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...Peabody exhibition was originally intended to be a display of her photographic documentation of the Muslim sect. However, Quraeshi felt that the photographs would have alone failed to portray a holistic view of Sufism, one that would be able to educate a Western viewer...
...governor of Middle Kingdom Egypt whose luggage for the spiritual world is the focus of “The Secrets of Tomb 10a: Egypt 2000 BC,” on display at the MFA until May 16. With the contents of one particular grave, the show puts the viewer face-to-face (quite literally) with the Egyptians and their dead...
Informative labels, peppered throughout the show, describe the particulars of Egyptian rituals and religion. Large, colorful boards explain the process of discovering, restoring, and understanding the objects that are displayed. They give the exhibition a scholarly tone and direct the viewer through the process of archaeology, rather than simply expose its results...
Prayers and guides to the underworld cover the wood. One panel features Djehutynakt’s conversation with Ra during his passage through the underworld. Fragments of the hieroglyphs, translated for the viewer, suggest a vision of the afterlife that could rival Dante’s. “Dog-face, whose shape is big. This is a spell for passing by him,” one segment reads...
...focus on archaeological process over product, and artifact over art, distinguishes “The Secrets of Tomb 10a” from many Egyptian exhibitions, where typically a hodgepodge of statues and jewelry leave the viewer awestruck, but distanced from the culture itself. Nothing from Tomb 10a is monumental; no one artwork stands out as particularly impressive. Tomb robbers, a panel informs early on, got to the grave before the archaeologists did, seizing everything perceived to have value: jewelry, ornaments, and large statues. But an inspection of what remains brings the viewer closer to the past and those who unearthed...