The Return of the King

Tutankhamun and the Golden Age of the Pharaohs, come to New York in April 2010

Tutankhamun and the Golden Age of the Pharaohs, come to New York in April 2010

“Almost every decade, Egyptian government will tour Tutankhamun and claim this would be the last time that they let their treasured king out.” A New York senior curator in Egyptian Art once said. “They always say that traveling is not good for preservation, but they are still doing it.” The upcoming exhibition at Discovery Times Square Exposition will feature approximately 130 artifacts with around 50 of them from King Tub’s tomb. Such a number perhaps won’t make a big impression on New Yorkers who have been spoiled by the vast collection of Egyptian art, but King Tut’s charm never fails plus Times Square is No.1 tourism spot of New York City. Metropolitan Museum of Art didn’t accept the show which toured ondon , Los Angeles , Chicago , Ft. Lauderdale , Philadelphia, Dallas and San Francisco now, because the exorbitant cost would require a ticketed exhibition which is against Met’s policy. A quick check on the show’s website shows that the ticket is $24.50 for adult and $17.50 for children. 

 

Details from art daily news:

“Tutankhamun and the Golden Age of the Pharaohs” will arrive in New York City in April 2010, marking the first time a collection of treasures from King Tut’s tomb has visited the city since the groundbreaking 1979 exhibition at the Metropolitan Museum of Art launched “Tutmania” and attracted 1.8 million visitors. Following the New York showing of this National Geographic exhibition, the treasures are scheduled to return to Egypt to eventually be housed in a new Grand Museum in Cairo, which is in part being funded with proceeds from this exhibition, along with other antiquities preservation and conservation efforts.

The exhibition will be on display from late April through December 2010 at the new Discovery Times Square Exposition facility, which opened this spring in the former location of The New York Times printing presses in the heart of Times Square . Beginning today, ticket pre-registration is open at www.kingtutnyc.com. Anyone who signs up before the end of the year will have an opportunity to purchase tickets before they go on sale publicly next year, giving pre-registrants priority access to choice dates and times. Tickets will be designated for a specific date and time to avoid long entrance wait times.

“Tutankhamun and the Golden Age of the Pharaohs” is more than double the size of the 1979 exhibition, and only a handful of those artifacts are returning with this exhibition. With more than 130 ancient Egyptian artifacts in all, more than 50 are from King Tut’s tomb, including his royal diadem — the gold crown discovered encircling the head of his mummified body that he likely wore as king — and one of the gold and precious stone inlaid canopic coffinettes that contained his mummified internal organs. The treasures in the exhibition are between 3,300 and 3,500 years old.

The exhibition is organized by National Geographic, Arts and Exhibitions International and AEG Exhibitions, with cooperation from the Egyptian Supreme Council of Antiquities. Northern Trust is a proud cultural partner of the exhibition, and American Airlines is the official airline.

“Tutankhamun and the Golden Age of the Pharaohs” has drawn more than 6 million visitors and has set records in each city it has traveled to, including London , Los Angeles , Chicago , Ft. Lauderdale , Philadelphia and Dallas . It is currently on display at the de Young Museum in San Francisco .

 “I personally invite everyone to see this great exhibition so that a new generation of people will experience the history and magic of the boy king,” said Zahi Hawass, secretary general of Egypt ’s Supreme Council of Antiquities.

About Hui

Wang Hui lived from 1632 – 1717 and followed in the footprints of his great grandfathers, grandfather, father and uncles and learned painting at a very early age. He was later taught by two contemporary masters, Zhang Ke and Wang Shimin, who taught him to work in the tradition of copying famous Chinese paintings. This is most likely the reason why critics claim that his work is conservative and reflects the Yuan and Song traditions. One critic claimed that “his landscape paintings reflect his nostalgic attachment to classical Chinese aesthetics. Along with the other Wangs, Wang Hui helped to perpetuate the tradition of copying the ancient masters rather than creating original work.

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