British Museum blog

Horses: by royal appointment


Nigel Tallis, Exhibition Curator, British Museum

Royal Jubilee weekend is here. You may well be tuning in to watch the royal regatta work its way down the River Thames, or even going to watch the festivities in person.

We’re thinking royally right now at the British Museum, as we celebrate the opening of our new exhibition The horse: from Arabia to Royal Ascot. Her Majesty the Queen is the royal patron of the exhibition, whose great knowledge of horses is well known, but horses have been important to royalty for hundreds, even thousands of years.

Think of the royal family and horses and you’ll think of carriages on the way to the Royal Enclosure at Ascot, of champion race-winners and the Queen’s own racing colours of purple, scarlet and gold. Aspects of these are all included in the exhibition and we also feature stories of royalty and their fascination with horses through the millennia.

Here’s a wonderful portrait medal by Pisanello, one of the first of its kind, showing the Byzantine or East Roman, emperor John VIII Palaeologus (1392–1448) riding a horse befitting a medieval monarch – interestingly, it was given to the Museum by another royal, the British King George IV (1738–1820).

Medal showing the emperor John VIII Palaeologus on horseback

The Amarna letters from New Kingdom Egypt – a group of clay tablets written in Babylonian cuneiform – form a diplomatic archive of letters sent to the kings of Egypt from fellow rulers in the Middle East. They vividly reflect how the possession of chariots and horses was a key indicator of prestige and status at the time.

Crop from the Amarna Letters, letter from Burnaburiash II to Amenhotep II

But kings haven’t always used horses for peaceful means. This 15th century manuscript painting shows a fierce cavalry battle between two much earlier Sasanian kings, Khusrow II and Bahram VI.

Battle between Khusrow II and Bahram VI

And here’s a charming drawing by Rembrandt, probably inspired by a set of Mughal miniatures. It’s thought to show another royal, Shah Jahan (reigned 1627-1658) riding on horseback.

A Mughal nobleman on horseback by Rembrandt

Don’t forget: if the exhibition is too busy to get into, you can see the last great Assyrian king, Ashurbanipal, riding on horseback and in a chariot, hunting lions in the famous reliefs which are the pinnacle of Assyrian art. They are on display in Room 17, throughout the exhibition’s run.

 

The horse: from Arabia to Royal Ascot is free and open from 24 May to 30 September 2012.

The exhibition is supported by the Board of Trustees of the Saudi Equestrian Fund, the Layan Cultural Foundation and Juddmonte Farms. In association with the Saudi
Commission for Tourism & Antiquities.

Filed under: The horse: from Arabia to Royal Ascot

2 Responses - Comments are closed.

  1. Christopher Ash says:

    We really enjoyed this wonderful exhibition. We had one thought from cultural and religious history, which is that the phrase ‘the horse and its rider’ occurs in the song of the people of Israel in Exodus chapter 15 and resonates through the Old Testament as the theme that the people of God are called upon not to be impressed by the military might typified by horses, but rather to trust the Redeemer God who is able to throw these powerful and tyrannical weapons into the sea.

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  2. bennythomas says:

    Horses have been always admired by art lovers all across the globe and all times. I remember my first visit to the British museum and the head of a horse taken from the east pediment of Parthenon. In ’89 I sketched it and I have ever since thought of my first confrontation with Greek art. The flaring nostrils and fine craftsmanship encapsulated the high point of Greek art ever since. In the blog posted I see Rembrand’s horse and it strikes me that he has got the pose wrongly. four-legged animals keep three legs on the ground at any given time.

    Cavemen Trump Modern Artists at Drawing Animals/LiveScience.com of Dec 5,2012 had an interesting article on this subject. It would seem paleolithic people living more than 10,000 years ago had a better artistic eye than modern painters and sculptures — at least when it came to watching how horses and other four-legged animals move.
    The “cavemen,” or people living during the upper Paleolithic period between 10,000 and 50,000 years ago, only made mistakes 46.2 percent of the time in their depictions of four-legged animals walking than artists are today. Modern artists portray these animals walking incorrectly 57.9 percent of the time.
    Biological physicist Gabor Horvath, a researcher at Eotvos University in Hungary undertook a new study from examples of art from online collections, fine art books and Hungarian museums, as well as on stamps and coins. In the samples falling after prehistory but before Muybridge found 83.5 percent of depictions were wrong.
    Chance alone would dictate that artists mess up depictions of four-legged gait 73.3 percent of the time, the researchers calculated. One notable error included one sketch of a horse by Leonardo da Vinci, known for his anatomical sketches. In the sketch, the horse has its right-hind foot and left-front foot down with its other two feet lifted, an unstable position.

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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 Mapungubwe was the capital of the first kingdom in southern Africa from AD 1220 to 1290. This gold rhinoceros, alongside four other gold sculptures, was discovered in three royal graves there. They are among the most significant sculptures in Africa today. They depict animals of high status – an ox, a wild cat, and a rhinoceros – and also objects associated with power – a sceptre and a bowl or crown. These treasures were discovered alongside hundreds of gold objects, including bracelets and beads. Gold was mined in the regions around Mapungubwe for trade with the coast, as part of an international trade network stretching as far as China, becoming a status symbol for the kingdom’s rulers.

On loan from the University of Pretoria @upmuseums, these gold treasures will be a highlight of our #SouthAfricanArt exhibition, opening 27 October 2016. Find out more about the exhibition by following the link in our bio.
#SouthAfrica #rhino #art #history
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