British Museum blog

Showing treasures

St John Simpson, exhibition curator

Although the exhibition doesn’t open until March 2011, we had a briefing for members of the press last week that gave us an opportunity to introduce the incredible objects that will eventually go on show.

Exhibition curator, St John Simpson, discusses the objects at a press conference

In the exhibition title we describe Afghanistan as the crossroads of the ancient world and I think that the 200 objects spanning 3,000 years will show exactly why that’s an appropriate description.

Its geographical position, on the edge of central Asia with India and China beyond to the east and Iran, the Middle East and the numerous cultures of the Mediterranean and the rest of Europe to the west, it was criss-crossed by ancient trade routes. In many ways then as now it was a hub and meeting place for diverse cultures and neighbours, both near and distant, over thousands of years.

In the modern world it’s all too easy to think of Afghanistan solely as a place of conflict – and indeed the objects that will feature in the exhibition tell that story as well – but taking the long view we can see in the rich materials and ornate craftsmanship of these objects a far broader story.

Gold crown from Tillya Tepe, 1st century AD. National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

Gold crown from Tillya Tepe, 1st century AD. National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

Afghanistan has always been a part of a complex network of cultures that doesn’t really take account of contemporary political boundaries. Long-distance travel and globalisation may seem like relatively new inventions, but the ancient world was much more connected than many of us may think. I hope we can help bring this inter-connectedness out in the exhibition.

One of the pieces on loan from the National Museum in Kabul illustrates this point particularly well: a pendant from the Tillya Tepe hoard found in the north-west of the country. It features inlays of gold and turquoise. Two dragon-like beasts in the design suggest to some the influence of Chinese art but to others represent the heavenly horses of the Ferghana valley of neighbouring Central Asia.

Inlaid gold pendant from Tillya Tepe, 1st century AD. National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

Inlaid gold pendant from Tillya Tepe, 1st century AD. National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

It also includes lapis lazuli, a type of blue stone only found in Afghanistan but coveted in the wider world for thousands of years. It crops up in the jewellery of ancient Egypt, the art of the ancient near east and as far afield as the art of the Italian Renaissance.

The fact we nearly lost many of these stunning objects and signposts to the past to the events of Afghanistan’s recent history underlines how precious they are as well as the fragility of cultural heritage.

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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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