Eternal Egypt: International Art Treasures Web Magazine October 2003

Eternal Egypt

Pair of Rigid Hinged Cuff Bracelets of Prince Nimlot from Eternal Egypt Exhibition

Masterworks of Ancient Art from the British Museum

A once in a lifetime opportunity to view artifacts and antiquities from the British Museum is nearing the end of her eleven city tour. Eternal Egypt: Masterworks of Ancient Art from the British Museum includes over 144 pieces from the British Museum's foremost collection of Egyptian Antiquities. More than half of these objects have never before been seen outside of the British Museum.

On February 28, 2004 the Exhibition opened in Canada with it's first stop at the Royal Ontario Museum in Toronto. "This exhibition is a chance for Canadians to witness an example of the Pharaonic civilization with its remarkably recorded history and well-preserved monuments." says Amr Elezabi, Director for Canada of the Egyptian Tourist Authority.

Nigel Strudwick, The British Museum Curator for Eternal Egypt: Masterworks of the Ancient Art from the British Museum exhibition discussed the logistics involved beginning with this calculation, "The show will have traveled within North America 23,000 kilometers by the time it heads back to England. It travels around in seven trucks and came over from Britain in five different shipments."

Figure of Amun, Eternal Egypt Exhibition
Title: Figure of Amun
Probably from Thebes, New Kingdom, Early Nineteenth Dynasty (?) (ca. 1295-1213 B.C.)
Silver, gold, Height 8 3/8 in.
EA 60006, acquired in 1835, formerly Salt Collection
©Trustees of The British Museum, Courtesy AFA

Egypt has a long history spanning five millennia. Through their art, the early Egyptians tell the world about their life, their culture and their history, so even all these years later we have a window to the past. Collaboration among artists is a central theme to the pyramids and temples built centuries ago. Given their immense size, the art itself tells the story of its formation, particularly among the sculptors who would depict individuals sculpting works. There are some works where the sculptor is depicted in the different stages of development of the actual piece, making it an historical anecdote to the creation of a masterwork. Traditionally the sculptor's individualism would display the sculptor and his nearly finished work. Sculptors tried to be accurate in their portrayals of human subjects but often would choose to show a younger version of an older subject, perhaps believed to be the subject at his best.

Artists for the most part were well regarded in ancient Egypt, after all they were providing eternal life to their patrons. Artists are depicted within the tombs of Egypt. Many worked for the royal families of Egypt and were loaned out by the King to work on temples or to honor one of the King's subjects with works by the King's artist.

The American Federation of Arts, AFA, organized this significant exhibition that was on view at the Walters Art Museum in Baltimore Maryland from September 21, 2003. The AFA has a long history of originating and developing art exhibitions on an international scale. AFA Director Julie Brown stated, "We are delighted to be collaborating with The British Museum in bringing these exceptional works of art to the United States for the first time." The AFA is the oldest arts organization in the US.

The collection was prepared by the British Museum specifically choosing masterworks that are rare, beautiful and historically significant. The exhibition spans 3,000 years beginning with the pyramid era and ending with Cleopatra.

Column Capital with Hathor Emblem
From Bubastis, temple of Bastet, Festival Hall of Osorkon II, Third Intermediate Period, Twenty-second Dynasty, reign of Osorkon I-II (ca. 924-850 B.C.)
Red granite, once painted, Height 77 Ľ in. (196 cm)
EA 1107, gift of the Egypt Exploration Fund, 1981
©Trustees of The British Museum, Courtesy AFA

The exhibition is chronologically arranged into four key historical eras: Old Kingdom, Middle Kingdom, New Kingdom, and the Late Period.

Old Kingdom

The development of art and hieroglyphic writing is a prominent feature of this section of Eternal Egypt. The developing religious imagery of the Early Dynastic Period ca 3100-2686 B.C. and the Old Kingdom ca 2686-2181 B.C. are embodied in the central theme of the human figure within the art of this time. The human individual was often depicted on the murals found in Temples, tombs and Pyramids in Egypt.

The creation of death masks was evident within this early period.

Right: A Royal (?) Woman
Provenance unknown, Old Kingdom, Fourth Dynasty (ca. 2613-2566 B.C.)
Calcite (Egyptian alabaster) with traces of paint, Height 17 1/2 in.
EA 24619, acquired in 1893
©Trustees of The British Museum, Courtesy AFA

A Royal Woman, from Eternal Egypt Exhibition

Middle Kingdom

Portraiture is the dominant theme in this period. It began in the Old Kingdom but became a central theme of Egyptian art. Naturalism was enhanced and a new artistic form, the block statue, began its development.

New Kingdom

The New Kingdom is arguably the greatest time of creation of ancient Egypt. This 500 year period, 1550-1070 B.C. contains the splendors of Amenhotep III and Ramesses II, known as Ramesses the Great. Ramesses II was the third King of the 19th Dynasty and lived to be 96. Ramesses the Great built the Colossus of Ramesses at Memphis, added to the Luxor Tomb and built the Ramesseum.

Right: Head of Amenhotep III
From Thebes, funerary temple of Amenhotep III
New Kingdom, Eighteenth Dynasty, reign of Amenhotep III (ca. 1390-1352 B.C.)
Quartzite, Height 52 3/8 in.
EA 7, acquired in 1835 at the sale of the Salt Collection
© Trustees of The British Museum, Courtesy AFA

Head of Amenhotep

There are many possible explanations for Ramesses success and longevity--excellent harvest during this time and the relative stability in the world are just a couple of reasons. In any event, Egypt flourished under the long rule of Ramesses the Great. Many artifacts and relics built during this time provide insight into the ancient world. It was the custom for the pharaoh to build monuments to themselves celebrating their achievements and ensuring that they would live on--believing as they did that they were living gods. Ramesses followed this practice. He also followed the customs of exaggerating his deeds and proclaiming victory over enemies even if the battle had been lost. Once it is inscribed as a victory despite the actual outcome, that is what is recorded for posterity for the next King of Egypt to outdo. That might be difficult but not when all a pharaoh had to do was build a monument inscribed with his battle victory even if they were actually fought by an earlier pharaoh. Accuracy was not as important as proclaiming victory over enemies.

Lion of Amenhotep III Reinscribed for Tutankhamun
From Gebel Barkal, originally from Soleb
New Kingdom, Eighteenth Dynasty, reign of Amenhotep III (ca. 1390-1352 B.C.)
Red granite, 43 3/4 x 85 1/8 x 37 5/8 in.
EA 2, acquired in 1835, gift of Lord Prudhoe
©Trustees of The British Museum, Courtesy AFA

Consistent with the practice of proclaiming victory where it did not necessarily exist, it is believed Ramesses the Great lost some land during the Battle of Kadesh and yet that is not how he had it portrayed in poems and relics describing the battle. Curiously it is this battle that is the most described by Ramesses monuments to his greatness.

Title: Interior of the ROM, Eternal Egypt Exhibition
Photograph: © 2004 www.IATWM.com by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition

Ramesses III was the second ruler of the 20th Dynasty of Egypt the time of the Trojan War and Mycenae's fall. Some interesting artifacts are personal items used during this time such as jewelry, mirrors and cosmetic containers.

Late Period

From 1070 BC to 395 AD when Egyptian domination had began its decline, the culture was not negatively affected - the art production continued and remained a stand alone not influenced by outside culture. This was set to change through the influences brought to bear by Ptolemies (305-30 BC) and his Hellenistic style.

Right: Panel Portrait of a Woman
Said to be from er Rubayat
Roman Period (ca. A.D. 160-170)
Limewood, encaustic, gold leaf, 17 1/2 x 8 1/4 in.
EA 65346, acquired in 1939, bequest of Sir Robert Mond
©Trustees of The British Museum, Courtesy AFA

Panel Portrait of a Woman

A key theme of the exhibition is archaism common to Egyptian art to preserve the past by acknowledging prior artistic influences which was often considered a way to reflect past glories. Egyptian conservatism was also rooted in the belief in a previous time in which the gods were on earth. Thus their conservatism attempted to reclaim such Halcyon days.

Book of the Dead, Papyrus of Nakht: Worshipping Osiris
Provenance unknown
New Kingdom, late Eighteenth or early Nineteenth Dynasty (ca. 1336-1294 B.C.)
Papyrus, painted, 15 5/8 x 36 ľ in.
EA 10471/2, acquired in 1888, purchased via Sir E.A.W. Budge
©Trustees of The British Museum, Courtesy AFA

Highlights of the collection include a gilded mummy mask, jewelry and sections from the Book of the Dead.

Mummy Mask

The works are comprised of a variety of materials including stone, ivory, terracotta, wood, papyrus, glass and of course the metal of the Pharaohs - gold!

Right: Mummy Mask of Satdjehuty
Provenance unknown
New Kingdom, Early Eighteenth Dynasty (ca. 1500 B.C.)
Cartonnage, painted and gilded, Height 13 in. EA 29770, acquired in 1880, purchased at Morten & Sons from the sale of the collection of Samuel Hull
©Trustees of The British Museum, Courtesy AFA

The exhibition is organized by the American Federation of Arts and The British Museum. This exhibition and its North American tour are made possible by Ford Motor Company. Additional support has been provided by the Benefactors Circle of the AFA.

Left: Title: Detail of Rigid Hinged Cuff Bracelet of Prince Nimlot
Twenty-second Dynasty (ca. 945 - 924 B.C.) Medium: Gold with lapis lazuli and decayed polychrome glass inlays
EA 14594-95, acquired in 1850, purchase. Photograph: © 2004 www.IATWM.com
by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition

Cuff Detail

Eternal Egypt is the largest and most complex exhibition ever organization by the AFA, and Director Julie Brown adds, "We are grateful to Ford Motor Company for its support of this outstanding exhibition."

Title: Three Statues, Eternal Egypt Exhibition at the ROM
Photograph: © 2004 www.IATWM.com by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition

William Clay Ford, Jr., Chairman, Ford Motor Company explains, "The art of Egypt inspires people of all ages and backgrounds. It's appeal crosses boundaries of time, geography, and culture." He adds. "Ford is committed to supporting the education and enjoyment that comes from experiencing extraordinary cultures, and we are proud to be a partner in this historic exhibition." Ford of Canada, currently celebrating their 100th anniversary, is a sponsor of the exhibit as it moved to Canada.

Detail of the ROM's Eternal Egypt Exhibition
Title: Eternal Egypt Exhibition at the ROM
Photograph: © 2004 www.IATWM.com by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition

John Jelinek, Vice President, Public Affairs, Ford Canada noted, "We're proud to be partners in bringing this world class Egyptian collection to Toronto. The culture of Egypt is the foundation for the study of art, history, geography and many many other subjects studied in our schools today. At Ford education is central to our mission so we want our community, our children, visitors and all walks of life to enjoy and learn and explore the rich and diverse cultures of the world."

Title: Stele Detail, Eternal Egypt Exhibition at the ROM
Photograph: © 2004 www.IATWM.com by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition

Historic indeed - and there are three future North American locations before the exhibition returns to the British Museum.

Special Events at the ROM

Pharaohs' Artists: Deir el Medina and the Valley of the Kings: May 22, 2004.

Ruling Women & Women Kings: Saturdays 5 sessions beginning April 24, 2004.

Egyptian Jewelry Workshop: Sundays 5 sessions beginning April 25, 2004.

Lords of the Two Lands: Mondays 6 sessions beginning April 26, 2004.

Eternal Egypt: Masterworks of Ancient Art from the British Museum
Royal Ontario Museum:
February 28 - June 6, 2004
Royal British Columbia Museum:
July 10, 2004 - October 24, 2004
Montreal Museum of Fine Arts:
January 22, 2005 - May 15, 2005

British Museum	www.thebritishmuseum.ac.uk
American Federation of Arts	www.afaweb.org
Royal Ontario Museum	www.rom.on.ca

First Image Credit:
Title: Pair of Rigid Hinged Cuff Bracelets of Prince Nimlot
Twenty-second Dynasty (ca. 945 - 924 B.C.)
Medium: Gold with lapis lazuli and decayed polychrome glass inlays
EA 14594-95, acquired in 1850, purchase.
Photograph: © 2004 www.IATWM.com by Y. Fournier
Credit: The Royal Ontario Museum, Eternal Egypt Exhibition