British Museum blog

London, a world city in 20 objects: shield (gaschan)

ShieldChristopher Spring, British Museum

The Somali community has grown in London in recent years and its impact can be witnessed in one of the newest acquisitions to the British Museum’s collection, a button badge with the slogan ‘I love Mo Farah’, the Somali born runner who was such an inspiration throughout the 2012 Olympic Games. But the Museum’s collection contains many fascinating objects of Somali origin, such as this Hippopotamus hide shield on display in the Sainsbury African Galleries.

Shield (Gaschan)

Shield (gaschan)

Somali shields were very much smaller than those from neighbouring Ethiopia, being not much larger than a dinner plate, though their perfect circular shape was created in a similar way. The first stage was to cut out a piece of untreated hippopotamus hide, then to place it over a shaped wooden mould sunk firmly in the ground. Any hair would be scraped off at this stage, and the hide would be allowed to dry. Then several coats of oil would be applied over a period of days, causing the hide to swell, while at the same time being beaten with a mallet to achieve a tough and virtually impenetrable surface.

The shield maker would then use a number of special hammers to apply embossed markings to the supple surface before allowing the hide to dry out completely. Despite their small size, Somali shields are extremely strong – and may be looked upon almost as offensive rather than defensive weapons. They had a very large hand grip which would allow the owner to push the shield up his arm when not in combat.

Undoubtedly the significance of shields extended far beyond their purely functional capabilities. Possessing a fine, perfectly round and bleached white shield was an indication of a man’s standing in society. Some shields also have intricate designs, painted in henna, beneath the grip on the reverse side. These were known as ‘marriage shields’ and formed part of the dowry given by the bride’s father to his son-in-law. Similar shields were used in the Arabian Peninsula, and there is evidence to suggest they were made in Somalia for export, particularly to Oman.

This was first published in the London Evening Standard on 17 January 2013.

The shield is on display in Room 25: Africa

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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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