British Museum blog

Altaf’s Hajj: the tented city


Altaf Abbas

Friday 4 November
It has been a relaxing day today after the hardship of Mecca yesterday. We are staying in a tented city in Mina – there are thousands and thousands of air conditioned tents (Middle Eastern version of glamping) and we are preparing for tomorrow which will be very hard over three million people will be heading to Arafat to beg for forgiveness. I will be inshallah one of those and cannot wait to pour my heart out. I think it is going to be very emotional. I can feel the tears in my eyes already filling up.

The Saudis do an excellent job of servicing the hajjies. I am impressed at their efficiency, like the way they bring chilled water with ice to all tents and how they provide food, tea and coffee in abundance. They even have helicopters patrolling the hajj to make sure it goes smoothly and safely.

The call to prayer has just gone and it sends shivers down my spine as the sound reverbarates around the valley – it’s truly amazing.

Altaf and Rashida Abbas are going on Hajj this year. They will be blogging about their experience over the next two weeks. Find out more about the exhibition Hajj: journey to the heart of Islam

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

2 Responses - Comments are closed.

  1. nasrin says:

    May Allah accept your Hajj and akk those people who was there with you. ameen

    Like

  2. salih says:

    i was at arafat with you ,i guessed ,u have painted a true picture of its exceedingly emotional nature as i and my wife read with touching senses,we all felt great and blessed,the tented city of mina was in its class,whao,though we live in makkah a visit to kabbah for prayer is always different .al hamudulillah we are among the little.

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 12,843 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy 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.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

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
Follow

Get every new post delivered to your Inbox.

Join 12,843 other followers

%d bloggers like this: