British Museum blog

Afghanistan exhibition opens 3 March

Constance Wyndham, Assistant Exhibition Curator

On the eve of the exhibition opening, we’re now very excited about seeing this exhibition opening to the public too.

Over the last month, we have been working with eight colleagues from Afghanistan who, as curators, conservators, archaeologists and specialists, travel with the objects on loan from Afghanistan’s National Museum to oversee their installation and deinstallation at each exhibition venue.

At the Museum, they were welcomed by the Middle East department and introduced to many other departments across the Museum before we got down to working on the objects themselves, which range from Greek style Corinthian capitals to delicate gold jewellery.

We established a system of condition checking each object with Yahya Mohibzada (Deputy Director, Kabul Museum) and Abdullah Hakimzada (Conservation Dept, Kabul Museum) with our Curatorial and Conservation departments before installing the exhibition. This checking process can sometimes give the opportunity for us to learn a bit more about the objects before installing them in the exhibition space.

One of the display cases in the exhibition will show the first tomb to have been discovered at the first century AD site at Tillya Tepe. The skeleton was of a woman aged between 20 and 30 years, buried lying on her back. Her clothes were covered in hundreds of gold ornaments, stitched on to the cloth.

British Museum scientists and conservators worked with Afghan colleagues to analyse four black beads on a necklace from this hoard. The beads had been previously described as wood – but there was some doubt about this. Although they were covered in consolidant (which made it difficult to obtain accurate readings as we weren’t able to take samples) the team discovered that the beads were in fact probably made of jet.

With this discovery made, the Museum assistants Sarah Price and Xavier Duffy were then ready to recreate within the exhibition space the layout of the earrings, headdress and gold appliqués on the figure as she appeared in the tomb.

In addition to working on the installation, we have also been visiting some of the many museums and institutions in the UK that have wonderful collections of material from Afghanistan acquired from the nineteenth century onwards.

We visited the British Library where curator John Falconer showed us photographs by John Burke, official photographer to the British Army in Afghanistan during the Second Anglo-Afghan War (1878-1880) and detailed drawings by Charles Masson, the first of the European travellers to Afghanistan to record sites and monuments. Masson deserted the East India Company in 1827 and pioneered archaeology in Afghanistan. His accurate drawings of monuments such as Babur’s Tomb, Minar-i-Chakari and the Buddhas at Bamiyan have helped with modern research.

We also went to Oxford to look at Gandharan Buddhas and Kushan coins in the Ashmolean Museum. In the Pitt Rivers Museum we were shown wooden carved figures from Nuristan. The National Museum in Afghanistan has a collection of these figures on display, some mounted on horseback, but several were damaged by the Taliban.

If you would like to leave a comment click on the title

For more information about the exhibition, visit the British Museum’s website

Filed under: Afghanistan: Crossroads of the Ancient World, Exhibitions, , ,

Dismantling the crown

Sarah Price and Xavier Duffy, Museum Assistants

Early in January we travelled to Bonn, the venue of the previous Afghanistan exhibition to assist with the de-installation and transport of the objects to London. In the British Museum we will be responsible for installing Afghanistan: Crossroads of the Ancient World and it has been months in the planning. Our trip to Bonn was the first time we would actually see the objects rather than in the photographs we’d been carefully studying. It was also our first opportunity to meet the eight Afghan couriers who accompany the exhibition and who we will be working with closely in London.

It was then with a sense of anticipation and nervous excitement that we arrived at the museum to start work. We were able to look around the exhibition before de-installation began and this was a valuable chance to see what the objects are actually like and how they can be displayed.

One object that surprised us was the gold crown from Tillya Tepe that features on the British Museum exhibition poster. It is a most beautiful, delicate piece and had been cleverly displayed in Bonn. We were puzzled by how this object might be packed for transport given its fragile nature. The answer came when the conservator started dismantling it.

The crown’s shape is given by the mount it sits on during display. The top five sections come loose and are detached from the headband which itself then lies flat. Each piece had a series of loops on the back which thread onto corresponding spikes on the mount. These six sections are held in place with pins in travel boxes to stop them from moving during their journey to London.

Once all the objects had been safely packed into their crates it was time to transport the cargo to London with us and the Afghan delegation always close at hand. After a long day travelling across Europe the crates would still have to be unloaded at the British Museum. However, the Heavy Object Handling team and members of the Middle East department were thankfully on hand to assist with this final part of the process. The crates were placed in a secure storage area where they will remain until the (much anticipated) time comes to open them up and remove the objects for display in London.

Meeting the Afghan couriers was a great pleasure and assisting them with the de-installation of the exhibition in Bonn will certainly ensure the smooth running of the installation at the British Museum.

If you would like to leave a comment click on the title

Filed under: Afghanistan: Crossroads of the Ancient World, Exhibitions, , , ,

Receive notifications of new posts by email.

Join 16,488 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

In 1966 the Beatles were number one with Paperback Writer, Lyndon Johnson was asked to ‘get out’ of Vietnam, and a gallon of gas cost $0.32. American artist Ed Ruscha travelled 1,400 miles on Route 66 from LA to his hometown of Oklahoma, recording the gas stations dotted along the road. Influenced by graphic design and advertising, he transformed everyday images like this into dramatic works of art.

See this work on loan from @themuseumofmodernart in our #AmericanDream exhibition – follow the link in our bio to book tickets.

Edward Ruscha (b. 1937), Standard Station. Screenprint, 1966. @themuseumofmodernart New York/Scala, Florence. © Ed Ruscha. Reproduced by permission of the artist.

#EdRuscha #Route66 #USA #graphicdesign #advertising #print #art #LA #1960s #westcoast #printmaking Today marks 30 years since the death of Andy Warhol, hailed as the ‘Pope of pop art’. One of the most recognisable images in the world, Warhol’s Marilyn series remains sensational after five decades. This series of 10 individual screenprints, made in 1967, is on loan from @tate for our #AmericanDream exhibition – opening 9 March. Warhol used a cropped and enlarged publicity still as the source image for this work, taken by photographer Gene Kornman for Monroe’s 1953 film ‘Niagara’. Behind the glamour and fame of the Marilyn series lay tragedy. Recently divorced from playwright Arthur Miller, Marilyn had taken her own life with a drug overdose in August 1962. Warhol’s depiction of the alluring screen goddess became a memorial to a fallen idol.

See some of Warhol’s most iconic works in our major exhibition. Follow the link in our bio to find out more.

#Warhol #AndyWarhol #PopArt #1960s #USA #art #MarilynMonroe Sweets, ice creams and cakes feature heavily in the sugary, colourful work of American artist Wayne Thiebaud. This piece is called ‘Gumball Machine’ and was made in 1970. His works are characterised by his focus on mass-produced objects.

You can see some of his prints in our upcoming #AmericanDream exhibition – book your tickets by following the link in our bio.

Wayne Thiebaud (b. 1920), Gumball Machine. Colour linocut, 1970. © Wayne Thiebaud/DACS, London/VAGA, New York 2016.
#WayneThiebaud #popart #art #Americanart #🍭 #🍬 This beaded #wedding blanket was made around the 1950s in South Africa by a Ndebele artist. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves. In response to losing their ancestral lands, Ndebele women began to make distinctive beadwork for significant events.

They also adapted these designs and painted them on their homesteads, to include ever more intricate and colourful patterns. As a form of protest, these artworks had the effect of making Ndebele identity highly visible at a time when the government was attempting to make them effectively invisible through rural segregation.

See this beautiful beaded blanket in our special exhibition #SouthAfricanArt, which traces the history of this nation over 100,000 years. Follow the link in our bio to book your tickets before the exhibition closes on 26 Feb.
#SouthAfrica #history #design #beads #Ndebele #blanket In 19th-century southern Africa, people wore different designs, colours and materials to communicate their power, wealth, religious beliefs and cultural community.

This beautiful beaded necklace is made of brass, glass and fibre, and is known as an ingqosha, a traditional necklace worn by the Xhosa people. Young Xhosa women and men traditionally wear the ingqosha at weddings and ceremonial dances.

During apartheid, necklace designs from the 1800s were used as a form of political and cultural protest. While on the run in 1961, Nelson Mandela was photographed wearing a beaded collar, and after his capture his then wife Winnie reportedly chose one for him to wear during sentencing. By wearing this necklace Mandela made a powerful cultural and political statement about his Xhosa ancestry.

Learn more about the fascinating history of this nation in our #SouthAfricanArt exhibition, closing 26 Feb 2017. Follow the link in our bio to find out more.
#SouthAfrica #necklace #jewellery #beads #history #art #xhosa We love this great shot of Esther Mahlangu’s stunning BMW Art Car taken by @bitemespice. It’s currently in the Great Court as part of our #SouthAfricanArt exhibition, charting the fascinating history of a nation through its art. The car was painted in 1991 to mark the end of apartheid in South Africa, and the brightly coloured geometric shapes are inspired by the traditional house-painting designs of the Ndebele people.

Mahlangu’s Art Car combines tradition and history with contemporary art and politics; themes  that are explored in our #SouthAfricanArt exhibition. Catch it before it ends on 26 February 2017 – you can book tickets by following the link in our bio.
#SouthAfrica #mybritishmuseum #britishmuseum #regram #repost
%d bloggers like this: