British Museum blog

Hajj: journey to the heart of Islam


Venetia Porter, exhibition curator

Hajj: journey to the heart of Islam will tell the story of a remarkable religious phenomenon – the annual pilgrimage to the sacred city of Makkah (Mecca), the birthplace of Islam. This is the British Museum’s third exhibition in a series exploring the idea of spiritual journeys – following the ancient Egyptians’ journey through the afterlife and the Christian pilgrimages undertaken throughout medieval Europe.

The Ka'ba. AP/PA

The Ka'ba. AP/PA

The exhibition will focus on three main stories: the journey, the Hajj itself, and what it means to have performed Hajj. There will be fascinating and beautiful objects – ranging from archaeological finds to modern art – from many different public and private collections.

All Muslims, wherever they live, are obliged to complete this pilgrimage (known as Hajj) if they are able, at least once in their lives. Hajj takes place every year, starting on the eighth day of the month of Dhu’l-Hijjah (the last month in the Muslim calendar) and involves a sequence of rituals that must be followed over a period of five days.

When we consider the journey of Hajj it is important to imagine a time before modern travel – and it immediately becomes clear why the Arabic word Hajj conveys a sense of striving toward a goal.

The exhibition will explore four key historical routes that lead to Mecca – from Baghdad, from across the Sahara and via Cairo, from Istanbul through Damascus, and from across the Indian Ocean arriving at Jedda, the port for Mecca and where pilgrims arrive today – many by plane.

For some, this journey could take months. For those coming from across the Indian Ocean and further east, it could take a year as ships before the age of steam could only travel when the monsoon winds blew in the right direction. Such journeys could be rough and terrifying. The Malaysian Munshi Abdallah wrote in 1854 ‘A rough wind blew as we tried to cross Cape Cormorin. Oh God, oh God, oh God! I can’t begin to describe how horrendous it was and how tremendous the waves were….all the goods, chests, sleeping mats and pillows were flung about…everyone was lost in their own thoughts, thinking nothing else but that death was close at hand.’

Many of the objects will be coming from similarly far-flung locations, but their journeys will be much less perilous. Major loans will be coming from collections across the Middle East, from Egypt and Saudi Arabia, as well as from Mali, Indonesia and Europe. A significant number of objects are being lent by the Nasser D. Khalili Collection of Islamic Art (Khalili Family Trust).

Certain objects, however, will merely be making the short trip from neighbouring galleries in the Museum, or from the Museum’s store rooms. With a global collection, the British Museum is well-placed to cover a subject that links so many different areas of the world.

Hajj: journey to the heart of Islam is open from 26 January to 15 April 2012.
Find out more

In partnership with King Abdulaziz Public Library, Riyadh, Saudi Arabia.

HSBC Amanah has supported the exhibition’s international reach outside the Kingdom of Saudi Arabia.

Filed under: Exhibitions, Hajj: journey to the heart of Islam, , ,

One Response - Comments are closed.

  1. christine says:

    What a wonderful spiritual journey, and incredible experience. I will be recommending this to everyone I know…

    Like

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Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

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Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
#exhibition #art #history #BritishMuseum #Australia #museum Hans Sloane's collection also ended up as the basis of the @natural_history_museum and the @britishlibrary!
To make more room for the increasing collections held by the British Museum, the natural history collections were moved to a new building in South Kensington in the 1880s. This eventually became the Natural History Museum. These images show some of the natural history specimens on display, including giraffes and a mastodon!
In 1997, the library departments left the Museum to be re-housed at the new British Library in St Pancras.
#history #BritishMuseum #collection #animals #books Hans Sloane's encyclopaedic collection became the cornerstone of the British Museum.
This drawer was once part of the materia medica - a sort of pharmaceutical cabinet - in the collection of Sloane. The cabinet had several drawers, each carefully constructed to keep out destructive insects. Some drawers had small compartments like this example, others contained glazed boxes with seeds, fruit, bark, roots, gums and resins inside. Each had a label written by Sloane with a catalogue number. The botanical or medicinal name of the subtance, where it came from and who collected it were then recorded in his catalogues of his collection.
As Sloane's interest in natural history grew along with his income, he was able to widen the scope of his collection from being primarily medical to being more encyclopaedic, representing the widest possible variety of substances and artefacts for his own reference and for others to consult.
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#history #BritishMuseum #collection #museum Our founder, Sir Hans Sloane, was born ‪#onthisday in 1660.
This engraving after a portrait  by T Murray shows him at the age of 68. The inscription at the bottom can be translated as: 'Sir Hans Sloane, baronet / Pres[ident]. of the College of Physicians of London and the Royal Society. etc.'
Sloane was born in Ireland in 1660, and trained as a doctor of medicine. At the age of 27 he went to the West Indies as personal doctor to the Governor of Jamaica and while living there he began to form his great collection of natural history specimens. For the rest of his long life he collected plants, fossils and minerals, as well as objects from ancient Rome, Egypt and Assyria. He also amassed an impressive collection of books, manuscripts, prints and drawings.
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