British Museum blog

Collecting postcards from the Middle East

Postcard with a view of a camel train, AdenSt John Simpson, curator, British Museum

Just send us a postcard! This short catchphrase is poised to enter history across the world; today, mobile phones, text messages, emails, Facebook, Twitter and Instagram are the media used to help connect people and share images and experiences.

The postcard is not quite dead but it is certainly endangered and it’s for that reason that we have decided to formally add them to the list of objects that we collect, register, acknowledge donor details, scan and upload onto the British Museum collection online.

Postcard with a view of a camel train, Aden.

Postcard with a view of a camel train, Aden. This vignette of a caravan connecting Aden with its Yemeni hinterland illustrates how valuable postcards are as illustrations of everyday events as well as places. This card dates from the period when Aden was a British colony.

Moreover, postcards are very evocative objects. The images are loaded with significance and capture moments in time, and this applies equally to cards showing places, landscapes and people. Indeed, the more postcards one has of a particular place, the more powerful they become in charting its history and exploring the practical issues of how the view was arrived at and what subliminal messages may have been intended by the choice of view or subject-matter.

Postcards enter into two quite different patterns of circulation. One is from sender to recipient, and the message is often either banal or stereotyped (“wish you were here … the weather’s great”), or deeply personalised, but in both cases the postcard is often treasured by the recipient.

Summer holiday in Turkey postcard

Summer holiday in Turkey. Postcard messages are often banal and stereotyped and holiday cards are a particularly good example of this. This particular card refers to “It’s very hot but I like that” but hints at the richness of Turkey’s culture by stating that “This is our third visit to Turkey and we are still completely fascinated”. Used cards like this are sometimes more poignant than unused ones as they capture personal messages as well as styles of handwriting and snapshots of postal history.

In the second case, the postcard is collected as a tangible memento of a visit and is never intended to be sent. Whereas the first category eventually enter into secondary circulation as people move house, relationships end or they pass away – often for the stamps to be soaked off – the second, almost mint, category of cards become collectibles. Used cards are postmarked and therefore offer absolute dates on a timeline but unused cards can, with patience, be dated through their internal content and series number. They are therefore just like many other objects we have in the museum, and subject to classification, typology and anthropological analysis.

Postcard showing the Bayader mosque, Aleppo.

Postcard showing the Bayader mosque, Aleppo. This postcard is a rather attractive early twentieth century visual record of the old minaret of the Bayader mosque in Aleppo. It was later replaced by another which was demolished during heavy fighting on 17 April 2012.

However, it is fundamentally the top-level information they provide on the changing Middle East that led us to start collecting them. Places, people and cultural heritage are fragile commodities and easily affected by periods of conflict, social change and economic development. It is therefore crucial we start archiving these memories before it really is too late.

Explore the British Museum postcard collection in the collection online

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We've reached Room 52 on our #MuseumOfTheFuture series of gallery spaces – the Rahim Irvani Gallery of Ancient Iran. Iran was a major centre of ancient culture. It was rich in valuable natural resources, especially metals, and played an important role in the development of ancient Middle Eastern civilisation and trade. Room 52 highlights these ancient interconnections and the rise of distinctive local cultures, such as in Luristan, during the age of migrations after about 1400 BC.
During the 6th century BC, Cyrus the Great founded a mighty Persian empire which eventually stretched from Egypt to Pakistan. Objects on display from this period include the Cyrus Cylinder (in the centre of the picture) and the Oxus Treasure (in the case to the left of the picture). Monumental plaster casts of sculptures from Persepolis are also displayed in Room 52 and on the East stairs.
The later periods of the Parthian and Sasanian empires mark a revival in Iranian culture and are represented through displays including silver plates and cut glass. The next gallery space in our #MuseumOfTheFuture series is Room 51, Europe and Middle East 10,000–800 BC. Farming began in the Middle East around 12,000 years ago, making possible the social, cultural and economic changes which shaped the modern world. It arrived in Britain around 6,000 years ago bringing a new way of life. This change in lifestyle meant people competed for wealth, power and status, displaying these through jewellery, weapons and feasting.
The objects on display in Room 51 show how the people of prehistoric Europe celebrated life and death and expressed their relationship with the natural world, the spirit world and each other. The object in the centre of this picture is the Mold gold cape, found in Flintshire in 1833 and dating to around 1900–1600 BC. This is Room 50, Britain and Europe 800 BC–AD 43, the next gallery space in our ongoing #MuseumOfTheFuture series. The Iron Age was a time of dramatic change for the people of Britain and Europe. Iron replaced bronze as the material used to make tools and weapons, while religion, art, daily life, economics and politics changed dramatically. The story of these civilisations (known to the Greeks and Romans as Britons, Celts, Germans and Iberians) and their distinct material cultures, is told through decorated Iron Age artefacts known as 'Celtic art' and more everyday objects. In the foreground of this picture you can see a selection of torcs and to the right is the Battersea shield, found in the River Thames in the 1850s. Next up in the #MuseumOfTheFuture gallery series it's the Weston Gallery of Roman Britain – Room 49. The Roman occupation of Britain between AD 43 and 410 dramatically transformed the material culture of the province. Imported goods and settlers from Europe, the Middle East and North Africa created a richer, more diverse society and a wealth of mosaics, wall paintings, sculpture, glassware and metalwork was produced.
The laws, administration, currency, architecture, engineering, religion and art of Rome met Britain’s Iron Age societies to create a distinctive 'Romano-British' identity, which is illustrated in Room 49 through a variety of objects and artworks including the Mildenhall treasure, the Hoxne Hoard and the Hinton St Mary mosaic. Born #onthisday in 1600: Charles I. During the Civil War this medal was worn in support of the King
#history #medal #king This is Room 48 – Europe 1900 to the present. It's the next gallery in our #MuseumOfTheFuture series. Room 48 examines changing ideas about how objects should look, and the desire to make well-designed objects available to a wider audience. Many of the objects on display show how designers in the West have drawn inspiration from other cultures, past and present.
Highlights include Continental Art Nouveau, Germany’s Darmstadt artists' colony and the Bauhaus, Russian Revolutionary porcelain and American applied arts between the two World Wars.
The Museum is actively collecting objects from the 20th century and the display continues to change as new acquisitions are made.
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