DOCSLIB.ORG

Micrographia: Toward a Visual Logic of Persianate Painting Author(S): David J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Micrographia: Toward a Visual Logic of Persianate Painting Author(S): David J The President and Fellows of Harvard College Peabody Museum of Archaeology and Ethnology Micrographia: Toward a Visual Logic of Persianate Painting Author(s): David J. Roxburgh Source: RES: Anthropology and Aesthetics, No. 43, Islamic Arts (Spring, 2003), pp. 12-30 Published by: The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20167587 . Accessed: 06/01/2015 15:00 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College and Peabody Museum of Archaeology and Ethnology are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics. http://www.jstor.org This content downloaded from 128.103.149.52 on Tue, 6 Jan 2015 15:00:30 PM All use subject to JSTOR Terms and Conditions 12 RES 43 SPRING 2003 Figure 1. Humay at the gate of Humayun's castle. Manuscript painting from the Three Masnavis of Khvaju Kirmani, copied by Mir Ali b. Ilyas al-Tabrizi al-Bavarchi, 1396, Baghdad. Opaque pigment and gold on paper, 281 x 191 mm (painted surface). London, British Library,Add. 18113, fol. 18b. (Photo: By permission of The British Library.) This content downloaded from 128.103.149.52 on Tue, 6 Jan 2015 15:00:30 PM All use subject to JSTOR Terms and Conditions Micrograph?a Toward a visual logic of Persianate painting DAVID J. ROXBURGH Persianate Shifting patterns of thought about painting, dynastie founder Timur (i.e., Tamerlane).1 Baysunghur's a movement taxonomic concerns that away from the books embody an aesthetic framed entirely in response become current in recent dominated early studies, have to the visual terms of the Jalayirid tradition.2 However, New lines of have years. investigation responded? the materials are prepared fastidiously, execution osmosis?to concerns in probably by historiographie becomes still more precise, and composition more the of art and contextual modes of historical history rigorously controlled. By ca. 1430, Baysunghur's books an awareness of inquiry. The results include increased had set the standard and put painting on an irreversible intersections the and among scholars, collectors, market, course. Developments in Herat represented a definitive a interest in studies of word and museums; revived movement away from the pictorial experimentation and about the image; questions meanings, functions, characteristic of fourteenth-century painting, best and values of book in the milieus of painting produced exemplified through the Great Mongol copy of the the courts of Iran and Central Asia. pre-modern Shahnama (Book of Kings), Firdawsi's epic. Made in Art historical narratives about Persianate painting western Iran before 1336, paintings such as Bahrain Gur generally hold that the tradition spanned three centuries fights the Karg (fig.2) differ from the laterJalayirid and and its broad outlines are (ca. 1300-1600) readily Timurid traditions by their larger painted surface area, available in studies. are synthetic Long recognized combination of flat color with expansive areas of wash, momentous in book inwestern Iran changes painting and coding of spatial recession by overlapping planes in the 1390s. One in manuscript particular, Khvaju and the bluish effect of atmospheric perspective. One Kirmani's Three Masnavis heralds the (dated 1396), can only assume that painters from the fifteenth century of will in Persianate arrival what become commonplace onward considered some aspects of the fourteenth This future ismanifest in oriented painting. vertically century pictorial language to be too indeterminate; from 1 a rich and compositions (fig. ), polychrome palette, the last years of the fourteenth century onward, the dense accumulations of rendered details. minutely By formal aspects of painting become increasingly coherent the mid-1390s?especially in books of poetry?the and codified. number of in a book became often paintings fewer, Although this narrative of a history of Persianate as few as it is not to notice the eight: impossible painting attends to broad changes in the formal aspects concentration of labor and resources that went into we of painting, are still left wondering, What is a these worked accords richly images. Scholarship Persianate painting? What are the salient visual features to such because of their importance paintings precisely of Persianate paintings and how does one encounter status: more in intermediary prospective orientation, these images? It is strange that such questions have not mark the of "classical" Persianate they beginnings been pursued and that the problems they raise have over. painting. been skipped In some respects, both painting and The form of discernable from the 1390s was painting book?its object carrier?seem to have been taken for embraced and refined in the first decades of the fifteenth granted or at least to have acquired a certain measure of century, especially in Herat under the patronage of a Timurid prince Baysunghur (d. 1433), grandson of the 1. The Timurid dynasty controlled the lands of Iran, Central Asia, and Afghanistan between the period 1370 and 1506. I to 2. would like thank Philippe-Alain Michaud and Sophie Makariou The Jalayirid dynasty (1336-1432) succeeded the Mongols to (Mus?e du Louvre); Cynthia Robinson (University of New Mexico); control the regions of Iraq and Azarbayjan. The "Jalayir" tribe was and Nasser Rabbat (Massachusetts Institute of Technology) for probably Mongol in origin. A succession of patrons made their courts to invitations present versions of this essay. I thank Renata Holod for (Baghdad, Tabriz) centers of literary and artistic achievement, on a her insightful remarks draft. especially Uvays (r. 1356-1374) and Sultan Ahmad (r. 1382-1410). This content downloaded from 128.103.149.52 on Tue, 6 Jan 2015 15:00:30 PM All use subject to JSTOR Terms and Conditions 14 RES 43 SPRING 2003 Figure 2. Bahram Gur fights the Karg. Manuscript painting from the Great Mongol Shahnama of Firdawsi, before ca. 1336, Tabriz. Opaque pigment, gold and silver on paper, 210 x 290 mm (painted surface); 415 x 300 mm (folio). Cambridge, Mass., Arthur M. Sackler Museum, Harvard University Art Museums, Bequest of Abby Aldrich Rockefeller, accession no. 1960.190.2. (Photo: Courtesy of the Arthur M. Sackler Museum, Harvard University Art Museums, Bequest of Abby Aldrich Rockefeller.) This content downloaded from 128.103.149.52 on Tue, 6 Jan 2015 15:00:30 PM All use subject to JSTOR Terms and Conditions Roxburgh: Micrographia 15 like it."This humble desire to to others comes familiarity. This familiarity is caused in part by relying on give pleasure as rather a and a relief. art historical paradigms developed for other artistic surprise (ibid. p. 14). traditions as well as from the way that most people This passage shows that some scholars recognize the or encounter Persianate paintings. In either publications inadequacy of Western paradigms for the analysis of exhibitions, a recently longstanding practice?only Persianate painting, and that formerly assumed cultural challenged?was to conceal the text adjacent to homologies do not exist: Persianate painting is "foreign." paintings. Now exhibition spaces combine cases But the assessment raises other problems by its emphases; open books and framed folios mounted on displaying first, the issue of the painter's volition, in an art form that the walls. The compromise endeavors to remind us that was collaborative; and second, by defining the painting a picture seen on a wall should be seen in a book, not as essentially pleasurable and pragmatic. In the same that this fact of Persian painting has passed without essay, the author writes that the Persianate painting is a comment.3 Scholars have yet to attend to the fact that place to escape the "confusion, tension, and cruelty of although the Persianate painting is dense and complex, the world around us," and urges us to contemplate albeit in "miniature/- it cannot be understood as an "these elaborate yet uncomplicated works with the autonomous object analogous to an easel picture of the . simple eyes of children ., delighting in their beauty western European tradition.4 of line and richness of color, and enjoying the strange Focusing on the relationship between word and stories they tell. Their beauties are all on the surface; no a image?now emphasizing the painting's position in spiritual message or Freudian symbolism lurks beneath book?however, can result in the opposite extreme their exquisite forms and colors."7 For this scholar, where painting is only accounted for by its text. This Persianate painting is a curative, a palliative that can more recent approach of word and image studies dates restore the child within us. The painting is an experience to the 1970s. One tendency of these studies has been to of wonder, of seeing things in a way that is familiar to "match" image to text, identifying linkages between the memory yet forgotten, foreign but somehow known. pictorial content and textual content in often quite literal Intriguing inmost writing on
Load more

Recommended publications
  • On El Lissitzky's Representations of Space
    Online Journal of Art and Design volume 3, issue 3, 2015 Scissors versus T-square: on El Lissitzky’s Representations of Space Acalya Allmer Dokuz Eylül University, Turkey [email protected] ABSTRACT The first exhibition of Russian art since the Revolution was held in Berlin at the Van Diemen Gallery in the spring of 1922. In Camilla Gray’s terms it was ‘the most important and the only comprehensive exhibition of Russian abstract art to be seen in the West’ (Gray, 1962:315). The exhibition was organized and arranged by Russian architect El Lissitzky who acted as a link between the Russian avant-garde and that of the west. He played a seminal role especially in Germany, where he had lived before the war and where he was a constant visitor between 1922 and 1928. The diversity of El Lissitzky’s talents in many fields of art including graphic design, painting, and photography made him known as ‘travelling salesman for the avant-garde.’ However, what makes the theoretical and visual works of Lissitzky discontinuous and divergent is that they include apparently contradictory domains. Through his short life by shifting different modes of representations - perspective, axonometry, photomontage - Lissitzky sometimes presented us a number of problems in his irrational way of using the techniques. This article concentrates on his contradictory arguments on representation of space especially between 1920 and 1924, by re-reading his theoretical texts published in the avant-garde magazines of the period and looking through his well-preserved visual works. Keywords: El Lissitzky, representation, space, axonometry, photography, avant-garde 1.
    [Show full text]
  • The Agency of Mapping: Speculation, Critique and Invention
    IO The Agency of Mapping: Speculation, Critique and Invention JAMES CORNER Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affiliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live. While there are countless examples of authoritarian, simplistic, erroneous and coer­ cive acts of mapping, with reductive effects upon both individuals and environments, I focus in this essay upon more optimistic revisions of mapping practices. 1 These revisions situate mapping as a collective enabling enterprise, a project that both reveals and realizes hidden poten­ tial. Hence, in describing the 'agency' of mapping, I do not mean to invoke agendas of imperialist technocracy and control but rather to sug­ gest ways in which mapping acts may emancipate potentials, enrich expe­ riences aJd diversify worlds. We have been adequately cautioned about mapping as a means of projecting power-knowledge, but what about mapping as a productive and liberating instrument, a world-enriching agent, especially in the design and planning arts? As a creative practice, mapping precipitates its most productive effects through a finding that is also a founding; its agency lies in neither repro­ duction nor imposition but rather in uncovering realities previously unseen or unimagined, even across seemingly exhausted grounds. Thus, mapping unfolds potential; it re-makes territory over and over again, each time with new and diverse consequences.
    [Show full text]
  • Maps and Meanings: Urban Cartography and Urban Design
    Maps and Meanings: Urban Cartography and Urban Design Julie Nichols A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy The University of Adelaide School of Architecture, Landscape Architecture and Urban Design Centre for Asian and Middle Eastern Architecture (CAMEA) Adelaide, 20 December 2012 1 CONTENTS CONTENTS.............................................................................................................................. 2 ABSTRACT .............................................................................................................................. 4 ACKNOWLEDGEMENT ....................................................................................................... 6 LIST OF FIGURES ................................................................................................................. 7 INTRODUCTION: AIMS AND METHOD ........................................................................ 11 Aims and Definitions ............................................................................................ 12 Research Parameters: Space and Time ................................................................. 17 Method .................................................................................................................. 21 Limitations and Contributions .............................................................................. 26 Thesis Layout ....................................................................................................... 28
    [Show full text]
  • Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art
    Annika K. Johnson exhibition review of Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Citation: Annika K. Johnson, exhibition review of “Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012), http://www.19thc-artworldwide.org/autumn12/johnson-reviews-osman-hamdi-bey-and-the- americans. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Johnson: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art The Suna and Inan Kıraç Foundation Pera Museum, Istanbul October 14, 2011 – January 8, 2012 Archaeologists and Travelers in Ottoman Lands University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia September 26, 2010 – June 26, 2011 Catalogue: Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art (Osman Hamdi Bey & Amerikalilar: Arkeoloji, Diplomas, Sanat) Edited by Renata Holod and Robert Ousterhout, with essays by Renata Holod, Robert Ousterhout, Susan Heuck Allen, Bonna D. Wescoat, Richard L. Zettler, Jamie Sanecki, Heather Hughes, Emily Neumeier, and Emine Fetvaci. Istanbul: Pera Museum Publication, 2011. 411 pp.; 96 b/w; 119 color; bibliography 90TL (Turkish Lira) ISBN 978-975-9123-89-5 The quietly monumental exhibition, titled Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art, was the product of a surprising collaboration between the Suna and Inan Kıraç Foundation Pera Museum in Istanbul and the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia.
    [Show full text]
  • 189 09 Aju 03 Bryon 8/1/10 07:25 Página 31
    189_09 aju 03 Bryon 8/1/10 07:25 Página 31 Measuring the qualities of Choisy’s oblique and axonometric projections Hilary Bryon Auguste Choisy is renowned for his «axonometric» representations, particularly those illustrating his Histoire de l’architecture (1899). Yet, «axonometric» is a misnomer if uniformly applied to describe Choisy’s pictorial parallel projections. The nomenclature of parallel projection is often ambiguous and confusing. Yet, the actual history of parallel projection reveals a drawing system delineated by oblique and axonometric projections which relate to inherent spatial differences. By clarifying the intrinsic demarcations between these two forms of parallel pro- jection, one can discern that Choisy not only used the two spatial classes of pictor- ial parallel projection, the oblique and the orthographic axonometric, but in fact manipulated their inherent differences to communicate his theory of architecture. Parallel projection is a form of pictorial representation in which the projectors are parallel. Unlike perspective projection, in which the projectors meet at a fixed point in space, parallel projectors are said to meet at infinity. Oblique and axonometric projections are differentiated by the directions of their parallel pro- jectors. Oblique projection is delineated by projectors oblique to the plane of pro- jection, whereas the orthographic axonometric projection is defined by projectors perpendicular to the plane of projection. Axonometric projection is differentiated relative to its angles of rotation to the picture plane. When all three axes are ro- tated so that each is equally inclined to the plane of projection, the axonometric projection is isometric; all three axes are foreshortened and scaled equally.
    [Show full text]
  • Axonometry New Practical Graphical Methods for Determining System Parameters
    PSYCHOLOGY AND EDUCATION (2021) 58(2): 5710-5718 ISSN: 00333077 Axonometry New Practical Graphical Methods For Determining System Parameters Malikov Kozim Gafurovich Senior Lecturer, Department of Engineering Graphics and Teaching Methods, Tashkent State Pedagogical University named after Nizami Abstract Some practical graphical method of determining the coefficients of variation and angles between them, which are the main parameters of the axonometric system, first describes the development of a model for generating axonometric projections and using it to determine the basic parameters of axonometry graphically. Key words: Axonometry, isometry, projection, transformation, parallel, plane, perpendicular, horizontal, bisector plane. Article Received: 18 October 2020, Revised: 3 November 2020, Accepted: 24 December 2020 Introduction. shortened, the angular values between them do not The practical graphical method of determining the change, and the triangle of traces is an equilateral coefficients of variation of the axes of the triangle, as noted above, described in the Q plane axonometric system and the angles between them in their true magnitude. has not been raised as a problem until now [1]. Therefore, all elements of isometry, i.e. Because the results obtained were graphic works axonometric axes, are reduced to a theoretically performed manually, they were approximately 0.5- determined coefficient of variation of 81.6496 mm 1 mm accurate. Therefore, graphical methods were and the angular values between them are described of great importance
    [Show full text]
  • Architecture Program Report 7 September 2015
    ARCHITECTURE PROGRAM REPORT FOR THE NATIONAL ARCHITECTURAL ACCREDITATION BOARD 7 SEPTEMBER 2015 THE IRWIN S. CHANIN SCHOOL OF ARCHITECTURE THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART NADER TEHRANI, DEAN ELIZABETH O’DONNELL, ASSOCIATE DEAN The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 The Cooper Union for the Advancement of Science and Art The Irwin S. Chanin School of Architecture Architecture Program Report for 2016 NAAB Visit for Continuing Accreditation Bachelor of Architecture (160 credits) Year of the Previous Visit: 2010 Current Term of Accreditation: From the VTR dated July 27, 2010 “The accreditation term is effective January 1, 2010. The Program is scheduled for its next accreditation visit in 2016.” Submitted to: The National Architectural Accrediting Board Date: 7 September 2015 The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 Program Administrator: Nader Tehrani, Dean and Professor Chief administrator for the academic unit in which the Program is located: Nader Tehrani, Dean and Professor Chief Academic Officer of the Institution: NA President of the Institution: William Mea, Acting President Individual submitting the Architecture Program Report: Nader Tehrani, Dean and Professor Name of individual to whom questions should be directed: Elizabeth O’Donnell, Associate Dean and Professor (proportional-time) The Irwin S. Chanin School of Architecture of the Cooper Union Architecture Program Report September 2015 Section Page Section 1. Program Description I.1.1 History and Mission I.1.2 Learning Culture I.1.3 Social Equity I.1.4 Defining Perspectives I.1.5 Long Range Planning I.1.6 Assessment Section 2.
    [Show full text]
  • Lecture Series - Points of Contact: New Approaches to Islamic Art, IFA, NY
    H-Islamart Lecture series - Points of Contact: New Approaches to Islamic Art, IFA, NY Discussion published by Margaret Graves on Friday, August 22, 2014 From: Finbarr Barry Flood <[email protected]> Date: August 22, 2014 2014-2015 Lecture series at the Institute of Fine Arts, New York University Points of Contact: New Approaches to Islamic Art Over the past decades, the study of Islamic material culture has been marked by increased scholarly attention to transcultural dimensions of art, architecture and archaeology. This interest coincides with an interest in histories of mobility generated by contemporary discourses of the global. It has taken a variety of forms, from attention to the modalities and effects of circulation - the result of diplomatic exchange and gifting, long-distance trade, or looting and reuse, for example - to research on media and regions that lie on the margins of the Islamic world, or outside the traditional boundaries of the canon. Points of Contact introduces some of the exciting new scholarship generated by these developments. This series is supported by The Gulnar K. Bosch Lecture Fund, and co-sponsored by NYU's Hagop Kevorkian Center. All lectures take place at 6:00 PM at the Institute of Fine Arts, New York University, 1 East 78th Street. Fall 2014 October 2, 2014 Gülru Necipoğlu, Aga Khan Professor of Islamic Art, Department of History of Art and Architecture, Harvard University. Persianate Images Between Europe and China: The "Frankish Manner" in the Diez and Topkapı Albums, ca. 1350-1450 November 6, 2014 Renata Holod, College for Women Class of 1963 Professor in the Humanities, History of Art Department; Curator, Near East Section, Museum of Archaeology and Anthropology, University of Pennsylvania A Tumulus in the Pontic Steppe: Reconstructing Ritual, Community and Polity in the early Thirteenth Century CE December 4, 2014 Avinoam Shalem, Riggio Professor of the History of the Arts of Islam, Department of Art History and Archaeology, Columbia University Citation: Margaret Graves.
    [Show full text]
  • Advanced Geosimulation Models
    Advanced Geosimulation Models Editors Danielle J. Marceau University of Calgary Canada & Itzhak Benenson Tel-Aviv University Israel eBooks End User License Agreement Please read this license agreement carefully before using this eBook. Your use of this eBook/chapter constitutes your agreement to the terms and conditions set forth in this License Agreement. Bentham Science Publishers agrees to grant the user of this eBook/chapter, a non-exclusive, nontransferable license to download and use this eBook/chapter under the following terms and conditions: 1. This eBook/chapter may be downloaded and used by one user on one computer. The user may make one back-up copy of this publication to avoid losing it. The user may not give copies of this publication to others, or make it available for others to copy or download. For a multi-user license contact [email protected] 2. All rights reserved: All content in this publication is copyrighted and Bentham Science Publishers own the copyright. You may not copy, reproduce, modify, remove, delete, augment, add to, publish, transmit, sell, resell, create derivative works from, or in any way exploit any of this publication’s content, in any form by any means, in whole or in part, without the prior written permission from Bentham Science Publishers. 3. The user may print one or more copies/pages of this eBook/chapter for their personal use. The user may not print pages from this eBook/chapter or the entire printed eBook/chapter for general distribution, for promotion, for creating new works, or for resale. Specific permission must be obtained from the publisher for such requirements.
    [Show full text]
  • Mulder CV 2020
    Stephennie Mulder Associate professor Department of Art and Art History | department of middle eastern studies The university of texas at austin email: [email protected] EDUCATION June 2008 Ph.D., History of Art, University of Pennsylvania Islamic Art and Architecture June 2001 M.A., Near Eastern Studies, Princeton University June 1997 B.A., Anthropology, Middle East Studies minor, University of Utah PROFESSIONAL APPOINTMENTS 2015-present Associate Professor of Art History Department of Art and Art History – Department of Middle Eastern Studies, The University of Texas at Austin Affiliation: Center for Middle Eastern Studies 2008-2015 Assistant Professor of Art History Department of Art and Art History – Department of Middle Eastern Studies, The University of Texas at Austin Affiliation: Center for Middle Eastern Studies 2000-2010 Archaeological Ceramicist Princeton University/Syrian Department of Antiquities Excavations at Balis, Syria SCHOLARLY PUBLICATIONS Books and Edited Volumes The Shrines of the ‘Alids in Medieval Syria: Sunnis, Shi’is, and the Architecture of Coexistence. Edinburgh: Edinburgh University Press, 2014; 320 pp., first hardback run sold out, reissued in paperback, 2019. “Imagining Localities of Antiquity in Islamic Societies,” guest editor for special issue, International Journal of Islamic Architecture 6:2 (June 2017). 1 Books in Progress Ceramics of Balis. A two-volume analytical study of ceramic material from Princeton University’s excavations at medieval Balis, Syria, including separate studies on two little- known categories: molded ceramics and Umayyad (early Islamic) ceramics. The study will publish four to five analytical chapters and nearly 1,000 drawings and photographs from my research at medieval Balis, and will be among the first major studies of Islamic unglazed ceramics.
    [Show full text]
  • 1 RENATA HOLOD College of Women Class of 1963 Term Professor In
    RENATA HOLOD College of Women Class of 1963 Term Professor in the Humanities, History of Art Department, School of Arts and Sciences [Emerita, as of Fall 1919]; and Curator, Near East Section, Museum of Archaeology and Anthropology, University of Pennsylvania. [updated January, 2021] I. EDUCATION: Harvard University, Ph.D. in Fine Arts, 1972; University of Michigan, MA, History of Art, 1965; University of Toronto, St. Michael’s College, Honours BA in Islamic Studies, 1964. II. AWARDS and HONORS: A. GRANTS [selected] 1. 1984 Foundation Grant, Fall 2017: $50, 000; Fall 2018: $50, 000; Fall 2019: $25,000; Fall 2020; 2. Williams Fund, History of Art Dept. $10, 000 ; 3. Aga Khan Trust for Culture, $120, 000, 2014; 4. Getty Collaborative Grant, 2006 - 2009; 5. 1984 Foundation Grant, 2003, 2004; 6. Aga Khan Foundation, Grant, 1986 -1982; 7. Middle East Center, UPENN, Grants: 1977, 1976, 1974; 8. Social Science Research Council, Foreign Area Training Fellow, 1970-71; 9. Ford Foundation Training Fellowship in Archaeology, 1969-70; 10.Traveling Fellowship, Harvard University, Summer, 1969; 11. NDEA (Fulbright- Hayes), 1967-68; 12. Horace T. Rackham School of Graduate Studies Fellowship, University of Michigan, 1964-5; 13. Honours Society, St. Michael’s College, University of Toronto, 1963 - 4; 14. Charles Mc Tague Scholarship, St. Michael’s College, University of Toronto, 1961. B. HONORS [selected] 1. Middle East Studies Association (MESA) Award for Mentorship, awarded Oct., 2020 [https://mesana.org/awards/awardee/mesa-mentoring-award/renata-holod]; 2. Festschrift “Envisioning Islamic Art and Architecture: Essays in Honor of Renata Holod” David J. Roxburgh, editor. (Brill: Leiden, 2014); 3.
    [Show full text]
  • Adaptive Façades Architecture
    Adaptive Façades An Integrated Algorithmic Approach Helena Luísa Freitas Martinho Thesis to obtain the Master of Science Degree in Architecture Supervisors: Prof. Dr. António Paulo Teles de Menezes Correia Leitão Prof. Dr. Miguel José das Neves Pires Amado Examination Committee Chairperson: Prof. Dr. Ana Paula Filipe Tomé Advisor: Prof. Dr. António Paulo Teles de Menezes Correia Leitão Member of the Committee: Prof. Manuel de Arriaga Brito Correia Guedes May 2019 Declaration I declare that this document is an original work of my own authorship and that it fulfills all the requirements of the Code of Conduct and Good Practices of the Universidade de Lisboa. Acknowledgments I would like to begin by leaving a word of appreciation for the person that made all of this work possible. To my supervisor, António Menezes Leitão, for the constant guidance and encouragement along this journey. To my co-supervisor, Miguel Pires Amado, for agreeing to be part of this work. To Roel Loonen, for the inspiring discussions that instigated my interest over this topic. To my fellow members of ADA, for the precious feedback and advice. A special acknowledgment to José, Catarina, Inês, and Renata, for the everlasting patience and wonderful company. To my parents, for the unconditional love and support. And most of all, to Ignacio, for believing in me whenever I couldn’t. To each and every one of you - thank you. This work was supported by national funds through Fundação para a Ciência e a Tecnologia (FCT) with references UID/CEC/50021/2019 and PTDC/ART-DAQ/31061/2017. i Abstract The concept of architectural performance comprises an understanding of the interaction between the built and natural environments.
    [Show full text]