Among the unmatched finds that entered collections of Egyptian art in the nineteenth century were a number of remarkable large bronzes whose intricate ornamentation and euphonious names—Takushit, Pedubaste, Karomama—conveyed then, as they still do, something of the atmosphere of ancient Egyptian temple rituals. Eor many decades the allure of these intimate works has been overshadowed by the impact of the overwhelming mass of stone statuary from tombs and from the more public parts of Egyptian temples; it has also been obscured by the inherent difficulties in studying metal statuary. "Gifts for the Gods: Images from Egyptian Temples" draws on recent scholarly advances as well as the discovery in the last decades of a number of intact temple caches to present the first comprehensive picture of the art and significance of Egyptian metal statuary, the quintessential artistic expression of the temple. In so doing, the exhibition and its accompanying catalogue rely on the distinctive splendor of this art to bring into focus hitherto inadequately appreciated aspects of Egypt's art and culture. In the presence of these images of gods and pious individuals, the temples themselves emerge as crucibles in which influences came together and regularly replenished the society's art and beliefs. Especially arresting are the statues from the first third of the first millennium b. c., including large, decorated bronzes not found in American collections. This splendid statuary reveals the artistic and technical accomplishment of the temple workshops and underscores the appeal of an era whose conventional, somewhat prosaic name, the Third Intermediate Period, belies its great cultural and artistic fecundity.
and admiration are due to curator Marsha Hill, who conceived and organized the exhibition, and to her colleague in the study of Egyptian metal sculpture, conservator Deborah Schorsch; they were partners in the editing of this catalogue. Their collaboration, and similar instances of cooperation at other museums to which the loans and essays in this catalogue bear ample testimony, reflect the crucial role of the museum in bringing a rich set of expertise to the study of works of art.
The Metropolitan Museum of Art extends profound and heartfelt thanks to the many institutions that contributed loans to this exhibition, and to their respective directors. From Greece, we received seminal treasures of ancient Egyptian statuary that have never before been lent, and which constitute the first Egyptian loans ever made by the National Archaeological Museum, Athens, to the Metropolitan Museum. On this auspicious occasion, we must state our particular gratitude to Dr. George Voulgarakis, Minister of Culture; Dr. Paraskevi Vassilopoulou, General Director, General Directorate of Antiquities and Cultural Heritage; Mrs. Maria Pandou, Director, Directorate of Museums, Exhibitions, and Educational Programs; Mrs. Suzanna Choulia-Kapeloni, Directorate for Museums, Exhibitions, and Educational Programs, Hellenic Ministry of Culture; and Dr. Nikolaos Kaltsas, Director of the National Archaeological Museum, who is a friend to everyone at this institution. In Egypt, the Supreme Council of Antiquities and its Secretary General, Dr. Zahi Hawass, with customary and continuing generosity, agreed to lend rare works to the exhibition from the Egyptian Museum, Cairo. Dr. Wafaa El-Saddik, Director of the museum and a close colleague, provided crucial support in obtaining loan agreements. Many other museums in Europe and America have graciously lent their own significant works to the exhibition, for which we are truly grateful.
We are delighted to share the exhibition with the Fondation Pierre Gianadda, Martigny, Switzerland, and Mr. Leonard Gianadda is, once again, a most welcome partner.
Particular mention should be made here of the efforts of two individuals at the Metropolitan Museum. The foresight of Mahrukh Tarapor, Director of International Affairs in the Museum's Geneva office and Associate Director for Exhibitions, was instrumental in forging new understandings and partnerships that made a focused consideration such as "Gifts for the Gods" a reality. Special thanks also go to Dorothea Arnold, Lila Acheson Wallace Chairman, Department of Egyptian Art, for her receptiveness and support of new initiatives.
1 would like to express special thanks to Mr. Samih Sawiris, Chairman and CEO, Orascom Hotels & Development, for his generous support of this exhibition. The catalogue is made possible by The Adelaide Milton de Groot Eund, in memory of the de Groot and Hawley families. Additional support is provided by the Lila Acheson Wallace Fund. We are also grateful to the Federal Council on the Arts and Humanities for its support through the Federal Indemnity Program.
Philippe de Montebello Director
The Metropolitan Museum of Art, New York
Director's Foreword • IX
World History
