British Museum blog

A bit of afterlife admin?

John Taylor, British Museum

It’s now just over one month since the Book of the Dead exhibition opened to the public – the culmination of a number of years work. So it’s greatly satisfying to see it full of people at last.

We’ve always been aware that here at the British Museum we have one of the best collections of books of the dead in the world, but usually we can only display a small proportion of them. So we’ve always wanted to find an opportunity to display a larger selection of them and also explain what they are. If you look at the Egyptian galleries here you will see references to Books of the Dead, you’ll see parts of them, but we have never been able to focus so closely on them and really explain how they work.

Seeing the objects in place is really exciting. You think you can get a sense of what it will look like but when you see the installation in the space for the first time it can be a real revelation, especially as plans change so much over the course of the development.

One of the problems we faced was that there are so many stories you can tell about the books of the dead, but you can’t explain them all. Originally I had a plan that there would be two main threads to the exhibition: a narrative that would follow an Egyptian on his way from death to afterlife, and then another thread all about the history of the Book of the Dead – how it evolved over time, how it was made, and the scribes who wrote the manuscripts.

In the end we focussed on the narrative of the journey to the afterlife because we thought that would be the most accessible way of presenting the Book of the Dead. This way visitors can identify with one Egyptian and find out which spells he needed on the way as different situations arose.

One of the things we’d love to know more about is how the ancient Egyptians imagined the Book of the Dead would be used. Did they think the dead would unroll this document and read it? Or was it more just the fact of having it there in the tomb that magically conveyed the spells to you?

It’s probably more likely to be the second option because some of the spells couldn’t be read as they’re so full of nonsense! (either the scribe couldn’t read them or he was copying from a defective original).

Perhaps there was a box-ticking mentality going on here: you should have one of these in your tomb so you get it and it doesn’t really matter if it’s completely accurate or not. You’ve got it, it’s there, it’s in the tomb, and it has got the right spells on it. It’s a part of the burial kit you must have.

If you would like to leave a comment click on the title

Filed under: Exhibitions, Journey through the afterlife: ancient Egyptian Book of the Dead

6 Responses - Comments are closed.

  1. Giovanni Meledandri says:

    In the Book a candidate makes his way by proclaiming a formula grossly meaning “.. I am the one who knows..” It is the same formula used in a process of initiation, but now it is.. in the after death. I think it is concerned with the way to increase consciousness: the more conscious, the more in communion with the divine. A sort of guidebook to progress through abstract thought, to create an optimal condition to manipulate.. something. But I think that the Book of Dead is just a fragment of the whole process. I hope to drop soon at the BM to spend some time at the exhibition. Thanks you all.

    Like

  2. Barbara A. says:

    Fascinating! I had the opportunity to see the Book of the Dead exhibit a couple of weeks ago. It was easily one of the most beautiful and exhilarating presentations of Egyptian art I’ve seen. It took me back to Egypt. Thank you.

    Like

  3. Andy K says:

    Just back from seeing the book of the dead, whilst it was a very interesting and enlightening visit, it was also frustrating to the point of annoyance. Even with booking and staggered entry times there where far to many people allowed in at once, causing dreadful log jams around exhibits. The layout of the exhibits only exacerbated the problem. It does not take much thinking to reason that if you put two exhibits tight into opposite sides of a corner then anyone spending time looking at either one blocks access to the other, very poor.
    Overall I will think twice before coming to any future pay to view exhibits.

    Like

  4. Kevin Kelly says:

    Hi there, the exhibition was great, the crowds were not. I went at 3pm on a Wednesday afternoon and I couldn’t move in the crush never mind see the exhibits.

    The same thing happened at the Babylonian exhibition. You seriously need to rethink the arrangements for these and especially for your BM friends.

    Kevin

    Like

  5. @ Andy k, Kevin Kelly

    Thanks for taking the time to send us your comments on this temporary exhibition following a recent visit to the Museum.

    I was sorry to hear when you visited the exhibition you felt it was overcrowded. We endeavour to provide everyone with an experience of the objects in both comfort and in safety. As such, we set an optimum capacity for the exhibition (the number of people it can accommodate in the gallery at any one time). This number, usually calculated by the hour, is based on the size of the gallery, the type of exhibition layout and on its provision for emergency egress. We can manage this optimum capacity by using timed tickets.

    I regret that the balance we made on this occasion was not right for you.

    Department of Exhibitions, British Museum

    Like

  6. John Gaudet says:

    Very much enjoyed the Book of the Dead exhibition. Wondered what happens now to the 37 meter Greenfield Papyrus? Is it sent on tour? or left in the glass cases elsewhere?

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,385 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation. Recent underwater excavations at the mouth of the Nile in Abukir Bay, Egypt, have revealed two ancient cities, perfectly preserved beneath the sea. Our #SunkenCities exhibition tells of the extraordinary rediscovery of the international port Thonis-Heracleion, and the city of Canopus, famed for their temples which attracted religious devotees from Egypt and beyond. 
Since 1996, underwater investigation using state-of-the-art technology has uncovered spectacular objects, including colossal statues, religious offerings and ancient ships. The finds shed new light on the interaction between ancient Egypt and the Greek world at a crucial period in their history, from the arrival of Greeks in Egypt around 650 BC, to the reign of the Greco-Macedonian Cleopatra VII, the last pharaoh of Egypt (51–30 BC). With only a fraction of these sites explored so far, annual excavations are continuing to uncover the cities’ long-hidden secrets. 
This 2,000-year-old bust depicts Neilos, the Nile river god. Neilos appealed to Egyptians and Greeks alike – he was the Greek version of Hapy, the Egyptian personification of the annual Nile flood that brought prosperity and fertility to the land. This bust was once mounted into a large decorative shield and adorned a temple in the ancient Egyptian city of Canopus. It was discovered by underwater archaeologists at the base of the wall on which it once hung. 
Follow the link in our bio to find out more about our unmissable exhibition. 
Bust of Neilos. Canopus, AD 100–200. On loan from Maritime Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation.
%d bloggers like this: