Compromise over Rosetta Stone fight?

by Sean McLachlan on

Dr. Zahi Hawass, the head of Egyptian Antiquities Council, has offered a compromise in his battle with the British Museum over the return of the Rosetta Stone.

The stone was discovered by French archaeologists in 1799 but went to the British Empire in 1801 as spoils of war after they ejected Napoleon from Egypt. It’s one of the most important of ancient Egyptian artifacts because it has the same text written in hieroglyphs, demotic (another Egyptian script), and ancient Greek. Until its discovery nobody could read ancient Egyptian, but Greek had never been forgotten. The key to unlock one of the world’s greatest civilizations had been found.

The Rosetta Stone is one of the treasures of the British Museum, but Dr. Hawass has been leading a fight to get it back. Now he’s said he’ll stop if the British Museum loans the stone to Egypt for a few months.

If it did make it back to Egypt, it would probably be displayed in Cairo’s newly revamped National Museum, a jaw-dropping collection of ancient treasures.

The Brits might want to take him up on this. Dr. Hawass has been a tireless crusader and has already gotten the Metropolitan Museum of Art to return a stolen artifact and had a similar victory with the Louvre. He’s shown he won’t give up until Egypt’s heritage is back home.

Met returns stolen Egyptian art

by Sean McLachlan on

The Metropolitan Museum of Art in New York announced this week that it will return a fragment of Egyptian sculpture to its homeland. Unlike the bust of Nefertiti or the recently returned frescoes that the Louvre gave up, the Egyptians weren’t calling for its return for months or years. In fact, the Met bought the item from a collector with the specific intent of repatriating it.

The move is being seen as an olive branch offered by the Met’s new director Thomas Campbell, and another victory for Egyptian head of the Supreme Council of Antiquities Zahi Hawass, who’s been getting tough with museums who own stolen Egyptian artifacts.

The artifact is a fragment of a naos, a shrine in the holy of holies of an Egyptian temple. It was dedicated to the 12th dynasty pharaoh Amenemhat I, who ruled from 1991 to 1962 BC, and was taken from a temple at Karnak, shown here.

History and art buffs face huge temptation when they enter an antiquities shop. Beautiful works of art and evocative everyday items from ancient civilizations are available for purchase, but this history and art buff has always resisted temptation. Much of what you see is either fake or stolen (witness the large numbers of Iraqi and Afghani artifacts on sale these past few years) and purchasing them encourages the destruction of irreplaceable archaeological sites by artifact hunters.

Once in Palmyra, Syria, a guy tried to sell me some “Roman” coins made of aluminum! Unfortunately the fakes are not always so easy to detect, as there’s a major worldwide industry making new things look old. Even if they are real artifacts, there’s a good chance they were stolen sometime in the past.

So congratulations to the Met and Dr. Hawass for a job well done. It’s a shame the Museum of Egyptian Antiquities is such a mess, but Dr. Hawass is working on fixing that too.

Photo courtesy of mikescrivener from the Gadling Flickr pool. Check out his really cool series from Egypt here.

Museum Junkie: England’s most unique museum reopens

by Sean McLachlan on

Oxford’s famous Pitt Rivers Museum has reopened this month after more than a year of remodeling.

The famous Victorian displays, a massive collection of diverse anthropological objects in a large gallery and two upper floors, have remained untouched, preserving an almost unique set of displays dating back more than a century.

One of the most popular cases is the one involving death rituals, which has a spooky group of skulls and shrunken heads. A display about smoking contains a Chinese opium pipe with some suspicious-looking resin and a diagram of how to make a pipe by poking a hole through the ground. The museum as an especially good collection of Native American art, such as this woodcut print entitled “Hungry Bear” by Coast Salish artist Jody Wilson, depicting a grizzly bear in the act of catching a salmon.

The collection started with a donation in 1884 of 20,000 objects from Lt.-Gen. Augustus Henry Lane Fox Pitt Rivers. He was interested in the evolution of objects and organized his collection typologically, placing all items of the same use into a single case in order to show the evolution of form within and across cultures. The collection now boasts half a million artifacts from hundreds of cultures. The cases are cluttered with objects, and below them are drawers that can be opened to reveal more artifacts. The staff hand out free flashlights (called torches in England) so visitors and peer into the deeper recesses of the cases where even more treasures are hidden.

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This style of organization, so different from most modern museums, makes for a fascinating visit. For example, the case labeled Animal Forms in Art has dozens of animal representations from various cultures, some stylized, some realistic, some for worship, some for play. There’s an ancient Egyptian ram’s head made of wood, a nineteenth-century Danish piggybank, and a wooden owl carved by the Ainu about 1900 A.D., packed in with dozens of other objects.

An example of how objects can change their meaning over time is shown in drawer 29.3, labeled Amulets, Religious Artifacts, and Offerings. Inside are nine ushabti, little glazed figurines that the ancient Egyptians put in their tombs to act as servants in the afterlife. But these particular ones date from only a hundred years ago and were carried by Egyptian peasant men who went from village to village. Women would place them on the ground and jump over them in order to become fertile. One wonders if the wandering ushabti carriers had anything to do with it.

The whole effect of all the world’s objects crammed together in the same room is somewhat dizzying; even the walls and ceilings are decorated with totem poles, kayaks, and outrigger canoes.

The upper floor containing an immense array of weapons from all periods and cultures won’t be open until spring of 2010, but the two floors that are already open to the public will give any museum junkie several days’ worth of exploration.