astrolabe

Young Producers Curating Prayer: A display in the Islamic World collection

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Over the last year the Young Producers voluntary group at the History of Science Museum, made up of Ellie Martin and Sam Hudson, has been working with the collection of scientific instruments from the Islamic World display in the top gallery creating new designs based upon feedback from an earlier public consultation project Curate, run by the learning team, which enabled us to identify specific objectives needed for the improvement of the interpretation of the Islamic World collection.

This collection contains many unique instruments including astrolabes. The History of Science Museum holds the largest collection of astrolabes in the world, so we thought it important that these beautifully crafted scientific instruments were highlighted in a more modern and accessible way.

The current display had remained largely the same for at least 20 years and desperately needed a revamp to make it more vibrant and engaging. Previous interventions by our group had added new information cards and a map, but this time we hoped to do something more ambitious.

Figure 1: The Islamic instruments case before the intervention.

As a group the Young Producers narrowed down some core themes that we wanted to reinterpret with our new displays; craftsmanship, religion and science, cosmology, diversity and knowledge exchange. In groups of two or three we split our work. Our group consisted of Sam Hudson, Ellie Martin and Phoebe Homer, and together we chose to develop an intervention on the functional aspects of the instruments; specifically, how they would be used when performing daily prayer within Islam.

In the cabinet, there already existed a small section that dealt with this theme (figure 2). However, we saw a few problems with it. Firstly, despite mentioning how some astrolabes contained prayer lines and gazetteers that would help you find the times for prayer and the direction of Mecca (qibla), neither were visible. This was because the front (rete) and plates (tympans) of the astrolabes had not been removed and so obscured the visitors’ view of both. Also, as the astrolabes were fairly small, any close study of them was difficult. We also felt that the current display lacked a fundamental human element, which made it hard for the viewer to connect to the objects. For instruments that were so crucial for facilitating Islamic beliefs, we decided that this was something that needed to be altered. Lastly, we agreed that the current labels were too complicated making them inaccessible, and that the whole display needed to be more eye-catching. Our section of the case is located right next to the gallery door and we wanted to utilise this location, providing a vibrant, engaging display that will draw the visitors’ attention.

Figure 2: The old display that covered prayer (bottom shelf).

To solve the first problem, we chose two new astrolabes to add to the display. The first – astrolabe 47714 (figure 3) – could be displayed with its rete removed so that the clear prayer lines for the 5 daily prayers could be seen. The second – astrolabe 35313 (figure 4) – had a beautiful gazetteer listing the direction of Mecca for 46 locations. This could be displayed with both its rete and its tympans removed so that the gazetteer was visible on the back. Additionally, an enlarged image of 35313 was planned so that visitors could clearly see the cities marked on the gazetteer with translations of their Arabic names. For the translations we sought support from the Multaka Project, a mixed group of Syrian and other forced migrants volunteering with the History of Science Museum. They were incredibly helpful in helping with all aspects of the display and Rana Ibrahim, Collections Officer for the project, was really supportive offering advice and translation. These initial changes helped to make the display more accessible and easily understood.

  • Figure 3: The plate from astrolabe 47714 showing prayer lines for the five daily prayers.
  • Figure 4: Astrolabe 35313 displayed without its’ rete and plates so the gazetteer is visible on the mater.

To give the display a more human touch we decided to include not only historical artefacts, but some contemporary objects. This included a modern prayer mat, prayer beads, a Qur’an and a contemporary Qibla indicator (figure 5). A Qibla indicator is a modified compass (figure 6) that points the user in the direction of Mecca. By adding a contemporary version we aimed to demonstrate the continuity of Islamic practice over time.

Finally, we re-designed the back panel, on which we planned to incorporate Islamic geometric designs (which involved many failed sketching attempts!). Thanks to the creativity of the Museum’s in-house designer, Keiko Ikeuchi, we included not only patterns, but an image that demonstrates Islamic prayer. The prayer mat was our last addition to the case. In order for it to be included, conservation required it to be frozen for two weeks to kill off any insect contaminants. Once it was in, it added an aspect to the display that catches your attention immediately and worked well with the prayer beads and Qur’an placed on top.

  • Figure 5: A contemporary plastic Qibla indicator
  • Figure 6: A Qibla indicator from the collection used in the display

After around six months’ work, we installed the display on the 30th August (figure 7). We hope that you agree that the space appears more vibrant and eye-catching than before. The contemporary objects were placed upon the prayer mat, along with two Qibla indicators, to give that section of the display a more casual, personal appearance. All of the labels were rewritten so that they were engaging and informative but accessible, with an enlarged and more modern font. Islamic patterns were included on the base panel and, a last-minute addition, we included a standing label about the first Muslim astronaut in space provoking the visitor to imagine how a Muslim might pray in space! We felt that this extra, fun bit of information would make a contemporary link with the new display helping visitors to engage with the content.

Figure 7: Our finished display.

After such a long process, we are so happy to see our ideas become a reality. As a group we agree that the end result far exceeds what we imagined in our minds (and pages and pages of rough drawings!). Depending upon time and resources, we are hoping to add more new displays to the cabinet inspired by other groups from the Young Producers. The combined effect should bring a completely fresh interpretation to the objects, and we are all really excited to see how this project evolves. We would like to thank all of those at HSM who helped us along with way, particularly Chris Parkin (organiser of the Young Producers programme), Rana Ibrahim (Multaka Project) and Keiko Ikeuchi for the beautiful graphic designwork.

Sam and Ellie (Young Producers) at the private viewing on 5th September 2019

My favourite object: an Islamic astrolabe

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Rana Ibrahim, the Museum’s Collections Project Officer (Multaka-Oxford), tells us about her favourite object, an astrolabe engraved with a Quranic verse.

I am the Collections Project Officer on the Esmée Fairbairn-funded Multaka-Oxford project, an inclusive volunteering project which works with local people and partners at the History of Science Museum and the Pitt Rivers Museum. As Collections Officer I work mostly with the Islamic scientific instruments at the History of Science Museum. This includes astrolabes and Qibla indicators. I am working to make them more accessible and interesting to all our visitors.

Astrolabe with green prayer beads and red cloth handle.

One of my favourite objects at the Museum is this astrolabe by Khalil Muhammad ibn Hasan `Ali. It was made in about 1700. One of the reasons I admire it is because of the Quranic inscription of ‘Ayat Al- Kursi’ (The Throne Verse) engraved on the brass, which is a very significant verse in the Quran. It is one of the verses that all Muslims memorise by heart and read after each prayer to strengthen their connection to Allah. I also love the prayer beads attached to the astrolabe, which makes me think that the person who used it could have been an Imam of a mosque. Prayer beads (misbaha) are very important to Muslims as they help focus and calm the mind before and after prayer.

What is an astrolabe? They are astronomical tools invented by the ancient Greeks and further developed in the Islamic world from the 700s onwards. It is said that they have over 100 uses. One of the many uses for Muslims was to find the five prayer times in a day and also to calculate the date for Islamic months such as Ramadan.

In 2019, Ramadan started on 6 May and it will end on today (Tuesday 4 June). This Ramadan I would like to wish you all a very pleasant month and a happy and healthy year of 1440 Hijri. Remember, it’s a magical month for everyone on earth and may all your wishes come true in time, Inshallah. Make some wishes and Eid Mubarak!

Winning awards

Rana with the Museums + Heritage award.

In May the Multaka-Oxford Team won the Museums + Heritage Award for Volunteer Team of the Year! Talking about the Volunteer Team, Diane Lees (Chair of the 2019 judging panel) said “the genuine mutual benefit to both organisation and volunteer is clear to see … They have shared their experience, insight and expertise to collaborate and to reach new audiences, helping the museums to be more relevant and accessible to their communities.”

Not only did they win Volunteer Team of the Year, Multaka-Oxford was also Highly Commended for Partnership of the Year. The project has partners from across the city and beyond. Together our work is stronger – thank you Asylum Welcome, Refugee Resource, Syrian Sisters, Connection Support, Oxford City Council, Aspire Oxford and Sanctuary Hosting, and the Esmée Fairbairn Foundation Collection Fund who have made the project possible.

Stories Etched on Objects

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Flo, a member of Young Producers, with an astrolabe by Hasan `Ali (Inv. 49861) kept in the Museum’s collection.

Flo, a member of Young Producers, discusses how we can discover the history of objects by examining their surface. 

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From Time-Turners in Harry Potter to Alethiometers in His Dark Materials, clever instruments with complex markings and shiny surfaces are great centre-pieces to stories of adventure and intrigue. I like to think that JK Rowling and Philip Pullman came to the Museum of the History of Science and were inspired by the astrolabes in the collection. And what better way to start this post than by talking about stories? I’ve chosen to talk about one particular astrolabe which has nearly eight hundred years of stories etched on its surface.

The remaining backplate of the astrolabe.

Just the backplate remains of the astrolabe (Inv. 49861) I am holding above (also pictured left). It was made in Egypt around 1282 AD. The object has an inscription saying it was made by Hasan ‘Ali in Cairo.

Astrolabes have many functions, but in short they are an instrument for solving problems relating to the positioning of the sun, moon and stars. An animation detailing the parts of an astrolabe and how it can be used to tell the time can be found on the Museum’s website.

Looking at the remaining backplate we can see that one side – the back – has various grids and inscriptions which give information to help with calculations. These calculations would use information gained by observations, which would be made using parts that are now missing. In addition to the scales on this plate, there are two tables, one is titled ‘Know the degree of the sun’ and the other is a table of Coptic Months.

A close-up of the two tables on the backplate.

However, this was much more than an ingenious scientific instrument. Each astrolabe in the Museum was almost certainly someone’s treasured possession. They were made of expensive materials and the scientific precision and artistry that went into their design and construction can’t have been cheap either. They are also, of course, beautiful. Our astrolabe is prominently signed and dated – Hasan ‘Ali wanted to be remembered as the artist.

Although only the backplate survives, the evidence is clear – this astrolabe was used extensively when it had all its parts. If you look closely, you can see the circular scrape and scratch marks where years of turning the outer parts have left their mark.

Without anything overlaying it, the backplate can’t be used for observations, and even the tables and grids inscribed on the back are just information that might as well have been written in a book. However, our astrolabe seems to have been kept and loved even when it was completely useless. Why?

Names of the zodiac houses can be seen inscribed between the almucantar lines.

When all of the other parts were lost – whether by accident or by deliberate removal – someone kept the backplate and continued to inscribe their appreciation and respect for this object into its surface. On very close inspection, it can be seen that Arabic script is scratched between the two outermost concentric circles at the centre of the backplate. These circles are almucantar lines, showing the position of the observer’s horizon at different altitudes, above which the stars are visible. The script is clearly scratched on by hand, and translates as the zodiac. This is not a useful position for the zodiac – typically it would have been inscribed around the rete, showing the (apparent) path of the sun’s movement across the sky over a year. Why would the owner need this after the other parts of the astrolabe were gone? Was it just a reminder so that it could be referred to? Or was there some other function which is now lost?

A close-up of the delicate, coin-sized fish attached to the astrolabe.

A close-up of the delicate, coin-sized fish attached to the astrolabe.

The edge of the backplate has holes that might originally have helped attach other parts. At some point, two of these holes have been used to attach delicate, coin-sized fish, made of a material that you wouldn’t normally find on an astrolabe: silver. Why are they there? Who knows? They are in line with the west and south markers that originally helped in observations (the cardinal points are the opposite way around to what we are used to today) – perhaps that has some relevance, or maybe it’s a coincidence. The northern fish rotates while the other is fixed – again, coincidental or intentional? We don’t know. Maybe they represent the zodiac symbol for Pisces – two fish, often attached with a line, though sometimes not. However, it is difficult to see any reason why Pisces alone should be represented here. Maybe – since people are people, even 800 years ago – the owner just liked fish.

The astrolabe can only give us glimpses of its probably rich and varied life – In a way the object poses more questions than it answers. Who owned it? Was it passed from hand to hand? How did it end up with the collector that eventually donated it to the Museum? We don’t know the answers to any of these questions. But I quite like that, don’t you? What is a story, after all, without mystery?