British Museum blog

Celebrating Ganesha

Detail of Ganesha statue
Manisha Nene, Assistant Director, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS)

Carved schist figure of Ganesha (1872,0701.59)

Carved schist figure of Ganesha (1872,0701.59)

Today is the Hindu festival of Ganesha Jayanti, Ganesha’s birthday. It has a special significance for the British Museum this year because we are starting to install the next Room 3, Objects in Focus display about Ganesha. It will bring together a stone sculpture of Ganesha from the British Museum collection with aspects of the contemporary worship of the elephant-headed god in Mumbai. The main annual Ganesha festival, Ganeshchaturthi, is celebrated in August-September, but now is another significant time for worshippers of Ganesha.

A contemporary statue of Ganesha for the display has already arrived from Mumbai

A contemporary statue of Ganesha for the display has already arrived from Mumbai

Different traditions celebrate Ganesha Jayanti on different days. It is usually observed in the month of Magha (January-February) on the fourth day of Shukla paksha the bright fortnight or waxing moon in the Hindu caldendar, particularly in the Indian states of Maharashtra and Karnataka. The celebrations of Ganesha Jayanti in the month of Magha are simple, with devotees observing a fast. Before worship, devotees take bath of water mixed with til (sesame seeds) after smearing a paste of the same substance on their body.

Domestic shrines and temples are decorated for the occasion. Special offerings are made to the permanent Ganesha images which are worshipped daily. In some places Ganesha is symbolically worshipped in the form of a cone made of turmeric or cow dung. Food offerings of ladoos (sweet balls) made of til and jaggery (sugar) are offered with great devotion. In some households and temples small images of Ganesha are placed in cradles and worshipped.

Baby Ganesha in a cradle. © CSMVS

Baby Ganesha in a cradle. © CSMVS

The practical reason for making offerings prepared of til and jaggery or applying sesame paste to the body is that when this festival is celebrated it is mid-winter and the body requires high energy supplements. The devotees consider their beloved Ganesha as human being and offer preparations of sesame and sugar to provide energy and keep the body warm.

Unlike the Ganeshchaturthi festival which we will feature in the display, the Ganesha Jayanti festival (Magha shukla Chaturthi) is publically celebrated in a relatively small number of places, where specially-created clay images of Ganesha are worshipped and immersed in the sea or river after 11 or 21 days.

During this month the devotees go on a pilgrimage to one of the many Ganesha temples across India. In Maharashtra there are eight places which are particularly sacred to Ganesha, known as Ashtavinaykas (Ashta means eight and Vinayaka is one of the many names of Ganesha) and the pilgrimage is known as Ashtavinayaka yatra. These are at Morgaon, Theur, Lenyadri, Ozar, Ranjangaon, Siddhatek, Pali and Mahad.

The India Leadership Training Programme

Matthew Cock, Head of Web, British Museum

I was lucky enough to be part the British Museum’s team running the first module of the Leadership Training Programme, which has just finished in Delhi. The programme was initiated by the National Culture Fund (NCF) under the Indian Ministry of Culture, with 20 delegates drawn from museums across India – from Delhi to Kolkotta, Mumbai to Chennai – including directors, curators, conservators and administrators.

Programme delegates with Neil MacGregor and Shobita Punja and staff from the British Museum and NCF

Programme delegates with Neil MacGregor and Shobita Punja and staff from the British Museum and NCF

The course is spread over three modules, the first focused on strategic, leadership and management skills, the second in March at the British Museum, on the more practical specialisms of a modern museum such as interpretation, documentation, marketing and education. The final module will be in Mumbai in May. I have no doubt that the two-way exchange of knowledge between delegates and British Museum staff will continue between modules and hopefully beyond the end of the course.

The training sessions were held at the National Culture Fund, in their offices next to the National Gallery of Modern Art. The sessions were long and energetic, with lots of discussion, workshops and case studies from both within and outside the Museum sector, and plenty of passionate debate about ways of leading institutions in times of change. On the day I joined the course, delegates made short presentations following visits to the National Museum of Delhi and the Sanskriti Museums, where they identified opportunities and prioritised changes that could be made to improve the visitor experience.

Our NCF hosts looked after us really well – particularly at lunchtime, where each day brought a new selection of delicious hot food, with local breads freshly cooked on site.

It was a fascinating experience, and though I didn’t have much time to see a lot of the city in the four days I was there, I learnt a lot about Indian museums, and the amazing quality of their collections. I’m looking forward to working with the delegates again in March, and continuing the discussions we began on the use of digital in many aspects of museum work.

Find out more about the India Leadership Training Programme

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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