The Curated Object

Exhibitions Paris. Musique en jouets. Musee des Arts Decoratifs. The Curated Object

Mechanical Trumpet Player, T.N. (1940- 1992), Japon, vers 1960, inv. 53878 Courtesy of Les Arts Decoratifs

I acknowledge my fear of the bear...

Musique en jouets 
June 25 - November 8, 2009

A whole orchestra of musical toys and toy instruments brought together for a musical exhibition. Wooden, paper and plastic rattles, flutes, whistle and drums, toy pianos, melodicas, xylophones, trumpets and guitars will take over the Toy Gallery, and come to life in a programme of concerts during the exhibition.

For more information please visit: Les Arts Decoratifs

Exhibitions Paris. Sculpter le bois et la terre : Julian Schwarz et Nicholas Rena. Musee des Arts Decoratifs. The Curated Object

Julian Schwarz, Bull Nosed ves sel, 2008 et Nicholas Rena, The Ecstasy of St Teresa (détail de l’ins tal la tion pour le Jerwood Prize, Londres), 2008 © DR Image courtesy of Les Arts Decoratifs

"....and on the other hand critiquing a design culture that places an increasing emphasis on over-designed objects."

Sculpter le bois et la terre

June 11-Oct 4, 2009

This exhibition is the first time the work of sculptor Julian Schwarz and ceramist Nicholas Rena have been brought together. With a thorough mastery of their very different mediums, these two highly-accomplished British artists have set up a dialogue that illustrates a shared rigour of form, an advanced sense of draftsmanship, and a love of strength and silence. Their work also shares an emphasis on pure, stripped down, outsize and intentionally sculptural form. They draw inspiration, quite independently, from everyday forms such as pitchers, cups and bowls that have been in use for thousands of years. With a common aesthetic but employing different means, Julian Schwarz and Nicholas Rena seek to provide a new role for the notion of art objects today, on the one hand appropriating ancient knowledge and a “timelessness” proper to the crafts, and on the other hand critiquing a design culture that places an increasing emphasis on over-designed objects.

Fore more information please visit: Les Arts Decoratifs

EXHIBITIONS SAN FRANCISCO. LORDS OF THE SAMURAI: ASIAN ART MUSEUM. THE CURATED OBJECT.

Sword guard (tsuba) in the shape of a of dancing crane, by Hayashi Matashichi (1613–1699), Japan. Edo period (1615–1868), 17th century. Iron openwork with gold inlay. Eisei-Bunko Museum, 1794. © Eisei Bunko, Japan  

Sake bottle and food box set (sagejū) in the shape of an eggplant, by Hosokawa Sansai (aka Tadaoki, 1563–1646), Japan. Edo period (1615–1868), 17th century. Lacquered wood. Eisei-Bunko Museum, 6535. © Eisei Bunko, Japan.

Ōyoroi-type armor (replica), white cord lacing with diagonal corner accents (tsumadori), replica of a suit worn by Hosokawa Yoriari (1332–1391), Japan. Edo period, 1829 (after 14th century original). Iron, gilt bronze, metal, tooled leather, lacquer, braided silk, fur. Eisei-Bunko Museum, 4082. © Eisei Bunko, Japan.

Western-style bell with nine planet family crest, made in memory of Hosokawa Gracia (1563–1600), Japan. Momoyma period (1573–1615), approx. 1602. Cast bronze. Eisei-Bunko Museum, 7271. © Eisei Bunko, Japan.

Noh costume, Kariginu robe with design of cherry blossoms and rafts, Japan. Edo period (1615–1868), 18th century. Silk complex gauze (ro) with silk supplementary weft patterning. Eisei-Bunko Museum, 4911. © Eisei Bunko, Japan.

 

Military helmet with purple lacing and decoration in the form of a headband, worn by Hosokawa Tadatoshi (1586–1641), Japan. Edo period (1615–1868), 17th century. Iron, paper, lacquer, braided silk. Eisei-Bunko Museum, 4134. © Eisei Bunko, Japan.

Haramaki-type armor, black leather lacing, red cord horizontal accent lacing (katadori) on shoulder protectors, worn by Hosokawa Narimori (1806–1861), Japan. Edo period (1615–1868), 19th century. Iron, leather, lacquer, silk, and gilt metal. Eisei-Bunko Museum, 4111. © Eisei Bunko, Japan 

Mounting for a ceremonial long sword (tachi) with nine planet family crests and gold fittings, Japan. Edo period (1615–1868), 19th century. Lacquered wood with sprinkled gold (makie) decoration, gilt bronze, gold, ray skin, leather. Eisei-Bunko Museum, 2924-1. © Eisei Bunko, Japan. 

Military banner with bands and nine planet family crest, used by Hosokawa Yoshikuni (1835–1876), Japan. Edo period (1615–1868), 19th century. Dyed silk. Eisei-Bunko Museum, 4233. © Eisei Bunko, Japan. 

Black teabowl, raku ware, by Hosokawa Morihiro (born 1938), Japan. Heisei period (1989–), 2007. Glazed earthenware. Collection of the artist, H2. © Shinchōsha Publishing Co, Ltd. Photo by Nonaka Akio.  

Lords of the Samurai

June 12- Sept. 20 2009

Trained to be fierce fighters, Japan's feudal lords-- or daimyo-- also strove to master artistic, cultural and spiritual pursuits, believing (in the words of one scholar) that "while you have arms but no culture, people will be alienated by fear." Ppresenting more than 160 samurai-owned objects, including armor and weaponry, but also paintings, lacquerware, ceramics and costumes, Lords of the Samurai explores the artistic principles that governed the culture of the samurai. Nearly all of the objects come from the collection of one of the country's most distinguished warrior clans, the Hosokawa. Back in Japan, seven of these artifacts have been named Important Cultural Properties, and a portion of them are housed in the family's former castle (the rest reside in the Eisei-Bunko Museum in Tokyo). 

The exhibition marks the first time that the Hosokawa family heirlooms have been shown in such a comprehensive way in the U.S. and, as such, "provides the opportunity to explore the lineage of a warrior-gentleman family that dates back 700 years," according to the Asian Art Museum's director Jay Xu. Visitors are greeted by a 19th-century reproduction of a 14th-century full suit of armor, made of iron and metal, as well as incorporating lacquer, silk, leather, and gilt bronze. The exhibit continues with a greater focus on battle, including accoutrements like lacquered wooded saddles, stirups and cavalry banners (some incredibly graphic and modern), as well as weaponry such as guns, swords, and intricately decorated sword guards with gold inlay and floral or crane motifs. Among the more peacable offerings are not only works collected by the samurai, but created by them: such as a 17th-centrury lacquerware picnic set that ingeniously wraps an eggplant-shaped flask, food box, and sake cup in tone neat packages.

For more information please visit: The Asian Art Museum

-JoAnn Greco

EXHIBITIONS UMEA. OPEN SOURCE EMBROIDERY. THE UNIVERSITY OF UMEA, SWEDEN. THE CURATED OBJECT

Emma Ferguson
Motherboard, 2007 

Html Patchwork 
Facilitated by Ele Carpenter, 2007-2008
Foto: Mikael Lundgren 

Html Patchwork (detail) 
Facilitated by Ele Carpenter, 2007-2008
Foto: Mikael Lundgren 

Becky Stern
LilyPad Arduino Embroidery: A Tribute to Leah Buechley, 2008

James Hutchinson
Shaggy Modernism, 2009

Knitted Blog
Facilitated by Suzanne Hardy, 2004-6

Sampler Collective
Pixel Drawings, 2008-9

Open Source Embroidery Exhibition

June 6-Sep. 9, 2009

The Open Source Embroidery exhibition presents artworks that use embroidery and code as a tool for participatory production and distribution.

The Open Source Embroidery project includes workshops and exhibitions which investigate how the open source software development model has been incorporated into the language of cultural participation. This major exhibition at BildMuseet brings together individual and collectively made artworks by artists, makers, computer programmers and html users that explore the relationship between craft and code through social and digital networks. The works experiment with interdisciplinary approaches to modifying patterns, the DIY culture of hacking and sampling in sound, GPS and mobile technologies.

The history of computing as craft began with the Jacquard loom (1801), the first programmed machine which used binary punch cards to design woven patterns. The loom inspired Charles Babbage in his design of the Analytical Engine, often described as the precursor to the modern computer. Flare Productions’ documentary film about Ada Byron Lovelace To Dream Tomorrow (2003) highlights the significance of her extensive notes about the Analytical Engine, and her insight into the potential of the machine to operate not just as a calculator of numbers but also as a computer of symbols and information. Richard Hamilton also featured Ada Lovelace in a poster campaign to save free public entry for the South Kensington Museums in London (1998). Issues of access to code and culture are still pertinent questions of our time.

Using open source software Hamilton, Southern & St Amand are facilitating a new production of Running Stitch creating a map of Umeå. Visitors to the exhibition are invited to take a GPS walk around the city and sew their paths onto a giant canvas in the gallery. The activity will take place June 6 and 7 and every Sunday until September 6.

Open Source Embroidery is curated by Ele Carpenter, HUMlab Research Fellow in partnership with BildMuseet. The exhibition has been developed by BildMuseet and the Museum of Craft and Folk Art, San Francisco, and supported by Arts Council England and Canada Council.

OPENING | Saturday June 6th, 1.30 pm, with a Sampler Culture-Clash performance.

For more information please visit: The University of Umea

-posted by Joanne Molina

Exhibitions NYC. Afghanistan: Hidden Treasures. The Metropolitan Museum of Art. The Curated Object

Beaker depicting figures harvesting dates

Begram, first-second century A.D.

Enameled glass

H. 12.6 cm (5 in.); Diam. 8 cm (3-1/4 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

164 Fish-

Headdress pendant depicting a “Dragon Master”

Tillya Tepe Tomb II, first century A.D.

Gold with turquoise, garnet, lapis lazuli, carnelian and pearls

12.5 x 6.5 cm (5 x 2–5/8 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

Head of a youth

Aï Khanum, early second century. B.C.

Unfired clay

21 x 15 cm (8–1/4 x 6 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

Folding crown

Tillya Tepe Tomb VI,, first century A.D.

Gold

45.0 x 13.0 cm (17–3/4 x 5–1/8 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

Ceremonial plaque depicting Cybele on a chariot

Aï Khanum, ca. 300 B.C.

Gilded silver

Diam. 25 cm (9–7/8 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

Female standing atop mythical water creature (makara)

Begram, first-second century A.D.

Ivory

45.6 cm (18 in.)

National Museum of Afghanistan, Kabul

Photo: © musée Guimet / Thierry Ollivier

Afghanistan: Hidden Treasures from the National Museum, Kabul

June 23–September 20, 2009

Ancient Afghanistan—located at the crossroads of major trade routes, where it attracted invading armies and nomadic migrations—was home to some of the most complex, rich, and original civilizations on the continent of Asia. Opening at The Metropolitan Museum of Art this summer, the traveling exhibition Afghanistan: Hidden Treasures from the National Museum, Kabul, celebrates the country’s unique role, as both the recipient of diverse cultural elements and the creator of distinctive styles of art from the Bronze Age into the Kushan period. The presentation also commemorates the heroic rescue of Afghanistan’s national treasures long thought to have been destroyed. The exhibition features a rich selection of artworks from four archaeological sites. All works belong to the National Museum of Afghanistan in Kabul. Highlights include gold vessels from the Bronze Age Tepe Fullol hoard; superb works and architectural elements from the Hellenistic city of Aï  Khanum; sculptural masterpieces in ivory, plaster medallions, bronzes, and Roman glass from Begram; and extraordinary turquoise-encrusted gold jewelry and ornaments from the nomadic tombs at Tillya Tepe.

The exhibition is made possible in part by Raymond and Beverly Sackler and the National Endowment for the Arts.

The exhibition was organized by the National Geographic Society and the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York, the Asian Art Museum of San Francisco, and the Museum of Fine Arts, Houston.

For more information please visit: The Metropolitan Museum of Art

Exhibitions St. Petersburg. The Azure and Gold of Limoges. Twelfth - to Fourteenth - Century Enamels.The State Hermitage Museum. The Curated Object

Chasse with Angels Gilded, First quarter of the 13th century, France, Limoges, Gilded copper, champleve enamel, glass

Plaque with Virgin and Child, First quarter of the 13th century, France, Limoges, Gilded copper, champleve enamel, glass

Book-cover with the Crucifixion, Late 12th century, France, Limoges, Wood, gilded copper, champleve enamel

Chasse with St Valeria and the Scene of the Adoration of the Magi. Detail, 1170-1180, France, Limoges, Wood, gilded copper, champleve enamel

The Azure and Gold of Limoges. Twelfth - to Fourteenth - Century Enamels
23 June 2009 - 7 February 2010

The exhibition in the Blue Bedroom of the Winter Palace is dedicated to Limoges champleve enamels. The main part of the exhibits (there were more than 70 of them at the exhibition) dates back to the end of XII - beginning of XIII century, ‘golden age’ of Limoges workshops. Some of them are already familiar to the audience by permanent exhibitions in the Romanov Gallery and the Jewellery Gallery others are kept in the funds of the Hermitage. The exhibition gives an opportunity to display them together tracing all the stages of development of Limoges production.

Limoges is one of those small provincial towns that gained world fame due to articles of local production. As Delft became famous for its white-blue faience, Belgian Dinant became common name for all articles from cast bronze (dinanderie), so did Limoges become famous for its enamels on copper. Manufactured articles of Limoges craftsmen spread from Iceland to Palestine.

In XII - XIV centuries the whole world of Christianity knew ‘Opus Lemovicense’ (‘Limoges work’) that is how Limoges enamels were called back then. But Limoges was famous not only for its enamels. In the XI-XII centuries Limoges was the biggest centre of religious life of France. One of the four pilgrimage roads to sepulchre of St Jacob in Santiago de Compostela was going through it and was even called Limoges. And relics of St Martial, baptizer of Aquitaine that was held sacred here as the thirteenth apostle, were in St Martial Abbey. In the city and its outskirts there was thousand of churches and each of them kept its precious shrines. It is believed that the demand for church utensils that had appeared here played crucial part for the development of enamel production. From the second half of XII century and until the beginning of XIV century Limoges workshops became its main manufacturers in Europe.

Articles were made from ordinary materials. Copper plate served as the basis. Hollows were made in the plate and that gave the name for the technique. Hollows were filled with vitreous mass with addition of metallic oxide. During burning that mass alloyed firmly with the basis. Upon that enamels were performed at the level of jewellery works. Such exchange seemed of rather equal value since in the Middle Ages gold and silver were mainly valued for their capacity to interact with light. Copper in Limoges enamels was completely covered with vermeil and colourful enamels that enriched surface by effects of colours to some extent had the advantage over articles from precious materials. Cabochons from glass paste or clear glass with bottom layer made from foil were like precious stones. High aesthetic features and low cost made Limoges manufactured articles affordable and attractive for any church.

Church utensils make up the main part of exhibits of the exhibition. These are liturgical vessels: pyxes or ciboriums where sacred wafers (wafers for communion) were kept, book binders, procession crosses, candleholders, bishop’s croziers. One of the most interesting types of Limoges production was caskets-reliquaries for relics of saints. Earlier monuments (the second half of XII century) differed by their engraving on golden background. From the end of XII century production was increasing gradually till it became of mass scale. The first step was transition from golden to blue backgrounds by switching places of those two colour categories. At first backgrounds were covered with thin engraved ornament and gilded. From the end of XII century figures were kept in reserve while background, on the contrary, was completely enamelled and decorated with various ornaments - rosettes, discs, stars, pseudo-Cuphic inscriptions, sprouts. Ever since that time Limoges manufactured articles took ‘classic’ form that is very well-known to modern audience. That technological innovation allowed simplifying and speeding the work considerably. Still even in the middle of XIII century there appeared items that were rare in their quality, such as a figure of Madonna and Child. They belong to the new Gothic epoch. Besides the monuments of XII - XIV centuries several articles of XIX century - stylization and imitations reflecting revival of interest to that technique in the time of historism, are presented at the exhibition.

If before it was mostly church utensils that were manufactured in Limoges now craftsmen also go by tastes of a new customer - nobility. New types of articles appear: gemellions - pair bowls for lavabo, folding field candleholders, as well as other topics - courtly scenes and heraldry.

Exhibition curator is Ekaterina Nekrasova, junior research assistant of the Department of Western-European Applied Art of the Hermitage. The exhibition is accompanied by academic illustrated catalogue (The State Hermitage Publishing House, 2009), the author of the catalogue is Ekaterina Nekrasova.

For more information please visit: The State Hermitage Museum

Auction. Gold Rush. Thank You for Being a Friend: Property from the Estate of 'Golden Girl' Estelle Getty on Offer at Bonhams & Butterfields. The Curated Object

Getty Eyeglasses The Golden Girls, Estelle Glasses

Estelle Getty's eyeglasses worn throughout series The Golden Girls

Est. $400-600

Courtesy of Bonhams & Butterfields

Courtesy of Bonhams & Butterfields

Getty Straw Purse The Golden Girls, GroupPurse

Estelle Getty's straw purse used throughout the series The Golden Girls

Est. $1,000-1,200

Courtesy of Bonhams & Butterfields

Group Pictures of The Golden Girls

A group of 10 framed personal photographs

Est. $50-75

Courtesy of Bonhams & Butterfields

Getty Emmy Award, Estelle Emmy

An Estelle Getty Emmy Award

Est. $3,000-4,000

Courtesy of Bonhams & Butterfields

Courtesy of Bonhams & Butterfields

 

 Getty Golden Globe Award

An Estelle Getty Golden Globe Award (w/framed ad and nomination certificate)

Est. $2,500-3,000

Courtesy of Bonhams & Butterfields

Group Pictures of The Golden Girls

A group of 10 framed personal photographs

Est. $50-75

Courtesy of Bonhams & Butterfields

Thank you for being a Friend: Property from the Estate of 'Golden Girl' Estelle Getty on Offer at Bonhams & Butterfields

Preview: June 12-13, 2009, Los Angeles

Auction: June 14, 2009, 10:00am

Bonhams & Butterfields' Entertainment Memorabilia auction on June 14, 2009 in Los Angeles will include property from the Estate of a beloved  television icon: Estelle Getty.

Estelle Scher-Gettleman, better known by her stage name Estelle Getty, fell in love with theater at an early age.  She had gained a knack for  one-liners in her late teens and began performing standup comedy in the Catskill region of New York.  Getty continued to pursue a career in entertainment, struggling for 40 years before landing the role of a  lifetime in 1985 as the sarcastic octogenarian Sophia Petrillo on the popular sitcom The Golden Girls (1985-1992).

Airing on NBC, The Golden Girls featured four female retirees sharing a house in Miami, Florida; Beatrice Arthur (Dorothy Zbornak), Betty White (Rose Nylund), Rue McClanahan (Blanche Devereaux) and Estelle Getty (Sophia Petrillo) and soon after the series premiered, it was an immediate hit. 

Getty's character, Sophia Petrillo, the tiny, handbag carrying, wise-cracking mother of Dorothy, was initially intended to be a reoccurring role but proved so popular that it was rewritten as a main character.  Famous for her zingers, one liners and "picture it" stories, the 'Sophia' character went on to star in two other Golden Girls spin-offs: Empty Nest (1988) and The Golden Palace (1992). Getty was a seven-time consecutive Emmy Award nominee for "Best Supporting Actress" as Sophia, taking the trophy home once in 1988; two years later, she won the Golden Globe Award for Best Performance by an Actress in a Television Series, also for her role of Sophia. 

Other notable roles for the actress included Harvey Fierstein's mother  in the original Broadway production of Torch Song Trilogy and films such as Stuart Little (1999), Stop! Or My Mom Will Shoot (1992), Mannequin (1987), Mask (1985) and Tootsie (1982).

Highlights from the Estate of Estelle Getty will include her above-mentioned Emmy and Golden Globe Awards, her trademark straw handbag and over-sized eyeglasses used on every episode of The Golden  Girls, and a bathrobe stitched with "Sophia" on the front and "The Golden Palace" on the back, worn by Getty on one of the spin-off episodes (estimates upon request).  Additional property from the Estate will be included in the May 17th Sunset Estate Sale at Bonhams & Butterfields in Los Angeles and the June 16th Fine Jewelry auction at Bonhams New York.

Other highlights for this auction, including collectibles related to Hollywood, Rock-n-Roll, and Animation will be announced in mid-May. Images and estimates are available upon request.  The illustrated auction catalog will be online at www.bonhams.com/us in the weeks preceding the sale and Los Angeles previews.

-posted by Joanne Molina

Exhibitions Ontario. Dead Sea Scrolls: Words that Changed the World. Royal Ontario Museum. The Curated Object

Qumran Pottery

Photo courtesy of the Israel Antiquities

Authority

Book of War

11Q14

Scroll type: Non-biblical text

Date: 1st century CE (20-50 CE)

Language: Hebrew

Discovered: Cave 11, 1956

Photo courtesy of the Israel Antiquities

Authority

Scroll Jar

 

Scroll Jar

Photo courtesy of the Israel Antiquities

Authority

Scroll Jar

Photo courtesy of the Israel Antiquities

Authority

Psalms

11Q5

Scroll type: Biblical text

Date: 1st century CE (1-50 CE)

Language: Hebrew

Discovered: Cave 11, 1956

Photo courtesy of the Israel Antiquities

Authority

Dead Sea Scrolls: Words that Changed the World  

June 27, 2009

The ROM offers a once-in-a-lifetime opportunity to see these historical treasures from June 27, 2009 to January 3, 2010 in Canada’s largest Dead Sea Scrolls exhibition

One of the most important exhibitions in the history of the Royal Ontario Museum (ROM) opens in Toronto on Saturday, June 27, 2009. Until January 3, 2010, Dead Sea Scrolls: Words that Changed the World will be displayed in the Garfield Weston Exhibition Hall, located on Level B2 in the ROM’s Michael Lee-Chin Crystal.

The Dead Sea Scrolls have been the objects of great scholarly and public interest, as well as heated debate and controversy, since their discovery over 60 years ago. The ROM will display 16 authentic Dead Sea Scrolls during its six month engagement—eight different Scrolls for each three-month period—including fragments from the books of Genesis, Deuteronomy and Psalms. A fragment of the Ten Commandments, a text containing the most prominent biblical laws and obligations that, according to Jewish and Christian traditions, form the foundations of the relationship between man and God, will be featured for a limited time. Four fragments, never before publicly displayed, are being conserved especially for the exhibition. More than 200 artifacts on loan by the Israel Antiquities Authority (IAA), augmented by objects from the ROM’s own renowned collections, illuminate the environment in which these ancient texts were written.

“The ROM is privileged to present this extraordinary exhibition showcasing these deeply significant writings,” states William Thorsell, ROM Director and CEO. “In doing so, the Museum will bring together archaeology and culture, along with exceptional programming. Our ambitious lecture series, for instance, will explore compelling ideas related to the Dead Sea Scrolls, launch provocative and enlightening inter-faith discussions, and create a deeper understanding of the Scrolls. What a magnificent opportunity for us all to explore the Scrolls’ place in human history and their contemporary relevance.”

Dr. Risa Levitt Kohn, an alumna of both York University and University of Toronto and Director of the Jewish Studies program at the San Diego State University, is guest exhibition curator at the ROM. Dr. Levitt Kohn was the curator of the enormously successful Dead Sea Scrolls exhibition at the San Diego Museum of Natural History in 2007. She comments, “This is a highly unique opportunity for a Canadian audience to view the Dead Sea Scrolls. Among the Scrolls are some of the oldest discovered texts of the Hebrew Bible—writings that have had lasting influence on western culture as they continue to resonate today. This exhibition tells an important story of discovery as these Scrolls and their words shed light on the life, faith and culture of ancient Judea at the dawn of modern Judaism and Christianity.”

THE EXHIBITION

For 2,000 years, desert caves concealed the Dead Sea Scrolls, a collection of mainly parchment scrolls containing sacred literature of ancient Israel. There, above the salt-laden waters of the Dead Sea, they remained untouched by light and other elements for centuries until their discovery in 1947.
In partnership with the Israel Antiquities Authority, the ROM will display fragments from 16 authentic Dead Sea Scrolls during the exhibition’s six month engagement—eight different scrolls for each three-month period. Four Scrolls (two each during the two rotations) are being specially conserved by the IAA’s Dead Sea Scrolls Conservation Lab for this first ever public display. Scrolls displayed during the first three months include:

• Genesis: approximately 20 manuscripts of the Book of Genesis, the first book of the Hebrew Bible, were found in the caves. This scroll contains some of the oldest fragments of Genesis. The displayed fragments contain portions of the story of the death of Jacob’s wife Rachel and of Joseph’s encounter with the wife of Potiphar.

• Psalms: the book of Psalms, represented by 35 manuscripts from 250 BCE to 68 CE, is the biblical book most frequently found in the caves near Qumran.

• Daniel: the eight copies of the book of Daniel found in the caves are the closest in date to the actual composition of the book itself. As a result, these copies are our earliest evidence for the original form and content of Daniel (thought to be composed ca. 165 BCE).

• The non-biblical Book of War, a ceremonial blessing to be recited over the surviving community of Israel after the final battle at the end of time. The blessing describes how God will enable the universe to produce fertility and prevent disease and destruction by wild animals and plagues.

All Scrolls are presented with full interpretations, translations, and background information, within the context of the tumultuous period in which they were written and hidden. As well, numerous audio visual elements, including aerial footage of Israel and a soundscape of reading/chanting of specific texts, plus additional graphics, maps, and simulations effectively enhance the story of the Scrolls. Immersive and ambient, large-format images depict Israel’s landscape, evoking the hot and dry Judean Desert, further transporting visitors back to the time of the Scrolls’ origins.

The IAA is lending over 200 artifacts, including lamps, ossuaries, amphorae, jugs, stone table ware, and most notably, architectural fragments from Herod’s Temple. From the ancient upper city of Jerusalem come a number of significant coins from the Jewish Wars with the Romans, as well as Roman roof tiles imprinted with the stamp of the 10th Roman Legion. Objects, including storage jars, cooking pots, and jewellery originate from Sephorris, an important town in central Galilee. An inspiring assortment of objects discovered in Khirbet Qumran, the site near the cave discoveries, include jars, sandals, an inkwell, and numerous ceramics such as cooking pots and plates.

Objects from the ROM’s own renowned collection of Hellenistic objects are also displayed, including oil lamps and colourful Roman glass, from Jerusalem and surrounding areas. These will further augment visitors’ understanding of daily life in the ancient land of Israel.

The science of preserving and interpreting the scrolls will be incorporated into the ROM’s presentation. These highlighted methods include the use of infrared photography to enhance the appearance of the soiled and weathered texts; DNA analysis to match individual scroll fragments; multi-spectral imaging; chemical analysis of clay scroll jars to determine the location of the source of the clay; Carbon 14 dating to precisely date the scrolls; paleography to establish a chronology based on the evolution of styles of ancient handwritings; archaeology of nearby settlements of the same period; and the conservation and preservation of the Scrolls. 

For more information please visit: Royal Ontario Museum of Art

Posted by Joanne Molina