The Pharaoh, Sphinx and The Museum

After years of anticipation, the Grand Egyptian Museum by the Pyramids opened on Saturday evening, marking the world’s largest archaeological complex dedicated to a single civilization.

The museum was opened in an official ceremony attended by President Abdel Fattah al-Sisi and delegations from 79 countries, including 39 led by kings, princes, and heads of state and government.

The launch featured musical performances in one of the museum’s courtyards, with the three pyramids visible in the background.

Performers appeared in distinctive pharaonic attire, resembling a grand procession according to Anadolu.

Egyptian Prime Minister Mostafa Madbouly described the museum as a “unique global edifice” and an “exceptional event in Egypt’s history.”

“This dream has lived in our imagination for years. This world-class monument is a gift from Egypt to humanity — a nation with more than 7,000 years of history,” he told a press conference before the opening.

Madbouly thanked everyone who contributed from the idea’s inception to the completion of the project, noting that most of the construction was carried out over the past seven years.

He explained that the concept dated back around 30 years, followed by preparatory work, design competitions, and architectural studies, before the construction began.

Board of Trustees member and businessman Mohamed Mansour predicted that the museum would attract over five million visitors annually.   

‘Fourth pyramid’

The idea of the Grand Egyptian Museum originated in the 1990s under former Culture Minister Farouk Hosni, who envisioned an open museum encompassing the pyramids, the Sphinx, and surrounding temples.

Former President Hosni Mubarak laid the foundation stone for the museum in 2002, and site preparation began in May 2005, but the project stalled for years.

Work resumed in 2014 under President Sisi, who expanded the plan to make it the largest museum in human history.

Between 2017 and 2023, construction, digital infrastructure, display design, and service and investment facilities were completed. The museum began trial operations in October 2024, pending its official opening as the world’s largest archaeological complex dedicated to a single civilization — Ancient Egypt.

Located two kilometers from the Giza Pyramids, the museum covers 490,000 square meters. Visitors can view the pyramids through the five-story glass facade, designed to align with the Great Pyramid’s height, and take photos with the pyramids while exploring King Tutankhamun’s treasures.

The project cost around $1 billion, financed through two Japanese loans totaling $800 million, in addition to Egyptian government funding, donations, and partnerships.

The entrance hall features a colossal statue of Ramses II, and the museum houses over 57,000 artifacts chronicling Egypt’s history. The Grand Staircase spans 6,000 m² — the height of a six-story building — and the museum includes 12 main galleries, temporary exhibition halls, and the Tutankhamun collection with over 5,000 artifacts displayed together for the first time since the tomb’s 1922 discovery.

It also includes a children’s museum, artifacts from Queen Hetepheres, mother of King Khufu, the Khufu boat museum, and various pieces from the Greek and Roman eras.

The design represents sun rays converging from the three pyramids, forming a conical structure — the museum itself — appearing as a “fourth pyramid” when viewed from above.

The logo, unveiled on June 10, 2018, emerged from an international UNESCO-supervised design competition. It reflects the building’s architectural identity, inspired by the orange glow of sunset over the plateau and fluid Arabic calligraphy evoking desert dunes.

CrossFireArabia

CrossFireArabia

Dr. Marwan Asmar holds a PhD from Leeds University and is a freelance writer specializing on the Middle East. He has worked as a journalist since the early 1990s in Jordan and the Gulf countries, and been widely published, including at Albawaba, Gulf News, Al Ghad, World Press Review and others.

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Beirut Weeps For a Poet

Lebanon mourns Khatoun Salma, a Lebanese national poet who was killed along with her husband in an Israeli airstrike that targeted their home in the Tallet al-Khayat neighborhood of Beirut Wednesday, 8 April.

Rasha al-Amir, publisher of Dar al-Jadeed, announced that the bodies of Khatoun and her husband were recovered from the rubble, Thursday morning.

Lebanese journalist Maha Salma also mourned her sister Khatoun on her Instagram account, writing: “My dear sister is in God’s care. May God grant me patience in the pain of her loss and the burning of my heart and soul.”

Poet and playwright Yahya Jaber wrote a tribute to Khatoun on Facebook, saying: “Yesterday, the Israeli airstrike cut down a poet with its sharp scissors, a poet of delicate Arabic.” Under the rubble, the conjunction “waw,” the plural “waw,” the feminine plural “nun,” the feminine suffix “ta,” the definite article “al-“: a massacre of language at the hands of language. Jaber attached a picture of the building where Khatoun lived to his post, saying:

“Here is the Khayat Hill building, and here on one of these balconies, we used to stay up late with Khatoun and her husband, Muhammad Karsht, in the late 198s, spinning yarns of laughter and sewing memories. We would recite poetry and remember our city, Tyre, and love Beirut, the capital.”

Lebanese poet Majida Dagher wrote on her Facebook page in mourning for Khatoun: “Under the rubble of her house in Khayat Hill, they found a poet lying among her shattered rhymes. The death of a poet in an airstrike on Beirut makes you feel that war is very, very close. The sound of bones breaking has become louder, and the smell of blood deeper.

Salma fell from the heights of poetry before she could bid farewell to ‘the last inhabitant of the moon.'” She thought Beirut was her tent, Beirut the roof of her poem, where she would hide, “embracing a woman waiting” for the dust to settle. But the dust became the tent of a new Beirut, a Beirut weeping, broken, martyred.

Salma, who studied Arabic literature at the American University of Beirut, published two collections of poetry, “I Embraced a Woman Waiting” in 2009 and “The Last Inhabitants of the Moon” in 2012, both with the Lebanese publishing house Dar Al-Jadeed. She first gained recognition in the 1970s, during her secondary school years, when she won a poetry prize. Later, at the beginning of this century, she became known in cultural circles for her relatively small but distinguished poetic output and her academic pursuits, which included studies in Sufism and Sufi mystics.

She combined profound knowledge with poetic sensitivity. She left her mark on the Lebanese cultural scene with a unique poetic voice, manifested in her literary works that carried the pain of humanity, exile, and memory. With her tragic passing, Lebanon loses a literary and human figure who wrote of the wound in a language that resembled nothing but truth.

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Al Bahri: The Man Who Set Palestinian Theater

He is a playwright and author of 12 plays, nearly 20 novels, and numerous translations. Jamil Habib Afara (al-Bahri) was known as the “Father of Theater.” He was born in 1895 in Haifa and his family name dates back to the mid-18th century, as his ancestor owned a merchant fleet that sailed the Mediterranean between Haifa, Acre, and Tripoli. This is where his family name originated.

He showed early interest in literature and writing. He and his brother, Hanna, were keen to revitalize the literary and intellectual scene in Haifa, establishing the National Library there in 1922. He first published the “Zahrat al-Jamil” (The Beautiful Flower) and later “al-Zahra” (The Flower) which was initially a weekly publication that later became a bi-weekly and continued publication for about nine months after his death in 1931. His last piece was

a journalistic investigation into the execution of the three martyrs: Muhammad Jamjoum, Fuad Hijazi, and Ata al-Zeer, in the city of Acre in 1930. He dedicated his time and his newspaper that day to the souls of these martyrs, leading with: “The terrible hour in Haifa and all of Palestine: Let us commemorate those who gave their lives for the homeland.” A large funeral was held for him, and poems and eulogies were recited and published in the Palestinian press, such as the “Al-Karmel” and “Falastin,” newspapers.

The Department of Culture of the Palestine Liberation Organization posthumously awarded him the Jerusalem Medal for Culture and Arts in 1990, and the Palestinian Ministry of Culture reprinted his first book, “The History of Haifa,” in 2022.

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