The tomb of Amenhotep III has reopened after two decades of restoration. Automatic translate

After more than 20 years of painstaking restoration, one of the most magnificent tombs in the Valley of the Kings reopened to visitors. The tomb of Pharaoh Amenhotep III, known as WV22, was unveiled to the public on October 4, 2025, on the west bank of Luxor. The ceremony was led by Egyptian Minister of Tourism and Antiquities Sherif Fathy, in the presence of representatives of UNESCO and the Japanese government.

The restoration project involved the combined efforts of over 260 specialists from Egypt, Japan, and Italy. Work was conducted in three phases: 2001–2004, 2010–2012, and 2023–2024. The project was funded by the Japan – Egypt UNESCO Funds-in-Trust and implemented by teams from Waseda University and Higashi Nippon University. The primary objective was to preserve the murals, sculptures, and architectural details, which had suffered significant damage over the centuries.

The scale of the tomb

The tomb of Amenhotep III is the largest in the western part of the Valley of the Kings. Its total length reaches approximately 127 meters, and its depth is approximately 14 meters. The area of ​​the interior chambers exceeds 550 square meters, and the volume of the space is estimated at almost 1,500 cubic meters. The complex includes two corridors, a well chamber with a side chamber, a pillared hall, an additional corridor, and the main burial chamber with several side chambers.

A unique feature of WV22 were two additional burial chambers intended for the pharaoh’s wives. One was created for Queen Tiye, the ruler’s primary wife. The second chamber was intended for Sitamun, the eldest daughter of Amenhotep III and Tiye, who later became one of her father’s wives around Year 30 of his reign. Such marriages were typical of Egyptian dynastic practice and had symbolic significance.

History of discovery

The tomb was first documented in August 1799 by French engineers Prosper Jollois and Édouard de Villiers du Terrage during Napoleon’s Egyptian expedition. By that time, the tomb had already been looted, and the sarcophagus and most of the treasures had been stolen. The first excavations were conducted by American archaeologist Theodore Davis in the early 1900s, but details of his work have not survived.

The first documented investigation was carried out by British archaeologist Howard Carter between February 8 and March 8, 1915. Carter was working on behalf of Lord Carnarvon and focused on areas not explored by Davis. He discovered five intact deposits at the entrance, containing calf heads, miniature ceramic and alabaster vessels, food remains, and faience plaques bearing the names of Amenhotep III’s father, Thutmose IV. This indicated that construction of the tomb had begun under the previous ruler.

Since 1989, systematic excavations and conservation have been carried out by a Japanese team led by Sakuji Yoshimura and Jiro Kondo of Waseda University. Their years of work culminated in the complete opening of the tomb to tourists.

Restoration Challenges

The condition of the tomb by the early 21st century was a source of serious concern to experts. Mohamed Ismail Khaled, Secretary General of Egypt’s Supreme Council of Antiquities, noted that the tomb suffered from structural instability and moisture damage. Pigments were literally peeling from the walls. Restorers used non-invasive imaging techniques, 3D scanning, and precision stabilization technologies.

One of the most challenging tasks was the reconstruction of the pharaoh’s red granite sarcophagus lid. Specialists managed to piece together more than 200 fragments scattered throughout the chamber over the centuries. The team also cleaned and stabilized the paintings on the walls and ceilings, many of which had suffered significant damage. The work was carried out by Egyptian, Japanese, and Italian experts in fresco conservation, stone restoration, and structural engineering.

Egyptian restorer Mohamed Mahmoud, who has been working on the project from the outset, called the tomb’s discovery "a dream come true" after years of dedicated professional work to the site.

Artistic heritage

The wall paintings of tomb WV22 are considered among the most exquisite examples of 18th Dynasty art. The decorations depict religious and symbolic scenes of the pharaoh’s journey to the afterlife. The walls depict the ruler alongside ancient Egyptian deities. The ceiling of the burial chamber is decorated with a starry sky, recreating the ancient Egyptians’ understanding of the cosmos.

The quality of the paintings in the tomb of Amenhotep III surpasses those in the tombs of his predecessors, Amenhotep II (KV35) and Thutmose IV (KV43). The compositions include fragments from the Book of the Dead and scenes depicting the pharaoh’s interaction with the divine world. Particularly noteworthy are the depictions of the king with his royal "ka" — his spiritual double — a relatively unusual feature in tomb art of the period.

In 1828, several images of the pharaoh’s head were cut from the walls and removed. Today, these fragments are housed in the Louvre. Most of the tomb’s artifacts were scattered among museums in Paris, New York, and London following French and British excavations in the 18th and 20th centuries.

The reign of Amenhotep III

Amenhotep III ascended the throne around 1390 BC as a teenager and ruled Egypt for approximately 38 years until his death around 1352 BC. His reign coincided with the height of the power of the 18th Dynasty of the New Kingdom. The pharaoh inherited an empire stretching over 1,600 kilometers — from modern-day Sudan to Syria.

His reign was characterized by a peaceful nature and diplomatic activity. Amenhotep III entered into dynastic marriages with princesses from neighboring states, strengthened trade ties, and avoided military conflicts. Early campaigns in Nubia provided an influx of gold, allowing the pharaoh to undertake a large-scale construction program. His architectural projects are comparable only to those of Ramesses II, who reigned considerably longer.

The pharaoh commissioned the construction of a temple in Luxor and a grand mortuary temple on the west bank of Thebes. Two massive statues, known as the Colossi of Memnon, each approximately 18 meters tall, survive from the latter. These monuments became symbols of ancient Egyptian civilization. More statues were created under Amenhotep III than under any other pharaoh.

Queen Tiyi and the royal children

Amenhotep III’s chief consort was Tiye, who received the title of Great Royal Wife shortly after her marriage in the second year of the pharaoh’s reign. Tiye came from a humble family, making her rise to prominence unusual for the time. Her parents, Yuya and Tuya, were not of royal descent but held high court positions.

Tiye became the first commoner queen to be depicted as the pharaoh’s equal. On monuments and reliefs, she was depicted alongside her husband, breaking with traditional iconography. The marriage of Amenhotep and Tiye was immortalized on a series of commemorative scarabs distributed throughout the empire.

The royal couple had at least six children: four daughters — Sitamun, Henuttaneb, Isis, and Nebetah — and two sons — Thutmose and the youngest son, who later became pharaoh under the name Amenhotep IV (Akhenaten). The eldest son, Thutmose, the presumptive heir to the throne, died before ascending the throne. After his death, the throne passed to his younger brother, who initiated a religious revolution and moved the capital to Akhetaten.

Sitamun, the eldest daughter, held a special position at her father’s court and bore the title of "Chief Royal Daughter." In the 30th year of Amenhotep III’s reign, she became one of his wives and received the title of "Great Royal Wife," although her mother, Tiye, continued to hold the leading position. Sitamun owned her own palace and estates. Her sisters, Isis and Henuttaneb, may also have married their father. Such unions may have been symbolic, reflecting the relationships of deities in Egyptian mythology.

The fate of the pharaoh’s mummy

The mummy of Amenhotep III originally rested in tomb WV22, but in ancient times it was moved to tomb KV35 — the tomb of his grandfather, Amenhotep II. Priests during the Third Intermediate Period used this burial as a royal hiding place to protect mummies from robbers. The remains of rulers from various dynasties were gathered in one place.

The mummy of Amenhotep III was relatively poorly preserved. Modern analysis of the remains has shown that the pharaoh died at around 50 years of age, consistent with the estimate made by anthropologist Grafton Elliott Smith back in 1912. The skull contains almost no soft tissue, and several teeth are missing. One tooth was found in the mummy’s throat, but this likely occurred neither during life nor from ingestion, but as a result of damage during the mummification process.

Today, the mummy of Amenhotep III is housed in the National Museum of Egyptian Civilization in Cairo. It was ceremoniously transferred there from the Egyptian Museum in Tahrir Square on April 3, 2021, as part of the "Golden Parade of the Pharaohs." Twenty-two royal mummies were transported in specially equipped, climate-controlled vehicles to the applause of spectators on the streets of Cairo.

Modern equipment of the tomb

Following the restoration, new lighting and information panels were installed in the tomb, helping visitors understand the history and layout of the mausoleum. The lighting system was designed to preserve the ancient pigments while allowing tourists to appreciate the beauty of the paintings. The vibrant decorations depicting the king’s journey to the afterlife beneath a star-studded blue ceiling have been restored to their former splendor.

Nuria Sanz, UNESCO Regional Director, called the project a model of integrated conservation executed at the highest international level. Minister Fathy expressed gratitude to UNESCO and the Japanese government for their long-standing partnership in preserving Egyptian heritage. He described the tomb’s discovery as "a remarkable example of Egyptian-Japanese cooperation."

Egypt’s tourism strategy

The opening of Amenhotep III’s tomb coincides with the opening of the Grand Egyptian Museum in Giza, scheduled for November 1, 2025. The museum contains over 100,000 artifacts and will be the largest archaeological museum in the world. Its construction was announced as early as 1992, and construction began in the 2000s. In 2024, some of the main galleries became accessible to visitors, but the full opening has been repeatedly postponed.

Cultural heritage tourism accounts for approximately 12 percent of Egypt’s gross domestic product. The industry struggled following the events of 2011, but Egyptian authorities hope that events like the opening of WV22 and the Grand Egyptian Museum will help the country regain its status as a leading global destination for history buffs. In the first five months of 2025, the tourism sector grew by 26 percent.

Projects like the restoration of WV22 support Egypt’s strategy of balancing heritage preservation with economic development. The tomb is located 400 miles south of Cairo, offering tourists the opportunity to visit both the new museum in the capital and the ancient monuments of Luxor.

Valley of the Kings

The Valley of the Kings on the west bank of the Nile opposite modern-day Luxor served as a royal necropolis for nearly 500 years, from the 16th to the 11th centuries BCE. Pharaohs and nobles of the 18th, 19th, and 20th dynasties of the New Kingdom were buried here. More than 60 tombs have been discovered in the valley, including the famous tomb of Tutankhamun (KV62), discovered by Howard Carter in 1922.

Amenhotep III’s tomb is located in the western part of the valley, which is more secluded and less visited. This isolation may have contributed to its early discovery by the French. The western valley contains only a few tombs, but among them are significant monuments, such as WV23 — the tomb of Ay, Tutankhamun’s successor.

The tomb’s location in the rocky hills required significant engineering effort. Builders carved corridors and chambers into the limestone, then plastered the walls and painted them. The process of constructing such a large-scale tomb took years and required hundreds of workers. The tomb’s eastward orientation, with an axis of approximately 95.85 degrees, had religious significance associated with the cult of the sun.

The Significance of the 18th Dynasty

The 18th Dynasty (c. 1550–1295 BC) is considered one of the most prominent in the history of ancient Egypt. This period was marked by the expansion of the Egyptian empire, cultural flourishing, and artistic innovation. The dynasty began with the expulsion of the Hyksos and the reunification of Egypt under the Theban rulers.

Amenhotep III’s predecessors — Thutmose I and especially Thutmose III — significantly expanded the state’s territory through military campaigns. By the time of Amenhotep III’s accession, Egypt controlled lands from the fourth cataract of the Nile in Nubia to northern Syria. This ensured an influx of tribute, gold from Nubian mines, and labor.

The reign of Amenhotep III marked the pinnacle of this prosperity. The absence of major military conflicts allowed the pharaoh to focus on construction, art, and diplomacy. His son, Amenhotep IV, radically changed religious policy, introducing the cult of the sun disk Aten and changing his name to Akhenaten. This period, known as the Amarna Period, lasted approximately 17 years and was marked by artistic and religious experimentation.

After Akhenaten’s death and the brief reigns of his successors, Tutankhaten inherited the throne, changing his name to Tutankhamun and restoring the traditional polytheistic cult. His tomb, discovered virtually intact in 1922, became an archaeological sensation of the 20th century. Tutankhamun was Akhenaten’s son and likely the grandson of Amenhotep III, making him part of the same royal line.

Preservation technologies

The use of advanced technology played a decisive role in the restoration’s success. Specialists used non-invasive 3D scanning of all surfaces of the tomb. This allowed them to create a digital model of the tomb and track changes over time. The technology helped identify structural weaknesses and areas requiring priority attention.

To stabilize the pigments, special preservatives developed for working with mineral paints were used. Egyptian artists used pigments based on ocher, malachite, lapis lazuli, and other minerals, which react differently to humidity and temperature fluctuations. Restorers carefully cleaned the surfaces of contaminants without damaging the original paint layers.

Working with the sarcophagus fragments required archaeological documentation of each element. Specialists created 3D models of the fragments and matched their positions like a complex puzzle. The red granite from which the sarcophagus was made was quarried in Aswan and transported down the Nile. The individual fragments weighed tens of kilograms, complicating the reconstruction.

International cooperation

The restoration of tomb WV22 was an example of successful international scientific partnership. Egyptian specialists contributed knowledge of local materials and ancient construction methods. Japanese scientists brought experience in using high-precision technologies and non-invasive research methods. Italian experts shared their skills in the conservation of mural paintings, acquired while working with Renaissance frescoes.

The project was funded through the Japanese UNESCO Funds-in-Trust, established to support the preservation of cultural heritage in developing countries. The total investment in the project was not disclosed, but the scale of the work and its duration indicate it would cost millions. In addition to the restoration itself, funds were used to train Egyptian specialists in modern conservation techniques.

Waseda University, which led the Japanese portion of the project, has a long history of archaeological collaboration with Egypt. Since the 1960s, university researchers have been working at various sites, including Saqqara and Dahshur. The experience accumulated over decades allowed them to effectively manage the challenging conditions of the Valley of the Kings.

Challenges of the desert climate

Preserving the tombs in the Egyptian climate requires constant monitoring. Daytime temperatures in Luxor regularly exceed 40 degrees Celsius in the summer, while in winter they can drop to 10 degrees at night. These fluctuations cause expansion and contraction of materials, leading to cracking of plaster and peeling of paint.

Humidity, although low in the desert, can rise sharply due to condensation of water vapor brought in by tourists. Visitors’ breathing increases humidity within the confined spaces of the tombs. To control this problem, WV22 has a ventilation system that regulates air circulation without creating drafts that could damage the fragile surfaces.

Salt corrosion also threatens the preservation of the paintings. Salts contained in the rock, when exposed to moisture, migrate to the surface and crystallize, tearing off paint particles. Restorers used desalination methods, removing salts from porous materials and creating barrier layers.

For future generations

The opening of Amenhotep III’s tomb after such a lengthy restoration marks a new era in the conservation of Egyptian heritage. The project demonstrates that with political will, international support, and scientific expertise, even seriously damaged monuments can be restored. The lessons learned from WV22 will be applied to other tombs in the Valley of the Kings, many of which are also in need of conservation.

The Egyptian Ministry of Tourism and Antiquities plans to gradually open additional tombs after restoration work is completed. This will help distribute tourist traffic and reduce pressure on the most popular sites, such as Tutankhamun’s tomb. Rotating the number of monuments open to visitors will help preserve them for years to come.

Digital documentation created during the restoration process allows people unable to visit Egypt to virtually explore the tomb. 3D models and high-quality photographs are posted in scientific databases and used by researchers worldwide, making Egyptian heritage accessible to the global scientific community and a wider audience.

For young Egyptians, the project became a source of professional pride and inspiration. Hundreds of local specialists gained experience working with international conservation standards. Many will continue their careers in cultural heritage conservation, ensuring the continuity of knowledge and the transfer of skills to future generations of restorers.