There is a certain amount of trepidation that accompanies taking small children to a marble structure in the downtown district of a large metropolitan area. Will we be able to find parking? Will we be able to afford parking? Will the museum be child-friendly? Will the children be museum-friendly? Will the trek to the bathroom from mid-tour be a sprint or more of a marathon?
Well, the parking situation in downtown Nashville is dismal. We arrived at the museum a full half-hour before our entry time, and yet were still fifteen minutes late walking into the exhibit. After waiting in the Frist parking queue for over half an hour, we slipped from the line and found parking down a dark alley. The walk was worth it, as I fear we'd have been a full hour late if we waited for parking at the center.
From the moment you arrive at the Center, it's obvious that it was built to engage the senses: smooth, cool, swirled marble steps that glide beneath your feet; high ceilings with detailed forms rising above the mundane that draw your eyes and your imagination to the things that have come before you; soothing colors and exciting echoes that force you, unconsciously, to slow down and absorb the atmosphere. The venue, Frist Center for the Visual Arts, was designed beautifully to showcase the visual and enhance the other senses, as well.
The ladies at the ticket counter are the most gracious of hosts. They immediately take the children into their confidence, put them in charge of the ticketing process, give them the directions for the tour, and a sense of welcome that cannot be expressed too well, all the while slipping the occasional, gleeful, conspiratorial smile to the parents that says, "We've got you covered." I know these folks must have been exhausted and worn thin from dealing with the public by the end of the day, but you would not have known it from their demeanor. We appreciated their efforts tremendously.
James pocketed the receipts and directed the rest of us in applying our security stickers, then we hit the restrooms before proceeding into the exhibit. (It would be not only a marathon, but quite the obstacle course to attempt a retreat from within the exhibit - go first!) While we waited for the guys, Miss Emily and I perused the timeline spread down the hallway - it's beautifully done with wonderful photographs, delightful drawings and plenty of dates. We could have spent an hour in that portion of the building, alone.
The exhibit begins with some of the more famous artifacts: Colossal head of Ramses II; Amenhotep, son of Hapu, as a scribe; Senenmut and Nefrure. Each, powerful in its own right, comes together with the rest of the exhibit to give the visitor an immediate sense of the skill, the humanity, and the beauty of Ancient Egyptian work. The masons who reworked the stone for Ramses' likeness left so little trace of the original image that an untrained eye would have no clue as to it's origin or history. The detail and elaborate work in the stone of the young scribe give the sculpture a deep and compelling nature not seen in photographs. The inscriptions are worn shallow in many sections of the piece, and it's understandable - we had a difficult time not touching the writing, ourselves. (All artifacts that do not need to be in a climate controlled environment for preservation purposes are displayed in the open, giving the visitor an intimate and very real opportunity to experience each piece. We were impressed with how respectfully those in attendance approached the displays and maintained their composure.) Senemut and Nefrure is a piece much better explored in person than via photographs - the details are tremendous.
This was our first tour via pre-recorded audio presentation rather than a live docent. We weren't certain how well we would like it. Aside from the obvious drawbacks, such as not having a docent available for questions, however, we thoroughly enjoyed it. The Frist uses a radio transmitted system, rather than tapes, which makes it very easy to keep the little ones on the same page. Each display has a number posted near the display, and when you are ready to hear the speech on that particular item, you simply enter the number and listen in. Do it immediately, or after a slow perusal, the choice is yours. Many displays included both an adult reading (done by the incomparable Mr. Jeremy Irons - what a perfect choice!) and a child-friendly reading (which, to be honest, gave me the inescapable sensation of being approached in a dark alley by someone propositioning my children to buy "ancient artifacts" from inside a coat lining, but I suppose the tone
was more lively for younger listeners, which was the intended purpose). The boys quickly figured out that by listening to both versions, they got more details, and so, what the docents had suggested to be a two-hour tour took us a full four hours. But it was four hours in which the children were completely entranced.
Smidge enjoyed the first four or five rooms, but soon became somewhat unsettled by the whole thing. He didn't have a meltdown, but rather developed a bit of a reticence to viewing the objects. "No, I don't want to see the big head, thanks." Zorak had no desire to listen to both versions of every single exhibit, so he went through the tour more quickly. He took Smidge and Miss Emily with him, and they finished up well ahead of us. We found them at the end, enjoying refreshments (Miss Emily savoring her first biscotti, Smidge discovering the taste explosion of Fuze, and Zorak relaxing with a nice, cold beer). For a group with such varying ages, this was the perfect way to view the exhibit. I'm glad I didn't have to go it alone.
It's difficult to write now about the experience. Sensory overload does not begin to explain the sensation. We're still trying to wrap our minds around the sheer concept of the
time involved. Three Thousand Years... the cobras on the headgear didn't fare well on anything, but the rest of these pieces are simply stunning. That any of them should have the detail, composition, and condition that they do, Three Thousand Years later... That we should be able to see them, and learn about them... here, Three Thousand Years later... My.
Although none of us could cite one specific item which rose above the others, head and shoulders, we simply cannot recount every single thing which captured our minds while we were there. So, in the spirit of sharing, I thought I'd just post a few favorites from each of us, and call it good.
James' favorite exhibit was the reconstruction of the burial chamber of Thutmose III, but his favorite artifact was
the chair found in the tomb of Yuya and Tuya.
John's favorite artifact pick was the
boat from the tomb of Amenhotep II. (Don't let the pictures fool you - this boat is quite large - 8 feet long - and the vivid detail and colors are astounding.) The boys listened to the presentation on this item three times, and we spent quite a long time walking around, noticing something new at each turn.
Zorak's top pick is
Amenhotep, son of Hapu, as a scribe. He commented that the sculpture conveys the essence of the Pharoah as more than a god, more than a leader. It's compelling how much can be conveyed through a static object, but he's right. The image is amazing.
The little girl in me thrilled at seeing
the Sphinx. Even the small size of the one displayed did not effect the satisfaction gained in seeing the beautifully carved detail and graceful lines. That was amazing for the young, wistful imagination of a six-year old girl of years gone by.
There were over 100 items on display, and to recount our experience with each of them would not to justice to them, or to us. It was amazing. The best collection of photographs from this specific exhibit, which focuses on Thutmose III and Amenhotep II, can be found at the
Rand African Art pages.
I truly appreciate the Egyptian government, for allowing these items to travel to the States so that we could share in the wonder. The people who worked so dilligently at the Frist Center did much to make the experience as enjoyable and educational as possible.
And particularly, I appreciate Susan Wise Bauer for writing
The Story of the World, which introduced us to the Ancients early on in our studies. Because of that, the boys came to this experience with a sense of familiarity. This wasn't foreign to them - they knew these Pharoahs. They've played a version of Senet. They identified several pieces from across a room, and immediately began to vibrate and bubble over with the excitement of "knowing" this piece, or that image.
The experience is one we're glad we took the opportunity to enjoy. Of course, I got no photos of the entire trip. I was too busy watching the boys explore.
