The ancient Egyptian civilization fascinates many people because of its many mysteries. Ms. Tamako Tanaka, aka “Dr. Ancient Egypt,” who was captivated by the fascination when she was in the first grade of elementary school, talked with Mr. Nozomu Kawai, a professor at Kanazawa University, who also became an archaeologist after being fascinated by Tutankhamen in the first grade of elementary school. Mr. Hideki Matsunaga, Director of JICA’s Middle East and Europe Division, navigates the interview.
Grand Egyptian Museum
This is one of the world’s largest museums being built with Japanese assistance. Since 2008, JICA has been providing multifaceted cooperation in a wide range of projects, including the training of personnel responsible for the conservation and restoration of artifacts, the conservation and restoration of 72 important artifacts, mainly Tutankhamun’s relics, and support for the museum’s operational planning. JICA has been providing multifaceted cooperation in a wide range of projects.
What is the Grand Egyptian Museum like?
Ms. Tamako Tanaka (Tamako): Last year, I visited Egypt for the first time as part of a TV program. I was impressed by the Karnak Temple in Luxor, which I had seen in books and photo albums, and by the ancient colors in the murals, which I saw in person! Actually, I e-mailed Dr. Kawai before going to Egypt and he told me that “the Egyptian sun is a god. In Egypt, there are very few clouds, so the sunlight shone down directly on my body, and I really felt like a god.
Nozomu Kawai (Kawai): Like Tamako-san, I too became interested in Egypt when I was in elementary school. I think you can understand the lifestyle and values of the ancient Egyptians only by actually going to Egypt and feeling the local temperature, humidity, and smells. It is an asset to have been able to experience things like that.
Hideki Matsunaga, Director, Middle East and Europe Department, JICA (hereinafter referred to as “Mr. Matsunaga”) Mr. Tamako is one of the few Japanese who entered the Grand Egyptian Museum before it opened. Is there anything you would like to ask Dr. Kawai about the museum?
Tamako: At the Grand Egyptian Museum, I was overwhelmed by the colossal statue of Ramses II at the entrance square. I did not get a full picture because I was not allowed to enter the exhibition halls, but what kind of museum is the Grand Egyptian Museum?
Kawai: The Grand Egyptian Museum’s site is about the size of 10 Tokyo Domes, and is one of the largest museums in the world, both in terms of total area of the building and exhibition area, for a museum dealing with a single civilization. The biggest attraction is the over 5,000 relics of Tutankhamun.
Tamako Tanaka
A first-year junior high school student, he appeared on TV Asahi’s “Sandwich Man & Ashida Aina’s Doctor-chan” in 2021, sharing his extensive knowledge of the ancient Egyptian civilization. The following year, she made her first visit to Egypt as part of the program’s project. Nozomu Kawai teaches Egyptology at the culture school that Ms. Tamako attends, so we have known each other for a long time. He is a “teacher” who always teaches us about ancient Egypt.
The Grand Egyptian Museum stands on a vast site about 10 times the size of the Tokyo Dome.
The Three Great Pyramids of Giza in the back. A colossal statue of Ramses II welcomes you at the entrance square.
Matsunaga The Treasures of Tutankhamun, which have never been exhibited before, will be on display, right? I have high expectations for this exhibition.
Tamako: What are your top picks among them?
Kawai: Is that a guess? That’s difficult, all of them (laughs). But I would have to say the coffin of Tutankhamun. Do you know how many coffins there are?
Tamako: Three.
Kawai: Yes, three. Until now, all three have not been exhibited together, but the coffins and the golden masks will be exhibited together at the Grand Egyptian Museum. Also on display will be the two “ships of the sun” found on the south side of King Khufu’s pyramid.
Kinko: Speaking of Tutankhamun’s relics, I saw a replica of a chariot called “Chariot” at an exhibition in Japan once. I heard that you found out that it had a roof during the restoration work.
Kawai: Actually, it would be nice to be able to exhibit it with the roof on, but it is difficult because it has deteriorated after more than 3,000 years. Therefore, we plan to scan the roof and the main body with a 3D laser and exhibit them with virtual reality images. This new exhibition method is possible thanks to the cooperation of JICA.
Nozomu Kawai
Director and Professor, Institute of Ancient Civilizations and Cultural Resources, Kanazawa University; engaged in excavations and conservation projects in the field in Egypt for over 30 years; involved in the conservation and restoration project of the Grand Egyptian Museum since 2016
(Above) The first Sun Vessel to be transferred from the Egyptian Archaeological Museum in Cairo to the Grand Egyptian Museum. It will be displayed alongside the second Sun Vessel, which is currently being restored and reconstructed.
(Bottom) The oldest example of a vehicle with a roof, a chariot (a two-wheeled horse-drawn carriage for combat). The roof can be folded like an umbrella, and thanks to VR technology, visitors will be able to see the roof on their smartphones and tablets.
Trust between Egypt and Japan led to joint restoration
Amako: Why is Japan supporting a museum in Egypt when there are so many other countries in the world?
Matsunaga That is a very good question. I will answer this question: Around 1900, the Egyptian Archaeological Museum in Cairo was built with the cooperation of France and Italy, but after 100 years it had become dilapidated, and there was talk of building a new museum. So a request was made to Japan.
Kinko, did you receive a request for assistance from Egypt?
Matsunaga: When you think of international cooperation, you may mention JICA Overseas Cooperation Volunteers, who go into the grassroots of developing countries such as Africa to provide assistance. Other activities include trying to develop the economies of developing countries by building infrastructure such as bridges and power plants, etc. However, as in the case of this Grand Egyptian Museum, providing assistance to foreign cultures and cooperating in passing on important “treasures” relics to future generations is also an important part of international cooperation work.
Kawai: Through this cooperation, we were able to work with the Egyptians to conserve and restore 72 of King Tutankhamun’s treasures. In the first place, Japan is in a sense a newcomer to the field of restoration, whereas Europe and the U.S. have a 200-year history of Egyptian studies. It was an epoch-making experience for foreigners, including Japanese, to restore important artifacts in Egypt while touching them. The fact that this project was realized this time may be due to the recognition of the Japanese attitude of “respecting Egyptians and cooperating with them. We learned and enhanced each other, and I think it had a positive effect on both sides.
The restoration work was carried out by Egyptian and Japanese experts in three main areas: wood, wall paintings, and textiles (dyeing and weaving).
(Top) Diagnostic analysis of a chariot detail using a high-resolution digital microscope (equipment provided by JICA). The diagnostic analysis using the microscope contributes not only to understanding the state of conservation but also to research to obtain new archaeological knowledge (bottom left) Restoration work of Tutankhamun’s sandals (bottom right) Diagnostic analysis of the mural painting.
Kinko, Egypt and Japan have a good relationship.
Matsunaga: The exchange between our two countries dates back to 1863. A Japanese delegation was sent to Europe, stopping in Egypt along the way. Yukichi Fukuzawa was a member of the delegation. The following year, the delegation visited Egypt again, and samurai in chonmage pose for a commemorative photo in front of the Sphinx. Since then, we have continued to deepen our exchange, and over the past 20 years, we have built a relationship of trust as we have conserved and restored cultural properties in Egypt.
Hideki Matsunaga
Joined the former Japan Overseas Economic Cooperation Fund (now JICA) in 1991 and has been involved in international cooperation for more than 30 years; served as Director of JICA’s Egypt Office from 2012 to 2015; currently Director of Middle East and Europe Department, responsible for development cooperation in the Middle East and Europe including Egypt
Japanese delegation posing for a group photo in front of the Sphinx
Collection: Tatsuo Miyake, Professor Emeritus, Ryutsu Keizai University
Cooperation: Miyake Sesshurei Memorial Museum, Ryutsu Keizai University
Tamako: As a Japanese, I am proud that after more than 20 years of support, we are now able to see our support take shape in the form of museum exhibits.
Kawai: Japan has many cultural properties made of wood, and is particularly skilled in restoration techniques in that field. In addition, there is Japanese paper used for restoration work, and I believe that the various Japanese techniques have been highly evaluated and that we have been given this very prestigious opportunity.
Tamako, why do you use Japanese paper?
Kawai: For example, papyrus found in pieces is restored by backing it with Japanese paper. In the restoration of chariots and wooden beds, in which I was directly involved, the gold leaf on the peeling surface was fixed using various chemicals, and this was also done while applying washi to the surface. Washi is an amazing material used in conservation and restoration all over the world, and is something that Japan should be proud of.
Matsunaga Speaking of “amazing,” I heard that the explanations in the exhibition room of the relics of Tutankhamun in the Grand Egyptian Museum are written in three languages: Arabic, English, and Japanese. I heard that Mr. Kawai is the one who wrote the Japanese explanation.
Kawai: Yes. Since it is difficult to understand a direct English translation, I try to make the explanations easy to understand for Japanese people.
Tamako: It is not often that you hear explanations written in Japanese for each and every exhibit in foreign museums. It’s amazing how hard it is to translate technical terms into Japanese.
Kawai: That is why I would like many Japanese people to come to the Grand Egyptian Museum and actually see the museum.
Information display inside the Grand Egyptian Museum, which is also written in Japanese.
Ms. Tamako’s Dream and JICA’s Wish
Ms. Tamako Matsunaga researched ancient methods and made a fish mummy herself. I was surprised by her enthusiasm for research.
Tamako: Yes. Mummies of mammals are difficult to make, so I had a fishmonger buy an inada and mummify it for me. I made the coffin and the canopic jar, which holds the important organs, out of clay. For human organs, lungs and other organs would be placed, but since it was a fish, gills were placed.
Kawai: That’s amazing. I’ve never made a mummy, so I guess I’ve been surpassed.
Matsunaga It is wonderful that a first-year junior high school student can do so much research and practice on her own. I heard that you want to become an archaeologist in the future.
Tamako: There are three themes of “a society without discrimination,” “a peaceful world,” and “an earth-friendly life,” and I believe these three are linked. The flow of time, culture, religion and customs are totally different between ancient Egypt and today’s world. But we are the same people, so we make mistakes and errors. Rather, I hope we can recognize those mistakes and improve upon them. As you mentioned earlier about “respecting others” in the restoration of artifacts, I hope that by acknowledging each other’s differences, we can protect what is important to us and find hints for solving environmental problems unique to the modern world, such as global warming.
Matsunaga It is amazing that you have a global perspective beyond your dream of becoming an archaeologist. JICA, to which I belong, is also trying to build a society without discrimination and a peaceful world through international cooperation. Your dream is also JICA’s wish.
Kawai I am also impressed today. I am sure that through your research on ancient Egypt, Tamako will be able to see many things that modern people have lost. And I believe that working together based on mutual understanding of each other’s culture and historical background will lead us to our future dreams. We are looking forward to working together in Egypt in the near future. The tomb of Queen Tutankhamen and Ancient Ancient Men has yet to be discovered. Maybe, Ms. Kanko will discover it.
Items handmade by Ms. Tamako.
From left to right: “Tutao,” a stuffed animal of Tutankhamen, and a mummy fish in a coffin,
Four canopic jars for organs removed during mummification.
The mummy coffin was made based on the Louvre Museum’s collection of fish mummies.
There is effort and drama hidden in each exhibit.
The passion for Egypt never ceased in this conversation. Japanese conservation and restoration techniques are fully demonstrated in the numerous relics of Tutankhamun displayed and stored in the Grand Egyptian Museum. I look forward to the day when I can actually visit the Grand Egyptian Museum and think about the drama of the passion and hard work of the Egyptians and Japanese behind the restoration of each of the exhibited items. I look forward to that day.
© Source JICA
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