British Museum blog

Angareeb – a living Sudanese tradition

Shadia Abdu Rabo, Sudan National Museum

New beds stacked up in Omdurman market near Khartoum

New beds stacked up in Omdurman market near Khartoum

In November, clearing out a store in the expedition house at Amara West, we came across many fragments of traditional beds, or angareeb, made of wood, leather and rope. We have repaired some of these, to use in our lounge area, but also in some of the bedrooms.

Angareeb bed legs found in the storeroom of the expedition house at Amara West

Angareeb bed legs found in the storeroom of the expedition house at Amara West

These beds have a very long history in Sudan, going back to the ancient Kerma culture, where the dead were placed on low beds inside graves.

The Virgin Mary on a bed. Painted scene from Faras, Sudan National Museum

The Virgin Mary on a bed. Painted scene from Faras, Sudan National Museum

In the cemetery at Amara West, despite the actions of both robbers and termites, there is clear evidence that some of the burials featured similar beds. In some tombs, there is evidence for both beds of this type and Egyptian coffins, reflecting a mixture of different cultural traditions in the late second millennium BC.

But the form of the bed survived through historical, political and religious changes.

In a fifth century AD painting in the church at Faras, now in the Sudan National Museum, the Virgin Mary is shown upon a bed, while in the late nineteenth century, the wife of the ruling Mahdi owned a lavish example of an angareeb.

An angareeb decked out for a wedding

An angareeb decked out for a wedding

The beds follow people from birth to death: childbirth often takes place on such angareeb; circumcision rituals are performed; beds are used in Koranic khalwa-school, are adorned for wedding ceremonies, and are a feature of funeral processions.

Craftsman cutting legs for a new angareeb, in Omdurman market near Khartoum

Craftsman cutting legs for a new angareeb, in Omdurman market near Khartoum

The shape has not changed radically, and today one can visit craftsmen in the market to see the beams of acacia, mahogany or date palm being cut and joined (now with wire and metal nails), before the bed is strung – often with nylon string not rope.

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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