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    大英博物館

    レジャー 学術 科学 関連語 古代エジプト ルーブル美術館 西洋美術館
    • Guardian Focus podcast: Afghanistan
      To tie in with the British Museum's Crossroads of the Ancient World exhibition showing surviving treasures from Afghanistan, Jon Snow hosts a panel discussion which examines the country's strategic position, its diverse people and rich resources which have shaped the nation.He is joined by writer and documentary film-maker Saira Shah, independent civil society activist and researcher Orzala Ashraf Nemat, director of the Royal United Services Institute Michael Clarke, andAfghanistan policy analyst and founder of the European Stability Initiative Minna Jarvenpaa.Jon SnowPeter Sale アフガニスタンから存続の宝物を示す古代世界の展覧会の大英博物館のローズとの提携には、ジョンスノーは、国の戦略的な位置を調べ、パネルディスカッションを、その多様な人々とnation.Heを形成している豊富な資源とライターで参加しているホストドキュメンタリーフィルムメーカーSaira Shahさんと、独立した市民社会の活動家と研究者Orzalaして、Ashraf Nemat、ロイヤル日本サービス研究所マイケルクラークのディレクター、andAfghanistan政策アナリストの創業者、欧州の安定性イニシアティブみんなJarvenpaa.Jon SnowPeterセールの

    • Treasures of Heaven at the British Museum - in pictures
      This major exhibition brings together for the first time some of the finest sacred treasures of the medieval age.It features over 150 objects drawn from more than 40 institutions including the Vatican, European church treasuries, museums from the US and Europe and the British Museum's own pre-eminent collectionJonathan Jones この主要な展覧会は初めて一緒にバチカン、ヨーロッパの教会の宝庫、米国と欧州から美術館や大英博物館の自身を含む、40以上の機関から選ばれた150オブジェクトに対する中世のage.It機能の最高級の神器の一部をもたらします卓越collectionJonathanジョーンズ

    • Horses shaped our art of war and peace
      From the Chauvet cave to Mark Wallinger's planned Ebbsfleet landmark, the history of art mirrors the changing relationship between horses and humansHorses throng the history of art. The most ancient paintings that are known, in Chauvet cave in France, feature herds of horses, and Mark Wallinger is keeping the equine dream alive in today's art even if he never does get the money for his giant horse at Ebbsfleet.The Chauvet horses are wild animals, observed by ice-age artists among the mammoths and rhinos of a Europe abundant in beasts long gone today. But our artistic relationship with the horse has evolved alongside the animal's domestication. Last week, archaeologists in Saudi Arabia announced that humans tamed horses far earlier than has been thought. Excavations at al-Maqar apparently reveal that horses were domesticated 9,000 years ago at this neolitihic site. This is perhaps three and a half millennia before horses were being tamed in northern Kazakhstan, and 5,000 years before they were being buried with chariots in graves – showing their definitive domestication around 2000BC.If it is true that horses were tame in Saudi Arabia so long ago, it was a skill that eluded the Mediterranean world until later – for the horse's introduction as a living technology is a moment recorded at the edge of written history by the ancient Greeks in their myths and art. The spectacle of the first horsemen might even be the origin of the Greek myth of the centaur, half man, half horse: and if so, the new evidence from Saudi Arabia fits with a strong association in Greek art between centaurs and the East.You can see this in the Parthenon sculptures at the British Museum in London. The Parthenon was built at a time of war between Greek cities and the Persian Empire. Powerful carvings o ショーベ洞窟からマークウォリンジャーの計画エブスフリートランドマークに、芸術の歴史は、馬とhumansHorses間の関係の変化は、芸術の歴史を群れ反映しています

    • Orzala Ashraf Nemat: 'Nation-building is the responsibility of the people living in that country' – video
      Comment is free interviews: Ahead of a Guardian and British Museum debate, civil society activist Orzala Ashraf Nemat on why only Afghans can determine the future shape of their countryAlex HealeyDavid Shariatmadari コメントは、無料のインタビューです:ガーディアンだけアフガニスタンがcountryAlex HealeyDavidシャリアトマダリの未来の形を決定することができる理由について、大英博物館の議論、市民社会活動Orzalaして、Ashraf Nematを控えて

    • Tomb raiders: why does no one care about Cairo's Egyptian Museum?
      Judging by reports from Cairo, the west does not understand that one of the greatest antiquity collections on Earth is in dangerIf petrol bombs were being thrown in St Marks Square in Venice, or outside the British Museum, what would reports say? We would never stop hearing about the threat to humanity's cultural heritage. Yet, as I scan the news sites for the latest reports from Cairo, it is strange how little stress has been placed on the unique importance and fragility of the contents of the Egyptian Museum, which stands at the very heart of the unfolding tragedy. That is why I must reiterate my previous attempt to draw attention to this silent witness and victim of events.No, works of art are not people. The violence to protesters who had been so peaceful is nightmarish. But a nightmare scenario is also unfolding for the antiquities of Egypt. As I already stressed earlier this week, the collection of the Egyptian Museum is one of the greatest on Earth. This is where the golden mask of Tutenkamun is kept; the mummies of the pharaohs, and so much more.The image that has haunted me all week is of a very ancient and very spooky tomb statue in the museum: it keeps coming to mind because I have seen nothing like it anywhere else – and because it is made of wood. Old, dry wood. All these treasures could vanish in smoke so easily.My initial assumption was that the western media were downplaying the museum because it seemed less important than the lives at stake and the future to be won. It was even being said that to draw attention to looting was to do the propaganda work of the regime. But now I am starting to wonder if people in the west even know or care what is in that building. It is a great museum. And it is in peril.MuseumsEgyptEgyptologyProtestHosni MubarakEgyptArtS カイロからの報告から判断すると、西は地球上で最大の古代のコレクションの一つには、ヴェネツィアのサンマルコ広場でスローされていたdangerIf火炎瓶になっているか、大英博物館、レポートは何を言うの外側を理解しないのですか?我々は、人類の文化遺産への脅威の話を聞くのを停止することはない

    • Cyrus cylinder, world's oldest human rights charter, returns to Iran on loan
      Deal agreed after Tehran threatens to cut cultural ties with British MuseumA Babylonian artefact sometimes described as the world's first human rights charter is to go on display in Iran after Tehran threatened to cut ties with the British Museum if it did not lend the object.The Cyrus cylinder is a 6th century BC clay object inscribed with an account in cuneiform of the conquest of Babylon by the Persian king Cyrus the Great. It arrived in Iran today and will go on display soon at Iran's national museum for four months, state TV reported.Iran said it was in a dispute with the British Museum for months over its request for a loan of the object and had repeatedly threatened to cut ties with the institution. At one point, a senior Iranian cultural official accused the museum of turning a cultural issue into a political issue.The loan discussions, which began last October, took place during a time of tension between the two countries. Tehran is under pressure from the west over its nuclear programme, and it has accused Britain and other foreign governments of interfering in its domestic policies by stoking the street protests that followed the disputed presidential election in June 2009.The British Museum said it acted in good faith throughout the negotiations and has a policy of cultural exchanges with other nations independent of political considerations.The object's inscription describes how Cyrus conquered Babylon in 539BC and captured the last Babylonian king. It also tells of how he then freed many people held captive by the Babylonians and arranged for them to return to their homelands. It does not mention the Jews brought to Babylon as slaves by Nebuchadnezzar, but their freedom was also part of that policy.State TV said a delegation from the British Museum accomp イラン政府は英国MuseumAバビロニアとの文化の関係を断つ、時には世界初の人権憲章として記載アーチファクトを脅かす後、この契約は、合意は、イラン政府はそれは天体のCyrusを貸していない場合は、大英博物館との関係を切ると脅した後、イランのディスプレイに行くことですシリンダーは紀元前6世紀には粘。刻まバビロンの征服の楔状にアカウントを持つペルシャの王キュロス大王によってオブジェクトです

    • Afghanistan: Hidden Treasures from the National Museum
      A sneak preview of the forthcoming British Museum exhibition, Afghanistan: Crossroads of the Ancient World 今後の大英博物館の展示、アフガニスタンのスニークプレビュー:古代世界の交差点

    • Nigeria: Fulfilling our lost promise | Chika Unigwe
      The chase for money has contributed to Nigeria's cultural decline. But we have reasons to hopeThe exhibition of sculptures from Ife at the British Museum is a tribute to Nigeria's past glory, when the country led the world in artistic achievement. The appetite for this glory has been strong. But back home, things do not seem so positive. I have just returned from Lagos, where I saw an old friend who had been a brilliant artist in the 90s, eager to unleash his ambitious projects on the world. He is still ambitious, still brilliant, but he has become practical. These days he is chasing contracts in Abuja, too exhausted to even think of himself as an artist, much less practise his art.Not long after this encounter, at a writers' Q&A, one of the first questions we got from the audience was how much money a child who chose a career in writing could expect to make. While there is nothing wrong with wanting to make a living from writing, this question pointed out a fundamental flaw in the Nigeria of today, where every career choice is preceded by the question: Does it bring in money? We are making prostitutes of our artists, of our creative minds. Our scientists have fallen prey to the brain drain, lured by better offers from the west.Mismanagement of the oil boom revenue of the 1970s, when Nigeria had the 33rd highest per capita income in the world, led to a disastrous decline in the economy. By 1988, Nigeria was so debt-ridden that it was forced to take out an IMF loan. The result was the removal of all social subsidies. Fees were introduced in schools, and many students from poor families dropped out. Health was privatised, making it affordable only for the rich. Public services like telecommunications and electricity were also privatised.Much-touted support for scienc 価格の適正追跡は、ナイジェリアの文化の低下に貢献しています

    • In praise of … Englesea Brook | Editorial
      This chapel and museum in a Cheshire hamlet is celebrating the founding of Primitive MethodismWhen visitors arrive at Englesea Brook chapel and museum in a Cheshire hamlet near Crewe, they are offered a smile, a cuppa and maybe a chocolate digestive. Which is more than they will be given at the British Museum or the Tate. This year (and rather more next year) Englesea Brook is celebrating the bicentenary of the founding of Primitive Methodism by Hugh Bourne, a Staffordshire wheelwright, with the help of William Clowes, who was a potter, an evangelist and an exceptional dancer. In 1807 both attended, on the hill known as Mow Cop, an open-air meeting that mixed fiery preaching and noisy hymn-singing, and which drew inspiration from the gatherings of the Great Awakening that revived American evangelicalism. Such associations soon saw both men evicted from Wesleyan Methodism. The museum tells the story of the duo and their working-class nonconformity simply and with affection. The chapel, whose exterior resembles the comfortable home of a farm worker, has been Victorianised downstairs but retains box pews in the gallery. Next door in the Sunday school room are banners, piously inscribed cups used at love feasts, and celebratory tea sets (Stoke's potteries are not far away) featuring portraits of the two preachers. One case holds Bourne's right boot, which had been cut to ease the pressure on a foot swollen from the hundreds of miles he walked to preach to the faithful. His simple grave is in a peaceful little burial ground across the road from the chapel.ChristianityReligionHeritageguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds この礼拝堂は、博物館チェシャー村でイングレシーブルック礼拝堂と博物館でクルーの近くチェシャー村で、彼らは笑顔、1杯、多分チョコレートは消化を提供していますプリミティブMethodismWhen訪問者の設立に到着祝っている

    • National Portrait Gallery launches appeal to keep freed slave's portrait
      £100,000 appeal launched to keep 'national treasure' oil painting of African Ayuba Suleiman Diallo in gallery's collectionA portrait of a freed African slave has gone on display for the first time at the National Portrait Gallery (NPG) as a £100,000 appeal is launched to keep it in the collection.The bright eyes of Ayuba Suleiman Diallo who had been a slave-owner and trader, are mesmerising gallery visitors, just as they did when he met King George II and leading intellectuals of the 1730s. Diallo translated Arabic documents and inscriptions for Sir Hans Sloane, whose collections would form the basis of the British Museum.NPG director Sandy Nairne described the image – the earliest known British oil painting of a named black man or a freed slave – as a vital acquisition.The portrait was commissioned by William Hoare of Bath at the insistence of Diallo's friends, despite its subject's misgivings as a devout Muslim about having his image painted. It shows Diallo in traditional dress and with a copy of the Qur'an, which he had written from memory in London.Diallo, known in England as Job Ben Solomon, was born around 1701 into a wealthy family of Muslim clerics in Senegambia, west Africa. He was highly educated and spoke several languages including Arabic.He was also a slave-dealer who was captured by a rival tribe and had his beard shaved as a humiliation. Diallo was sold into slavery and transported to a tobacco plantation in Maryland, where he was imprisoned for trying to escape. His plight came to the attention of English lawyer and missionary, Thomas Bluett who brought him to England in 1733, where he became a celebrity.The portrait was sold at a Christie's auction, but its export was barred by the government to give a British museum the chance to buy it. The Heritage 10万ポンドの魅力は解放されたアフリカの奴隷のギャラリーのcollectionA肖像アフリカAyubaスレイマンディアロの国宝。。u0026#39;油絵を保つために10万ポンドの魅力としてナショナルポートレートギャラリー(NPG)は、初めてのディスプレイ上に起動されてしまった開始それAyubaスレイマンディアロの奴隷所有者とトレーダーはされていたcollection.The明るい目には、ギャラリーの訪問者を魅惑され、維持と同じように、彼は、1730年代の一流の知識王ジョージ2世に会ったか


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