Amgueddfa Blog

Corn buwch wedi'i cherfio, 1758

Heddiw yng Nghymru rydym yn dathlu diwrnod Santes Dwynwen, nawddsant cariadon Cymru.

Gyda diwrnod Sant Ffolant hefyd ar y gorwel, beth am i ni edrych ar rhai o wrthrychau rhamantus y casgliad yn Sain Ffagan, eitemau a roddwyd fel arwydd o gariad. Wrth gwrs, mae’r rhan fwyaf ohonom yn gyfarwydd â’r llwy garu a’i phwysigrwydd yng Nghymru, a gallwch ddysgu mwy amdanynt fan hyn.

Ond yn y blog yma, hoffwn edrych ar rai o'r gwrthrychau llai hysbys sy'n gysylltiedig â chariad yn y casgliad, fel Gweiniau Gweill.

Teclyn oedd hwn i helpu gweu. Byddai’r wain yn cael ei wisgo ar ochr y corff i ddal gwaelod y waell, gan adael y llaw chwith yn rhydd i weithio’r edau ar y waell arall.

Byddai gweiniau gweill wedi ei cherfio, yn aml yn cael ei rhoi fel rhodd a symbol o gariad.

Mae’r wain yma wedi ei gerfio gyda'r flwyddyn 1802 a’r enw ‘Thomas Smith’, ac yn debygol wedi'i wneud fel anrheg ac arwydd o gariad. Mae wedi'i addurno â motiff blodyn, calon a physgodyn.

Uwchben: Gwain i ddal gwaell, 1802 Gwaelod: Gwain i ddal gwaell, 1754

Mae’r un oddi tano ychydig yn hŷn, wedi ei greu yn 1754. Fel nifer o’r llwyau garu yn y casgliad, mae ganddo beli mewn cawell. Credir bod peli wedi’u cerfio mewn cawell yn cynrychioli’r nifer o blant y gobeithiai’r cerfiwr a’i gariad eu cael.

Arfer caru arall oedd cerfio pren staes fel anrheg i gariad.

Defnyddiwyd prennau staes gan ferched wrth wisgo staesys (corsedau). Rhoddwyd i lawr canol ffrynt y corsed er mwyn sicrhau bod y gwisgwr yn cadw osgo unionsyth anhyblyg. Roedd prennau staes yn rhodd boblogaidd i roi i gariad, gan ei bod yn cael ei gwisgo mor agos i’r galon. Defnyddir cerfluniau o galonnau, blodau, a symbolau eraill o gariad i’w addurno, yn aml gyda llythrennau cyntaf y ddau gariad.

Dyma bren staes o Lanwrtyd, Powys, gyda’r llythrennau RM ac IM arni.

Pren staes o Lanwrtyd
Pren staes o Lanwrtyd

Y prif symbol sydd i’w gweld ar y pren staes yw’r olwyn. Mae olwynion i’w gweld yn aml ar lwyau caru Cymreig hefyd, a dywedir eu bod yn brawf o addewid y cerfiwr i weithio’n galed ac arwain ei gymar trwy fywyd.

Roedd yr arfer o roi rhodd i anwylyd megis pren staes neu lwy garu yn rhywbeth roedd pobl o bob dosbarth mewn cymdeithas yn gallu ei gwneud. Byddent yn defnyddio offer syml fel cyllyll poced gan ddefnyddio deunyddiau oedd wrth law ac yn fforddiadwy.

Mae yna amrywiaeth eang mewn steil a dyluniad i bob un o’r rhoddion rhamantus yma, pob un yn unigryw, fel y corn buwch yma wedi'i cherfio ym 1758 yng nghyffiniau Aberystwyth, fel anrheg gan Edward Davis i'w gariad Mary.

Corn buwch wedi'i cherfio, 1758

Mae’r rhoddion yma yn taflu goleuni unigryw ar brofiadau emosiynol y perchennog a'r rhai a oedd yn eu caru. Gwrthrychau i'w drysori oeddynt, ond yn perthyn i bobl gyffredin - pobol sydd mor aml wedi cael ei anwybyddu gan hanes. Trwy symbolau, lluniau a llythrennau wedi'u cerfio ar y rhoddion, gawn gip olwg o stori garu, eu gobeithion a’u dyheadau.

Mae'n Ddydd Santes Dwynwen ar 25 Ionawr, y diwrnod pan rydyn ni'n dathlu cariad yma yng Nghymru. Rhag ofn eich bod ar wahan oddi wrth anwylyd yn ystod y cyfnod clo hwn, rydyn ni'n rhannu’r rysáit hon yn gynnar er mwyn i chi gael cyfle i'w danfon yn y post. Beth bynnag rydych chi'n ei wneud, rydyn ni'n anfon cwtch mawr Covid- ddiogel atoch o'r amgueddfa.

Daw'r rysáit hyfryd hon wrth ein tîm arlwyo yn Amgueddfa Wlân Cymru yn Drefach Felindre.

 

Pice Bach Siap Calon

 

CYNHWYSION:

Blawd hunan-godi 1 lb

Menyn 8oz

Siwgr caster 6oz

2 wy

2 lond llaw o gyrens - neu llugaeron os ydych chi am ychwanegu tipyn o liw coch ar gyfer diwrnod Santes Dwynwen!

Menyn ychwanegol ar gyfer seimio

 

DULL:

1. Hidlwch y blawd mewn i fowlen ac ychwanegwch y menyn wedi'i ddeisio.

2. Rhwbiwch â'ch bysedd, neu mewn prosesydd bwyd, nes bod y gymysgedd yn debyg i friwsion bara.

3. Ychwanegwch y siwgr, y cyrens / llugaeron a'r wyau wedi'u curo a'u cymysgu'n dda i ffurfio pelen o does, gan ddefnyddio sblash o laeth os oes angen.

4. Rholiwch y toes allan ar fwrdd â blawd arno i drwch o tua 5mm / ½ modfedd.

5. Torrwch y toes gyda thorrwr siap calon 7.5–10cm / 3-4in.

6. Rhwbiwch lech neu radell haearn trwm â menyn, sychwch unrhyw ormodedd a'i roi ar yr hob nes ei fod yn cael ei gynhesu drwyddo.

7. Coginiwch y picie bach ychydig ar y tro am 2–3 munud ar bob ochr, neu nes eu bod yn frown euraidd.

8. Tynnwch o'r radell a taenwch siwgr mân trostynt tra’n gynnes.

Dyma nhw! Pice Bach blasus a rhamantus!

Mwynhewch!!

 

Lansiodd Arddangosfa Gobaith Amgueddfa Wlân Cymru ym mis Ebrill 2020, ar ddechrau’r cyfnod clo cenedlaethol. Nod y project yw creu sgwariau lliw enfys 8” neu 20cm gan ddefnyddio hoff dechneg y crefftwr – gweu, ffeltio, gwehyddu neu grosio. Bydd y sgwariau wedyn yn cael eu rhoi at ei gilydd gan wirfoddolwyr Amgueddfa Wlân Cymru gan greu carthen enfys enfawr a gaiff ei arddangos yn yr Amgueddfa ac yn Amgueddfa Genedlaethol y Glannau, Abertawe. Yn dilyn yr arddangosfa caiff carthenni llai eu creu o’r garthen enfawr a’u rhoi i elusennau amrywiol.

Hoffem ddweud diolch yn fawr i bawb sydd wedi cyfrannu at y project hyd yn hyn, mae’r ymateb wedi bod yn anhygoel ac rydym wedi derbyn dros 670 o sgwariau o bob cwr o’r wlad! Rydym yn ddiolchgar am bob sgwâr a dderbyniwn, ynghyd â’ch negeseuon caredig a dymuniadau gorau. Mae’n hyfryd clywed bod cynifer ohonoch wedi teimlo bod creu’r sgwariau hyn wedi helpu yn ystod y cyfnod digynsail a heriol hwn. Er nad oes modd i ni gyfarfod, rydym yn un mewn ysbryd, gobaith a chymuned.

Aeres Ingram yw ein cyfrannwr mwyaf toreithiog ar hyn o bryd, mae hi wedi gwau 70 sgwâr ar gyfer y flanced! Wrth siarad am y prosiect, meddai:

"roedd gwau’r sgwariau ar gyfer y flanced enfys wedi fy helpu'n fawr yn ystod y cyfnod clo ac fe roddodd ymdeimlad o berthyn a chyflawniad i mi, gan wybod fy mod yn ymwneud â rhywbeth pwysig a hefyd helpu rhai mewn angen. Edrychaf ymlaen at weld y darnau wedi’u gwnïo gyda’i gilydd a’r flanced orffenedig."

Cafodd Arddangosfa Gobaith ei chynnwys yn Wythnos Addysg Oedolion a rhyddhawyd dau fideo o’r Grefftwraig Non Mitchell yn dangos sut i greu sgwâr wedi’i ffeltio a’i wehyddu. Os hoffech greu sgwar, gymrwch olwg ar rhain:


  

Rhannodd elusen Crisis (de Cymru), sy’n cefnogi pobl ddigartref, wybodaeth am Arddangosfa Gobaith ar eu tudalennau Facebook a chreu pecynnau yn cynnwys gwlân a chyfarwyddiadau i’w hanfon at ddefnyddwyr y gwasanaeth i’w helpu i gymryd rhan.

Lluniwyd y sgwariau hynod gain mewn lliwiau, arddulliau, pwythau, a chynlluniau amrywiol. Dyma hanes rhai o’r sgwariau a’u crefftwyr...

Sgwâr lliw enfys wedi'i wau o wlân wedi'i liwio â llifynnau naturiol ar gyfer y flanced obaith

Crewyd y sgwâr hwn gan ein Gwirfoddolwr Gardd Susan Martin. Mae Susan wedi troellli edafedd ei hun a’i liwio’n naturiol. Mae’r lliwiau enfys yn dod o gymysgu glaslys, llysiau lliw a’r gwreiddrudd gwyllt â gwyn i greu effaith ysgafnach a brethynnog, gellir dod o hyd i’r holl blanhigion hyn yng Ngardd Lliwurau Amgueddfa Wlân Cymru. Derbyniodd Gardd Lliwurau Naturiol yr Amgueddfa Wobr Gymunedol y Faner Werdd sy’n newyddion arbennig! Mae rhagor o wybodaeth am yr Ardd Liwurau ar ein gwefan.

Sgwâr o liwiau'r enfys wedi'i wau ar gyfer y flanced obaith

Lluniwyd y sgwâr hwn gan y Gwirfoddolwr Crefft Cristina gan ddefnyddio’r edafedd cyntaf a wnaed gan y Cynorthwyydd Amgueddfa, Stephen Williams, a’r crefftwyr dan hyfforddiant Richard Collins a James Whittall wrth iddynt ddysgu i droelli. Cyfrannodd ymwelwyr yn ogystal at greu’r edafedd, gan gynnwys menyw oedd heb droelli ers ugain mlynedd, plentyn tra byddar, â mam i aelod o staff.

Sgwâr wedi'i weu a logo Amgueddfa Genedlaethol y Glannau arno ar gyfer ein blanced obaith.

Crëwyd y sgwâr hyfryd hwn gyda logo’r Amgueddfa gan Gynorthwyydd Oriel Amgueddfa Genedlaethol y Glannau, Ruth Melton.

Rydyn ni’n edrych ymlaen at groesawu’r Gwirfoddolwyr Crefft yn ôl i’r Amgueddfa y flwyddyn yma a dechrau ar y gwaith o greu’r garthen. Cadwch lygad barcud ar ein gwefan a’n tudalennau cyfryngau cymdeithasol i gael y wybodaeth ddiweddaraf.

Diolch i The Ashley Family Foundation a  Sefydliad Cymunedol Cymru am gefnogaeth gyda’r prosiect.

Y dyddiad cau ar hyn o bryd ar gyfer cyfraniadau yw 31/03/2021. Cliciwch yma am wybodaeth ar sut i gymryd rhan.

Diolch unwaith eto am eich holl gefnogaeth.

 

 

 

Shw'mae! I’m Rachael, one of the graphic designers here at Amgueddfa Cymru.

Branding an event or exhibition is one of my favourite parts of my role across our museums. The project team often meet and throw ideas around, seeking sources of inspiration from our collections and the public connections people have with whatever exhibition or event we’re preparing.

We knew that Burton was going to mean a lot to visitors, but how to approach it was an important focus for this project. There are plenty of people who know who Burton is, but an early exit from Hollywood meant that he didn’t get his “final act”. As such, a whole generation missed out on seeing him act through his twilight years, and we found that Burton is an unknown name in young audiences in particular.

We experimented with a 1960s mid-century feel at first, playing with Burton’s profile in a traditional theatre style. Because of his changing life, we found that while some people recognised the illustration instantly, others didn’t see “their” Burton. 

Taking those bright colours on black we began to try adding photographs from Burton’s life, giving a representation of the Burton who people knew, and who they would get to know in the course of the exhibition. However, our leading man needed a larger centre stage and we went back to our original favourite images to find a strong image which represented the iconic years.

Our final option, against the poster you are now familiar with, was a later-in-life image of Burton, shot by the photographer Douglas Kirkland. This was a personal favourite, but rather than remembering Burton for the tabloid headlines view of an aged, world-weary actor we wanted to show Burton as that and more, the family man, the Welshman, the author. 

A final addition of the red, to symbolise the Hollywood red carpet and Burton’s Welsh roots, made the poster complete.

The Becoming Richard Burton exhibition opened in November, but the exhibition and the museum have been closed due to government guidelines regarding the COVID-19 pandemic since December. We hope that the museum and the exhibition will reopen to visitors again soon. In the meantime, visitors can see some of the photos and personal papers from the exhibition on the Becoming Richard Burton digital platform. Visit the platform now.

When a UK-wide lockdown came was announced on 23 March of this year, we were in the final stages of delivering Becoming Richard Burton, the first major exhibition anywhere, about one of Wales’ most iconic names and faces.

The exhibition was due to open on 4 April after nearly four years of planning, but with ten working days left until opening, the Museum was closed to the public, the staff sent home and the exhibition mothballed until it was safe to reopen.

With its origins in a partnership between ACNMW and Swansea University, where the Richard Burton Archives are held, the original scope of the exhibition sought to bring together as much material from around the world as could be gathered, to tell the story of Burton’s fame, wealth, success, decline and legacy.

It quickly became apparent that the objects, images, and media associated with Richard Burton, are still a lucrative source of income for those people and organisations in possession of the collections, copyright, and licenses for that material.

Very quickly, costs escalated beyond what was feasible or achievable to deliver, which required a revision of the agreed approach and for us to ask ourselves, what story can we tell about Richard Burton at ACNMW that hasn’t been told before?

Following some evaluation testing with target audiences, it also became apparent that Burton was almost an unknown to younger people born after his death at 59, in 1984.

Despite having been the most famous and photographed man in the world at the height of his fame, his death at a young age meant denied him the opportunity of a third act to his career, as an older actor.

There were no Star Wars, Lord of the Rings, Harry Potter or Marvel superhero films to provide the later life profile afforded to Burton’s contemporaries, such as Richard Harris, Robert Hardy, Alec Guinness, and Christopher Lee.

Presented with this revelation, we set ourselves the challenge of ‘rebooting’ Burton’s legacy for a 21st-century audience, whilst also serving an older audience already familiar with him, by providing new insights into the life of the man behind the well-known myths.

Focusing the story in this way became the key that unlocked the puzzle for ACNMW Curators, as they researched the contents of the Richard Burton Archives and found the less well-known father, son, brother, friend, writer, reader, and fiercely proud Welshman.

The contents of the archive are largely two-dimensional paper objects, which brought another set of challenges in designing an engaging, three-dimensional exhibition experience, leading to a decision early on in the process, to secure a selection of targeted supporting loans that would add texture and depth to the exhibition.

Likewise, as the costs associated with licensing film clips and photography presented such a practical obstacle, we took a strategic approach to identify those that would serve our story best.

Thanks to further partnerships in Wales with BBC Wales, ITV Wales, National Library Wales, Royal Welsh College of Music and Drama, West Glamorgan Archives, and the Dylan Thomas Centre, we were able to assemble a list of loans that would enhance the archive contents, at a fraction of anticipated costs, to support the personal narrative we were developing.

Additional loans were secured from the Royal Shakespeare Company, Bristol Theatre Museum, and Costume d’Arti in Rome, which following a few nervous weeks of frantic logistics, arrived on-site just as Europe began to lockdown in early March.

By the end of February, we were feeling confident we had everything in place to deliver the exhibition we had envisaged, despite the challenges encountered, but nobody expected what would happen before the end of March, when the Museum closed and we were all asked to stay at home.

When the dust had begun to settle and we’d all begun to adjust to working from home, our thoughts turned to how we might need to adapt the exhibition experience within the context of COVID-19, as it has been designed in a pre-social distancing world.

Following the lead set by other public spaces, our first step was to embrace a one-way system through the exhibition galleries.

Fortunately, the one-way system was largely consistent with the biographical narrative of the exhibition, which we co to reinforce at a few points with brass barriers and velvet rope, just like the type you might see at a cinema or theatre premiere.

We had to upgrade the specification of our graphic panels to be laminated with an anti-bacterial sealant, as this allows the panels to be cleaned with anti-viricidal chemicals without causing damage.

A planned cinema-space had to be revised and opened out, with seating removed, to allow visitors to watch archive interviews if Burton on Welsh television whilst maintaining social distancing.

Interactivity was the most significant casualty of the planned experience, as we had to remove any push buttons, touchscreen displays, or headphones, and ACNMW Digital and Technical teams were tasked with re-designing audio playback in the gallery, as synchronised, passive experiences.

On reflection, revising the exhibition design allowed us to enhance the overall experience and the challenges we were presented with became an opportunity to improve upon the original design.

We decided to open a new exhibition during a pandemic for the same reason we continue to keep our Museums open; the importance of maintaining free access to the nation’s culture and heritage, in support of good mental health and well-being for all.

Exhibitions are complicated projects that draw teams of staff from across the organisation and take a great of time and planning to deliver.

To come so close to opening, just before the first national lockdown, we were all disappointed to think the exhibition would never open.

Thanks to the hard work and commitment of the Museum staff and partners, we have adapted the exhibition and are delighted it will now be open to the public.

Unfortunately, at the time of writing the Museum is closed to the public again, in line with Wales Government restrictions, but will hopefully re-open again soon, when it is safe to do so.

The cycle of opening/closing at short notice will inevitably reduce the number of people who will get to visit the exhibition compared to pre-COVID times, but we are certain it will be greatly enjoyed by those visitors that manage to see it.

Whilst Museum opening continues to remain uncertain, we have developed a digital Becoming Richard Burton exhibition, which will be launched on 15 December, to provide an online platform for the exhibition content.

The digital exhibition will not seek to replicate the experience of visiting the physical gallery, as there is no substitute for engaging with real objects.

Instead, we are adapting the exhibition content as an interactive experience online, where users can engage with the Richard Burton story, as a complement to the physical exhibition. You can visit the digital exhibition now.

The exhibition will also include several fun games and creative interactives that users will be able to share across social media platforms, such as Instagram, TikTok, and Facebook.

Not only will the digital exhibition provide support while the Museum is closed due to COVID, but it will also provide access to the Museum for users around the world, remaining online beyond the life of the physical exhibition as a research resource.

The journey over the last four years from inception to opening Becoming Richard Burton has become an epic worthy of the man who played both Alexander the Great and Mark Antony, a labour of love for all the staff and partners who have contributed, which we are all so proud to share with our visitors in Wales and online across the world