: Amgueddfeydd, Arddangosfeydd a Digwyddiadau

Hi Everyone! Uri Guide Dog here, the new doggie bloggist taking over from my big bro Arnie, who’s now retired. I’ve been getting to know National Museum Cardiff very well as it’s one of my mum’s favourite places EVER!

We went to the Museum’s audio tour about Victorian art recently. The paintings and sculptures were beautifully described by the human guides. I was listening intently, even if it did look like I was having a little snooze next to mum. That’s just my listening face.

Anyway I had the chance to meet up with a few colleagues, Guide Dogs Ruby and Alfie, who were also keeping their two-leggeds safe. But we were surprised to find other dogs at the Museum!

I should have known something was up as soon as I arrived… Outside, after a doggie relief moment, I bumped into a colourful dog just sitting on the grass! A beauty, too! I couldn’t believe my luck! But she didn't respond to my waggy tail or my friendly bow. Rude, I thought, but I took a sneaky selfie anyway. Then, inside, I was even more surprised to find a whole pack of multi-coloured pups! I met Oakly, Abi, Smileosaur, Percy and Doris.

Mum explained these are ‘Snowdogs’, and that just like me these are helping dogs too. Except they are made of fiberglass, not fur. They have been made as part of an appeal to help Tŷ Hafan, the children’s hospice in Wales. These sculptural dogs have been decorated by local artists, schools and community groups, and you can follow the Snowdogs: Tails in Wales trail to find them all around Cardiff and the Vale!

As we sat next to the dogs a little girl came up to say hello. She gave me a cuddle and said she was from Marlborough Primary School and had actually helped decorate Percy the pup! Everyone in her class had put a fingerprint on a red background to create a flower pattern on their dog. She was very proud of their work. I told her Percy is PAW-SOME. He really is.

Apparently the Snowdog was chosen because it features in a film, based on a character created by Raymond Briggs. The Snowdog helps a boy deal with the loss of his pet dog by taking him on a magical adventure.

The pack of Snowdogs are going to be sold at auction after the public exhibition and trail finishes. The money raised will help support lots of children and their families, proving that Guide Dogs are not the only dogs who change lives. Good job guys! 

The Museum's next Audio Description Tour takes place on 7^th December

Hi, it’s me Mike, volunteer curator with The Wallich working on a new exhibition called ‘Who Decides: Making Connections with Contemporary Art’. The old exhibition that was in the gallery has come down, it’s totally empty now.

So we are going to start this new exhibition; with new art, photos and films that you won’t have seen before. You can see some of my favourite pieces. I really hope you enjoy this new exhibition.

 ‘Who Decides: Making Connections with Contemporary Art’ opens on October 26^th 2017. More information here and here

Fel arfer Mis Hanes LGBT ym mis Chwefror yn frith o erthyglau a digwyddiadau yn ymwneud â chyfeiriadedd rhywiol, hunaniaeth, a’u hanes. Ond ddylai hanes byth gael ei gyfyngu i un mis, felly ar achlysur Pride Cymru yng Nghaerdydd, dyma gyfle da i ystyried hanes LGBT.

Stori ar Blât

Ystyriwch, er enghraifft, y plât yn nghasgliad Amgueddfa Cymru ag arno olygfa o ddwy fenyw yn marchogaeth. Mae’n un o filoedd o eitemau crochenwaith printio troslun glas a gwyn fu mor boblogaidd ers y 19eg ganrif. Ond mae’r llun hwn yn fwy nag addurn.

Plât, Crochendy Morgannwg, oddeutu 1813-1839

“Menywod Llangollen” yw teitl y gwaith, a ysbrydolwyd gan hanes dwy fenyw – y Fonesig Eleanor Butler a Miss Sarah Ponsonby.

Taniwyd fflam rhwng Eleanor a Sarah gartref yn Iwerddon, a chan ofni’r atyniad hwn rhwng dwy ferch, ceisiodd y ddau deulu eu gwahardd rhag gweld ei gilydd. Yn benderfynol o fod gyda’i gilydd, dihangodd y ddwy liw nos, ond cawsant eu dal ymhen fawr o dro. Brwydrodd Eleanor a Sarah yn ddiflino am yr hawl i fod gyda’i gilydd tan i’w teuluoedd ildio, a gadel iddynt fynd.

Teithiodd y ddwy i Gymru ac ymgartrefu ger Llangollen, gan fyw yno am dros 50 mlynedd.

Enwogrwydd 'Menywod Llangollen'

Lledodd yr hanes amdanynt yn gyflym, a byddent yn llythyra gydag enwogion megis Shelley, Byron, Syr Walter Scott, Dug Wellington, Josiah Wedgewood a Caroline Lamb, gyda nifer yn ymweld â’r ddwy yn Llangollen. Parhaodd y diddordeb yn y cwpl wedi eu marw ym 1829 a 1831 ac erbyn heddiw maent yn adnabyddus fel un o’r cyplau lesbiaidd enwocaf erioed.

Roedd y ddwy yn bendant yn ystod eu bywydau nad oedden nhw am gael llun neu bortread wedi’i dynnu.

Ond pan ymwelodd y Fonesig Parker ym 1829, perswadiodd ei mam i ddwyn sylw Eleanor a Sarah tra’i bod hithau’n creu brasluniau cyflym o dan y bwrdd. Erbyn hynny roedd Eleanor yn hollol ddall, felly llwyddodd y Fonesig Parker i fraslunio’i hwyneb yn llawn, tra bod Sarah mewn proffil. Wedi i’r cwpwl farw, datblygodd y brasluniau yn ddarlun llawn o’r ddwy yn eu llyfrgell a gwerthu copïau i godi arian at elusennau.

Portread o'r Foneddiges Eleanor Butler a Sarah Ponsonby, wedi'i ddarlunio ar sail sgets cyfrin a wnaethpwyd yn eu cartref yn Llangollen

Dwyn Portread 

Oddeutu 1830 copïwyd y darlun heb ganiatâd gan James Henry Lynch ac ef gynhyrchodd y darlun mwyaf adnabyddus o Eleanor a Sarah. Masgynhyrchwyd y darlun a’i ddefnyddio ar amryw o nwyddau megis cofroddion twristiaid, cardiau post a chloriau nifer o lyfrau.

Portread 'Lynch' o'r Foneddiges Eleanor Butler a Sarah Ponsoby, wedi'i gopïo yn helaeth o'r portread 'Llyfrgell'. Fe werthwyd nifer sylweddol o'r print hwn.

Mae darlun Lynch yn eu dangos yn sefyll yn yr awyr agored ac yn gwisgo’r clogynnau marchogaeth oedd yn gymaint o ffefryn gan y dwy. Ymddangosodd y gwaith tua diwedd y cyfnod o ddiddordeb cyhoeddus ym mywyd Eleanor a Sarah; erbyn troad y 19eg ganrif roedd hanes y menywod wedi lledu a nifer yn cyhoeddi eu stori.

Ysgrifennodd William Wordsworth gerdd ym 1824 ar ôl ymweld â’r ddwy. Ymddangosodd y crochenwaith felly mewn cyfnod pan oedd diddordeb mawr yn eu hanes.

Crochenwaith Morgannwg a Hanes 'Plât Llangollen'

Mae’r plât cyntaf yn dangos y ddwy ar eu ceffylau yn siarad â gwr yn cario pladur dros ei ysgwydd. Yn y cefndir mae gyrr o wartheg, tref Llangollen, afon Dyfrdwy a fersiwn hynod ramantus o gastell Dinas Brân.

Gwyddom ddyddiad cynhyrchu cynharaf y plât o stamp y gwneuthurwr ar y gwaelod – ‘BB&I’, sef Baker, Bevin and Irwin o Grochendy Morgannwg ac a ddefnyddiwyd oddeutu 1815-25. Daeth yn un o blatiau enwocaf y crochendy hwnnw. Er bod Eleanor a Sarah yn frwd dros gadw dyddiaduron, ac i’r gwaith gael ei gynhyrchu yn ystod bywydau’r ddwy, nid oes sôn amdano yn eu hysgrifau. Wyddon ni ddim os oeddent yn gwybod am fodolaeth y platiau neu wedi cytuno i gael eu portreadu yn y fath fodd.

Ym 1838 daeth Crochendy Morgannwg dan reolaeth y gwr busnes o Abertawe Lewis Llewelyn Dillwyn ac fe barhaodd i gynhyrchu’r platiau dan stampiau Morgannwg, Abertawe a Cambrian tan oddeutu 1840. Mae’n debygol ei fod yn defnyddio’r un dyluniad yng Nghrochendy Cambrian ym 1925; roedd cystadleuaeth gref rhwng y ddau grochendy a byddent yn aml yn copïo gwaith ei gilydd.[1]

Y cyswllt rhyfeddol yma yw taw un o aelodau enwocaf teulu Lewis oedd Amy Dillwyn. Menyw fusnes oedd Amy, ac yn ogystal a bod yn nofelydd blaenllaw, hi gymerodd yr awenau yng ngweithfeydd sinc ei thad wedi iddo farw.

Roedd Amy hefyd mewn perthynas hoyw. Braf yw breuddwydio bod Amy, wedi gweld plât Crochendy Morgannwg, wedi dwyn perswâd ar ei thad i’w gynhyrchu yng Nghrochendy Cambrian, ond nid oes unrhyw dystiolaeth o hyn.

Manylun o blât glas yn dangos darlun o Sarah Ponsonby ac Eleanor Butler © Norena Shopland

Manylun o blât glas yn dangos darlun o Sarah Ponsonby ac Eleanor Butler © Norena Shopland

Mae’n anodd dweud os taw plât Crochendy Morgannwg oedd y cyntaf i gael ei gynhyrchu, neu plât gan  William Adams o Stoke. Ladies of Llangollen yw enw’r dyluniad hwn hefyd, gyda dwy fenyw mewn clogynnau marchogaeth yn sefyll dros ŵr sydd yn dangos pysgodyn mawr i’r ddwy. Yn y cefndir mae’r ceffylau, ac yn y pellter mae dau ŵr mewn cwch ar afon gyda phont drosti a bwthyn gwerinol ar y lan. Ar y gorwel mae mynydd Cadair Bedwyr.

Cynhyrchodd Adams gyfres grochenwaith dan y teitl ‘Native’ yn y 1820au, ac roedd y plât hwn yn rhan o’r gyfres honno. Yn fuan caffaelwyd y dyluniad gan F. ac R. Pratt o Fenton, Swydd Stafford gan ailenwi’r gyfers yn ‘Pratt’s Native Scenery’ a’i hatgynhyrchu rhwng 1880 a 1920. Prynwyd y busnes gan Cauldon yn y 1920au a cynhyrchwyd yr un dyluniad tan y 1930au.

Mae diddordeb mawr o hyd ym mywydau Eleanor a Sarah, yn enwedig wrth i ni drafod y diffiniad o berthynas lesbiaid yn y gorffennol. Er gwaetha’r diddordeb, prin yw’r sylw a roddir i’r crochenwaith glas a gwyn yma, a peth da yw cofio bod y gweithiau yma yn rhan o gasgliad LGBT Amgueddfa Cymru.

NORENA SHOPLAND

Awdur Forbidden Lives: LGBT stories from Wales a gyhoeddir gan wasg Seren, 17eg o Hydref, 2017

Gwefan: http://www.rainbowdragon.org

Ysbrydolwyd y stori hon gan gasgliadau Amgueddfa Lleng Rufeinig Cymru. Bu Bethan Thomas a Jacob Rendle yn gweithio gyda chwmni ffilm Gritty Realism i greu’r ffilm fer hon.

Fel rhan o’r broses buont yn edrych ar archaeoleg Rufeinig ac yn dysgu technegau animeiddio. Ariannwyd y project gan Gasgliad y Werin Cymru a chafodd ei drefnu gan Amgueddfa Lleng Rufeinig Cymru a thîm addysg Cymunedau’n Gyntaf Casnewydd.

Hanes yn y Teils/Tales in the Tiles from Gritty Realism Productions on Vimeo.

Er nad yw dim o’r stori hon yn wir cafodd ei hysbrydoli gan rai o’r gwrthrychau go iawn a adawyd ar ôl gan y Rhufeiniaid yng Nghaerllion – 2,000 o flynyddoedd yn ôl!

Er engraifft, mae gennym dystiolaeth fod milwr Rhufeinig, ci a chath wedi camu ar y teils clai wrth iddynt gael eu gosod.

Milwr Rhufeinig oedd Julius Valens, a bu fyw nes ei fod yn gant! Mae ei garreg fedd yn yr oriel.  Hefyd, ôl troed milwr a’r deilsen siâp cath fyddai’r Rhufeiniaid yn ei rhoi ar flaen eu tai i gadw ysbrydion drwg draw.

Dewch i weld yr animeiddiad a'r gwrthrychau diddorol hyn yn Amgueddfa Lleng Rufeinig Cymru tan fis Medi 2017.

In parts one and two I discussed the highlights of the galleries, learning department and the carpentry. In this post I will be discussing the highlights of the historic buildings.

Historic Buildings

On the final day of our exchange we had a full tour of the historic buildings with Marina, head of Historyland. The buildings we visited included a 19^th century Inn, 18^th century timber farm fortification, a 19^th century school, a 1940s house and 1970s buildings. The tour also included a chance to look inside a 1950s bus which was used as a mobile shop. The bus reminded me of the van I used to load when I worked in a fruit and veg store back in my teenage years (in the 2000s not the 1950s).

One of the highlights of the tour was the 19^th century inn, which was also used as a court house. Underneath the inn was a cellar that was not only used for storage but also to house prisoners before a trial. It would have been a tight squeeze to fit in this tiny space! Another highlight were the desks in the 19th century school that had a sandbox across the top for young children to practice their letters. In our Maestir school we have small sand boxes for this purpose, so it was interesting to see these on a larger scale. 

My favourite area we visited was definitely the 1970s. This area included a country shack for hippies to escape the hustle and bustle of the modern world and a luxury family villa. Both buildings showed how immersive Historyland must be when it’s in action. It was like walking back in time into someone’s home. The buildings were full of clothes, furniture and working 70s technology. You were free to fully explore and even look inside the drawers and cupboards which were full of bits and bobs from the 70s. Each room of the villa was a different world to explore. In the parents room there were clothes and wigs, in the children’s room there were toys, in the teenage girl’s room there were drawings of her favourite pop stars, and in the teenage boy’s room there was even a 1970s adult magazine hidden away in a drawer! I can’t imagine a British museum being so risqué!

Overall experience

Overall it was a great experience to see another open air museum in action and to pick up some tips on making the visitor experience more interactive. All the staff were very friendly and informative and the people we met in Östersund were all very friendly and courteous. I look forward to an opportunity to return to Sweden and I would definitely like to see Historyland in full swing.