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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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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