British Museum blog

The journey begins


Qaisra Khan, exhibition project curator

The exhibition Hajj: journey to the heart of Islam is now installed inside the Reading Room of the Great Court. It’s the result of many, many months of work by not only the curators of the exhibition but also the project managers, conservators, museum assistants, the display, mounting, lighting designers, digital media design teams, graphic designers, construction teams, and art transportation companies! With everybody making sure all objects arrive safely and unpacking and putting them safely into their respective cases, this was truly a team effort. To get all of the objects displayed inside the exhibition space took over a month…and it’s finally ready!

British Museum object handlers mount a tile from Isnik in Turkey. The tile is on loan from the V&A Museum's collection.

Although as curators we had carefully selected each of the objects that feature in the exhibition, some of the objects travelled from far flung places and we had never seen them in the flesh before. Being close to these objects while they were being installed was a wonderful experience – they all surpassed our expectations! The scope of the exhibition, with 40 lenders from 13 different locations from around the world, is vast – and it has been an amazing achievement to get such wonderful objects together to represent the story of Hajj.

The magnificent Hajj banner from the Harvard Art Museum.

I was completely amazed, for example, by the wonderful Hajj banner from the Harvard Art Museum made out of beautiful scarlet red silk, which measures 369.5cm x 190.5cm. Dated 1683, it tells the story of the movement of Hajj caravans. This banner was carried from North Africa, which was part of the Ottoman Empire, by members of the Qadiriyya Sufi order on Hajj. It is a striking object which would have been seen by pilgrims from a great distance, decorated with floral patterns typical of the Ottoman era. The inscriptions in the North African style of script, known as Maghribi, clearly confirm its use on Hajj. In the 17th century this must have been a splendid beacon to guide pilgrims who were traversing great distances to reach the place of their dreams.

The exhibition opens to the public next Thursday 26 January and runs until 15 April 2012. I hope you can come along.

Leave a comment or tweet using #hajjexhibition to let us know what you think about the exhibition

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

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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.
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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.
© 2003 The Natural History Museum @natural_history_museum 
#history #BritishMuseum #collection #museum
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