rendering of the king’s physique beneath the sheer linen garment is a hallmark of this period.
Ramses II is depicted holding a heqa scepter, shaped like a shepherd’s crook, symbolising his rule.
His regal adornments include a headband featuring the uraeus cobra, a broad usekh necklace, and a bracelet decorated with a wedjat eye, an ancient symbol of protection and divine power.
The mirror of Princess Sithathoriunet believed to be the daughter of Sesostris II of the 12th Dynasty of the Middle Kingdom. Discovered in her tomb at Al-Lahun near Fayoum, it was remarkably preserved, escaping the fate of many royal treasures looted over time.
A true masterpiece of ancient craftsmanship, the mirror is composed of gold, silver, electrum, and obsidian and is testament to the exceptional skill of Egyptian goldsmiths. The highly polished silver disc is mounted on an obsidian handle, shaped like a papyrus stem, a symbol of life and renewal.
Beneath the papyrus umbel, the head of Hathor, the goddess of love, music, and intoxication, is beautifully rendered. Her distinctive cow ears and lapis lazuli-inlaid eyes enhance the mirror’s divine symbolism, reflecting both beauty and protection for the princess in the afterlife.
* A version of this article appears in print in the 13 March, 2025 edition of Al-Ahram Weekly
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