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Muqarnas Muqarnas Muqarnas Muqarnas Editor: Gülru Necipoğlu Founding Editor: Oleg Grabar Managing Editor: Karen A. Leal Consulting Editors: Peri Bearman András Riedlmayer Imaging Consultant: Sharon C. Smith Editorial Board: Ali Asani, Khaled El-Rouayheb, Eva Hoffman, Cemal Kafadar, Thomas W. Lentz, Roy Mottahedeh, Nasser Rabbat, David J. Roxburgh, Hashim Sarkis, Wheeler Thackston, James Wescoat Advisory Board: Catherine Asher, Sussan Babaie, Michele Bernardini, Zeynep Çelik, Anna Contadini, Howard Crane, Jerrilynn Dodds, Massumeh Farhad, Finbarr B. Flood, Alain George, Lisa Golombek, Christiane Gruber, Robert Hillenbrand, Renata Holod, Machiel Kiel, Linda Komaroff, Lorenz Korn, R. D. McChesney, Marcus Milwright, Bernard O’Kane, Yves Porter, Scott Redford, Cynthia Robinson, J. Michael Rogers, D. Fairchild Ruggles, Avinoam Shalem, Priscilla Soucek, Maria Subtelny, Heghnar Watenpaugh www.brill.com/muq Muqarnas An Annual on the Visual Cultures of the Islamic World Gazing Otherwise: Modalities of Seeing In and Beyond the Lands of Islam Guest Editors Olga Bush and Avinoam Shalem volume 32 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN | BOSTON 2015 Notes to Contributors: Muqarnas will consider for publication articles on all aspects of Islamic visual cultures, historical and contemporary. Articles submitted for publication are subject to review by the editors and/or outside readers. Manuscripts should be no more than 50 double-spaced typed pages of text (not including endnotes) and have no more than 25–30 illustrations. Exceptions can be made for articles dealing with unpublished visual or textual primary sources, but if they are particularly long, they may be divided into two or more parts for publication in successive volumes. Both text and endnotes should be double-spaced; endnotes should conform to the usage of The Chicago Manual of Style, 15th edition. Illustrations should be labeled and accompanied by a double-spaced caption list. Authors are responsible for obtaining permission to reproduce copyrighted illustrations and for supplying the proper credit-line information. For the transliteration of Arabic, Persian, and Ottoman Turkish, Muqarnas follows the system used by the International Journal of Middle East Studies. All transliterated words and phrases in the text and transliterated authors’ names and titles in the endnotes must follow this system. Exceptions are proper nouns (names of persons, dynasties, and places) and Arabic words that have entered the English language and have generally recognized English forms (e.g., madrasa, iwan, mihrab, Abbasid, Muhammad); these should be anglicized and not italicized. Place names and names of historical personages with no English equivalent should be transliter- ated but, aside from ʿayn and hamza, diacritical marks should be omitted (e.g., Maqrizi, Fustat, Sanʿa). A detailed style sheet and further information can be obtained at http://agakhan.fas.harvard.edu (under Publications), or by writing to the Managing Editor, Aga Khan Program, Sackler Museum, Harvard University, 485 Broadway, Cam- bridge, MA 02138. E-mail: [email protected]; fax: 617-496-8389. This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/ brill-typeface. ISSN 0732-2992 ISBN 978-90-04-29898-9 (hardback) e-ISSN 2211-8993 Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Nijhoff and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to the Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. C ONTENTS Acknowledgments . vii INTRODUCTION Avinoam Shalem, Amazement: The Suspended Moment of the Gaze . 3 Olga Bush, Prosopopeia: Performing the Reciprocal Gaze . 13 CONFERENCE ESSAYS Gülru Necİpoğlu, The Scrutinizing Gaze in the Aesthetics of Islamic Visual Cultures: Sight, Insight, and Desire . 23 D. Fairchild Ruggles, Visible and Invisible Bodies: The Architectural Patronage of Shajar al-Durr . 63 Samer Akkach, The Eye of Reflection: Al-Nabulusi’s Spatial Interpretation of Ibn ʿArabi’s Tomb . 79 Olga Bush, Entangled Gazes: The Polysemy of the New Great Mosque of Granada . 97 Emİne Fetvacı, The Gaze in the Album of Ahmed I . 135 Matthew D. Saba, A Restricted Gaze: The Ornament of the Main Caliphal Palace of Samarra . 155 Avinoam Shalem, Experientia and Auctoritas: ʿAbd al-Latif al-Baghdadi’s Kitāb al-Ifāda wa’l-iʿtibār and the Birth of the Critical Gaze . 197 Eva-Maria Troelenberg, Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action? . 213 Holly Edwards, Glancing Blows, Crossing Boundaries: From Local to Global in the Company of Afghan Women . 233 Laura U. Marks, The Taming of the Haptic Space, from Málaga to Valencia to Florence . 253 Contents v Acknowledgments vii 1 Introduction 1 Olga Bush 3 Prosopopeia: Performing the Reciprocal Gaze 3 Avinoam Shalem 11 Amazement: The Suspended Moment of the Gaze 11 21 Conference Essays 21 Gülru Neci̇poğlu 23 The Scrutinizing Gaze in the Aesthetics of Islamic Visual Cultures: Sight, Insight, and Desire 23 D. Fairchild Ruggles 63 Visible and Invisible Bodies: The Architectural Patronage of Shajar Al-Durr 63 Samer Akkach 79 The Eye of Reflection: Al-Nabulusi’s Spatial Interpretation of Ibn ̇Arabi’s Tomb 79 Olga Bush 97 Entangled Gazes: The Polysemy of the New Great Mosque of Granada 97 Emi̇ne Fetvaci 135 The Gaze in the Album of Ahmed I 135 Matthew D. Saba 155 A Restricted Gaze: The Ornament of the Main Caliphal Palace of Samarra 155 Avinoam Shalem 197 Experientia and Auctoritas: ʿAbd Al-Latif Al-Baghdadi’s Kitāb Al-Ifāda Wa’l-Iʿtibār and the Birth of the Critical Gaze 197 Eva-Maria Troelenberg 213 Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action? 213 Holly Edwards 233 Glancing Blows, Crossing Boundaries: From Local to Global in the Company of Afghan Women 233 Laura U. Marks 253 The Taming of the Haptic Space, from Málaga to Valencia to Florence 253 A CKNOWLEDGMENTS This volume is the outcome of a two-day conference conference proceedings as a special issue of the journal. held October 11–12, 2012, at the Kunsthistorisches Insti- Ann Hofstra Grogg, the copy editor, and Karen A. Leal, tut in Florenz–Max-Planck-Institut (KHI), in Florence, the managing editor of Muqarnas, guided the volume Italy. The conference, titled “Gazing Otherwise: Modali- expertly through the editorial process and deserve our ties of Seeing,” brought together sixteen distinguished many thanks. international scholars whose work explores the varied And last but not least special thanks go to the confer- modalities of seeing in the cultural production of the ence participants whose work is published here. We world of Islam. greatly appreciate their constant cooperation and posi- We wish to express our gratitude to the KHI, and es- tive response during the long editing process as they pecially its directors, Gerhard Wolf and Alessandro revised and expanded their work. We wish to note that, Nova, for their enthusiastic support of our conference. although not all of the papers were submitted for this We are grateful to the conference presenters for their publication, the essays in the volume follow the order of participation and to the members of the scholarly com- the thematic sessions of the conference. munity of the KHI for their contributions to the lively and engaging discussions that followed each paper. Olga Bush and Avinoam Shalem We also wish to acknowledge Gülru Necipoğlu, the Guest Editors editor of the Muqarnas, for her interest in publishing the I NTRODUCTION : AVINOAM SHALEM AMAZEMENT: THE SUSPENDED MOMENT OF THE GAZE We find ourselves yet again in the situation of the alienating detected in other cities, including Jerusalem and Paris. choice. Let’s give it a radical, if not exaggerated formulation: The Jerusalem experience, which mainly involves delu- to know without seeing or to see without knowing. sions of a spiritual nature and seems to cross religious —George Didi-Huberman, Confronting Images boundaries, appearing in Jewish, Christian, as well as Muslim travelers to the city, was detected by several Is- On January 22, 1817, Marie-Henri Beyle, better known as raeli psychiatrists and could be called, in analogy to the Stendhal, described his peculiar and unexpected aes- Florentine Stendhal Syndrome, the Felix Fabri Syn- thetic experience in the city of Florence: “As I emerged drome.¸ The second one, the Paris Syndrome, seems to from the porch of Santa Croce, I was seized with a ¨©erce a°²³ict mainly Japanese tourists.¹ palpitation of the heart (that same symptom which, in The gaze is undoubtedly something that transcends Berlin, is referred to as an attack of the nerves); the well- the biological realm of optics and de¨©es investigations spring of life was dried up within me, and I walked in of purely physical matters. It a°fects one’s body and constant fear of falling to the ground.”¯ mind and in²³uences one’s behavior and, indeed, one’s This feeling of being dizzy, of tottering and almost way of thinking. The best example perhaps of the strong fainting while gazing at the beauty of Florentine master- e°fect that it can have on the body is o°fered by pornog- pieces, is recounted by numerous travelers to Florence, raphy, a visual phenomenon still largely neglected by especially those who visit the U°¨©zi.
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