Long Live the Egyptians ëImmortalityí Exhibit Shows Fascination With Afterlife in Ancient Egypt by Anna Gawel Its allure is timelessóan enigma that has spanned centuries of intense study and fascination. Exalted in literature, dramatized on film, and analyzed by scholars from around the world, its enduring appeal continues to captivate us today. It is, of course, ancient Egyptóa civilization enshrouded in a perennial air of mystery. Most of the tombs have been excavated and many of its mysteries revealed, yet we still find ourselves drawn to all of the legacies left behind by this great and complex societyómummies, scarabs, curses, powerful pharaohs, bewitching queens, royal riches, as well as a legendary obsession with death and, ultimately, the promise of eternal life. Museums throughout the world have long capitalized on the publicís insatiable thirst for all things Egyptian, and now the National Gallery of Art hopes to match the phenomenal success of its 1976 blockbuster ìTreasures of Tutankhamunî with its current exhibition, ìThe Quest for Immortality: Treasures of Ancient Egypt.î With more than 100 objects, ìImmortalityî boasts the largest selection of antiquities ever loaned by Egypt to a North American gallery. The impressive array of objects spans the New Kingdom (1550-1069 B.C.) to the Late Period (664-332 B.C.), a time that ushered in tremendous wealth, power and stability for Egypt. The exhibit concludes with a life-size reconstruction of the burial chamber of pharaoh Thutmose III, a renowned warrior and ruler who presided over the New Kingdom from 1479 to 1425 B.C., as well as a key figure in the exhibit. ìImmortalityî centers on the various rituals, beliefs, objects and elaborate preparations associated with Egyptian afterlife. Although the exhibit may not be much of a revelation for those already well versed in ancient Egyptian history, for the rest of us, it does provide an intriguing and informative look at one of the most glorified aspects of Egyptian culture: death. Highlights include a sphinx of Thutmose III, which once stood at the temple complex in Karnak, a stunning gold funerary mask, the tomb statue of Nakhtminís wife, which sensuously details her delicate face and figure, and the coffin lid of Queen Ahhotep, which, although simple in design, possesses a haunting set of black eyes that seem to follow visitors around the darkly lit room. Also of note are two other coffin lidsóthe coffin of Princess Isis-em-akhbit and the sarcophagus of Khonsuóboth so beautifully blanketed with hieroglyphs, viewers will wish they could decipher each symbol and sign of the ancient language. As impressive as the individual pieces in this collection are, the backbone of ìImmortalityî is the history that puts these artifacts and the beliefs surrounding their existence into perspective. Take, for instance, the wooden model boat from the tomb of Amenhotep II. Boats served as royal vessels that helped rulers travel the land while they were alive and traverse the heavens once they died. Upon death, a pharaohís soul would unite with the sun god, and together they would voyage along the underworld in a 12-hour ìboat rideî toward morningís rebirth. Thus, models of boatsósuch as in the exhibitówere a crucial element in the burial process. Egyptian tombs also often consisted of an offering chapel open to members of the public. False doors placed by these chapels were reserved for Egyptís elite and were a sort of gateway where the spirits of the deceased could come and go to collect their offerings. One of these doorsóthe false door of Puyemreóis included in the exhibit and is laced with elaborate inscriptions and magical spells proclaiming Puyemreís transformation into a god. There are also several offering tables in the exhibit, including one belonging to Thutmose III, which, interestingly, was carved to resemble the shape of the hieroglyph hetepóthe sign for ìoffering table.î Equally fascinating finds are the four canopic jars of Prince Hornakht, which housed the princeís visceraóhis liver, lungs, stomach and intestines. These were extracted from the deceased, ceremoniously wrapped in linen, and then placed in the jars where four intricately designed stoppersóheads in the shape of a human, baboon, jackal and hawk, representing four protective goddessesóstood guard over the royal innards. On another morbidly curious note, the exhibit contains a peculiar little string of toes and fingers sheathed in gold. These ìstallsî were fitted onto the mummiesí real-life toes and fingers to preserve the brittle bones and serve as functional substitutes should the physical parts decay after death. Mummies were also fashioned with funerary sandals made of sheet gold that contoured and protected the deadís feet. It is precisely these tantalizing tidbits of information that are sure to delight and capture the imaginations of gallery visitors. At times, however, the goal of ìImmortalityî seems overly ambitiousóattempting to cram more than 1,000 years of history into two floors. The result is an exhibit that unravels somewhat haphazardly, plucking artifacts hundreds of years and several dynasties apart and oversimplifying their history to make up for the glaring gaps in time. Nevertheless, the effort should be applauded. The wide range of artifactsófrom falcon-headed crocodiles to double-snaked coffinsógives visitors a sense of the dedication and painstaking effort involved in ensuring eternal life for Egyptís upper class. ìImmortalityî and its accompanying catalogue also paint a detailed, fairly complete picture of ancient Egyptian ritual as well as of Thutmose III, whose prosperous reign yielded so much of the spectacular artifacts in the collection. The exhibit also satisfies on a slightly less intellectual level. Most people have after all dreamt about that classic Egyptian adventureóexploring ancient ruins, deciphering cryptic hieroglyphic codes, and stumbling upon the untouched burial chamber of some great pharaoh (complete with a sampling of his many riches, of course). ìImmortalityî taps into our inner Indiana Jones-like fantasies with the recreation of Thutmose IIIís burial chamberóa large room filled with the tomb of the pharaoh as well as illustrations of ancient funerary text depicting deities, demons and other images. Although merely a recreation, the room evokes a certain sense of wonder. (The pharaohís actual remains still reside in his original tomb in Egyptís Valley of the Kings.) Detailed explanations of the different hieroglyphs on the walls guide viewers through the arduous 12-hour journey a pharaoh must undertake on the path to resurrection. These recreated symbols, however, lack the meticulous artwork and sheer beauty found in genuine hieroglyphs, and in the end, a replica is still just thatóa replica. The exhibitís true treasures lie in the two floors of artifacts preceding the chamber. Other highlights include two different statues of the god Osirisóone a sleek, gray mummified version, the other an oddly contorted sculpture of Osiris resurrectingóboth of which reflect the tremendous variety and broad scope of Egyptian artistry, and the enormous heads of Thutmose I and a faintly grinning Ramesses IIóthe remnants of which, although chipped and weathered by time, still command center stage on the exhibitís first floor. But be careful not to overlook the many smaller gems in the collection either. Miniature gold figurines, striking beaded necklaces and painted limestone reliefs convey the Egyptiansí remarkable attention to detail and are worth close examinationóas are most of the pieces in the collection. To rush through this exhibit is to miss many of its splendid subtletiesóthe concerted expression on the statue of Isis, the barely distinguishable outline of the god Amun-Re facing Thutmose III on a painted limestone, or the tiny king wedged between the claws of a falcon. Even such clichÈd staples of Egyptian culture as the cat and the scarab beetle take on a new light in these breathtaking renditions, as do some of the less well-preserved pieces, such as a leopard of Thutmose III, which still dazzles with the fundamental grace of Egyptian artistry. Granted, the exhibit may have benefited from a more in-depth analysis of the many nuances and inherent beauty of Egyptian artistry, but ultimately that was not the focus of this exhibit. The purpose here was more so a strict examination of the history behind afterlife rituals and beliefs, and in that respect, ìImmortalityî does not disappoint. The Egyptians have in a sense succeeded in achieving eternal lifeóhaving left an indelible mark on countless generations and cultures. Egyptian history continues to mystify and mesmerize today, and so ìImmortalityî is guaranteed to draw l egions of visitors to the National Gallery as well as to the other stops on its five-year U.S. and Canadian run. But in addition to giving American audiences a rare glimpse into some astounding artifacts, the exhibit also paints dramatic, eye-opening portrayal of one societyís all-consuming passion to live foreveróas well as the treasures that passion left behind. Anna Gawel is the assistant editor for The Washington Diplomat.