DOCSLIB.ORG

Muqarnas Muqarnas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 Exceptions can be made for articles dealing with unpublished visual or textual primary sources, but if they are particularly long, they may be divided into two or more parts for publication in successive volumes.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.
Recommended publications
  • The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The

    The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The

    The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí.
  • A Study of Kufic Script in Islamic Calligraphy and Its Relevance To

    A Study of Kufic Script in Islamic Calligraphy and Its Relevance To

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me.
  • Women and Islamic Law Christie S

    Women and Islamic Law Christie S

    College of William & Mary Law School William & Mary Law School Scholarship Repository Faculty Publications Faculty and Deans 2008 Lifting the Veil: Women and Islamic Law Christie S. Warren William & Mary Law School, [email protected] Repository Citation Warren, Christie S., "Lifting the Veil: Women and Islamic Law" (2008). Faculty Publications. 99. https://scholarship.law.wm.edu/facpubs/99 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/facpubs LIFTING THE VEIL: WOMEN AND ISLAMIC LAW CHRISTIES. WARREN * "Treat your women well and be kind to them for they are your partners and committed helpers." From the Farewell Address of the Holy Prophet Muhammad1 I. INTRODUCTION By the end of February 632 and at the age of sixty-three, the Prophet Muhammad believed that his days on earth were coming to an end.2 He announced to his followers that he would lead the hajj, the annual pilgrimage to Mecca, himself that year.3 On March 3, the Prophet delivered his farewell sermon near Mount Arafat.4 Among the limited number of topics he chose to include in his last public speech, he encouraged his followers to deal justly with one another and treat women well. 5 In the modem era, the rights of women under Islamic law have come under heightened scrutiny. Some commentators find the Prophet's farewell speech to be inconsistent with the way women are treated in some areas of the Muslim world. In Saudi Arabia, for example, women may neither drive nor vote.
  • A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh

    A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh

    World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:12, No:3, 2018 A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh as strength, comfort and expansion. Throughout history, Abstract—Architecture in Iran has a continuous history from at Iranian architecture had its own originality and simplicity. All least 5000 BC to the present, and numerous Iranian pre-Islamic parts of Iran, especially villages and ancient monuments are elements have contributed significantly to the formation of Islamic like a live but old book of art and architecture, history, which art. At first, decoration was limited to small objects and containers in a brief moment, each page of that opens the gates of several and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, thousand years of history to the visitors [7]. which was prevalent in the form of motifs (animals and plants) in Repeat motifs, symbolic role and decorations are one of the pre-Islam, was used in the aftermath of Islam with the art of main subjects in Iranian art. In Iranian architecture, the calligraphy in decorations. The splendor and beauty of Iranian symbolic elements generally embossed with carving and architecture, especially during the Islamic era, are related to painting integrated with elements of construction and decoration and design. After the invasion of Iran by the Arabs and the environmental, which makes it a new and inseparable introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy combination.
  • On the Qur'anic Accusation of Scriptural Falsification (Tahrîf) and Christian Anti-Jewish Polemic

    On the Qur'anic Accusation of Scriptural Falsification (Tahrîf) and Christian Anti-Jewish Polemic

    On the Qur'anic Accusation of Scriptural Falsification (tahrîf) and Christian Anti-Jewish Polemic GABRIEL SAID REYNOLDS UNIVERSITY OF NOTRE DAME According to the fully articulated salvation history of Islam, Moses and Jesus (like all prophets) were Muslims. Moses received an Islamic scripture, the Torah {tawrät), as did Jesus, the Gospel (injU). Their communities, however, suppressed their religion and altered their scriptures. Accordingly, a canonical h^dlth has the Prophet Muhammad declare: O community of Muslims, how is it that you seek wisdom from the People of the Book? Your book, brought down upon His Prophet—blessings and peace of God upon him—is the latest report about God. You read a Book that has not been distorted, but the People of the Book, as God related to you, exchanged that which God wrote [for something else], changing the book with their hands. ' This hcidïth refiects the idea found frequently among Muslim scholars, usually described with the term tahrîf, that the Bible has been literally altered. The same idea lies behind Yâqût's (d. 626/1229) attribution of a quotation on Jerusalem to a Jewish convert to Islam from Banü Qurayza "who possessed a copy of the uncorrupted Torah." •^ Muslim scholars also accuse Jews and Christians of misinterpreting the Bible by hiding, ignoring, or misreading it, and on occasion they describe such misinterpretation as tahrîf as well. Accordingly, in scholarly treatments of the subject a comparison is sometimes made between tahrîf al-nass, alteration of the text of scripture, and tahrîf al-ma'anî, misinterpre- tation of scripture. Yet Muslim scholars who accuse Jews and Christians of misinterpreta- tion do not mean to imply thereby that the Bible has not been altered.
  • Optics, Basra, Cairo, Spectacles

    Optics, Basra, Cairo, Spectacles

    International Journal of Optics and Applications 2014, 4(4): 110-113 DOI: 10.5923/j.optics.20140404.02 Alhazen, the Founder of Physiological Optics and Spectacles Nāsir pūyān (Nasser Pouyan) Tehran, 16616-18893, Iran Abstract Alhazen (c. 965 – c. 1039), Arabian mathematician and physicist with an unknown actual life who laid the foundation of physiological optics and came within an ace of discovery of the use of eyeglasses. He wrote extensively on algebra, geometry, and astronomy. Just the Beginnings of the 13th century, in Europe eyeglasses were used as an aid to vision, but Alhazen’s book “Kitab al – Manazir” (Book of Optics) included theories on refraction, reflection and the study of lenses and gave the first account of vision. It had great influence during the Middle Ages. In it, he explained that twilight was the result of the refraction of the sun’s rays in the earth’s atmosphere. The first Latin translation of Alhazen’s mathematical works was written in 1210 by a clergyman from Sussex, in England, Robert Grosseteste (1175 – 1253). His treatise on astrology was printed in Latin at Basle in 1572. Alhazen who was from Basra died in Cairo at the age of 73 (c. 1039). Keywords Optics, Basra, Cairo, Spectacles Ibn al-Haytham (c. 965 – c. 1038), known in the West who had pretended insane, once more was released from the Alhazen, and Avenna than1, who is considered as the father prison and received his belongings, and never applied for any of modern optics. He was from Basra [1] (in Iraq) and position. received his education in this city and Baghdad, but nothing is known about his actual life and teachers.
  • Early Islamic Architecture in Iran

    Early Islamic Architecture in Iran

    EARLY ISLAMIC ARCHITECTURE IN IRAN (637-1059) ALIREZA ANISI Ph.D. THESIS THE UNIVERSITY OF EDINBURGH 2007 To My wife, and in memory of my parents Contents Preface...........................................................................................................iv List of Abbreviations.................................................................................vii List of Plates ................................................................................................ix List of Figures .............................................................................................xix Introduction .................................................................................................1 I Historical and Cultural Overview ..............................................5 II Legacy of Sasanian Architecture ...............................................49 III Major Feature of Architecture and Construction ................72 IV Decoration and Inscriptions .....................................................114 Conclusion .................................................................................................137 Catalogue of Monuments ......................................................................143 Bibliography .............................................................................................353 iii PREFACE It is a pleasure to mention the help that I have received in writing this thesis. Undoubtedly, it was my great fortune that I benefited from the supervision of Robert Hillenbrand, whose comments,
  • Dissertation JIAN 2016 Final

    Dissertation JIAN 2016 Final

    The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Laada Bilaniuk, Chair Ann Anagnost, Chair Stevan Harrell Program Authorized to Offer Degree: Anthropology © Copyright 2016 Ge Jian University of Washington Abstract The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian Chair of the Supervisory Committee: Professor Laada Bilaniuk Professor Ann Anagnost Department of Anthropology My dissertation is an ethnographic study of the language politics and practices of college- age English language learners in Xinjiang at the historical juncture of China’s capitalist development. In Xinjiang the international lingua franca English, the national official language Mandarin Chinese, and major Turkic languages such as Uyghur and Kazakh interact and compete for linguistic prestige in different social scenarios. The power relations between the Turkic languages, including the Uyghur language, and Mandarin Chinese is one in which minority languages are surrounded by a dominant state language supported through various institutions such as school and mass media. The much greater symbolic capital that the “legitimate language” Mandarin Chinese carries enables its native speakers to have easier access than the native Turkic speakers to jobs in the labor market. Therefore, many Uyghur parents face the dilemma of choosing between maintaining their cultural and linguistic identity and making their children more socioeconomically mobile. The entry of the global language English and the recent capitalist development in China has led to English education becoming market-oriented and commodified, which has further complicated the linguistic picture in Xinjiang.
  • Alhacen's Theory of Visual Perception: a Critical Edition, With

    Alhacen's Theory of Visual Perception: a Critical Edition, With

    Alhacen’s Theory of Visual Perception: A Critical Edition, with Eng- lish Translation and Commentary, of the First Three Books of Alha- cen’s De Aspectibus, the Medieval Latin Version of Ibn al-Haytham’s Kit¯abal-Man¯az.ir by A. Mark Smith Transactions of the American Philosophical Society 91.4–5. Philadel- phia: American Philosophical Society, 2001. Pp. clxxxi+819. ISBN 0– 87169–914–1. Paper $32.00 Reviewed by Glen M. Cooper Brigham Young University [email protected] Before launching into a review of this fine edition, a brief discussion of the name ‘Alhacen’ is in order. Most scholars are used to seeing the Latin form of the name of the Arab scientist, Ab¯u cAl¯ıal-Has.an ibn al-Has.an ibn al-Haytham, or Ibn al-Haytham, as ‘Alhazen’. But, as Professor Smith argues, Alhacen is an attested form in the Latin, and is closer to al-Has.an, one of his names (as long as the ‘c’ is given a ‘soft’ ‘s’ sound). In fact, according to Smith, the form ‘Alhazen’ does not appear later, and seems to originate with Risner [1572] in his edition of the Optica. Though as an Arabist I would prefer to refer to Alhacen as Ibn al-Haytham, for the sake of consistency and in harmony with Smith’s edition, I shall refer to him as Alhacen throughout. Professor Smith has been active in the field of the history of optics since at least the 1980s. He has published several excellent articles and editions and is certainly well-qualified to produce the present edition.
  • Thesis Final Copy V11

    Thesis Final Copy V11

    “VIENS A LA MAISON" MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters in Partial Fulfillment of the Requirements for the Degree of Master of Art in Teaching Art Florida Atlantic University Boca Raton, Florida May 2011 "VIENS A LA MAlSO " MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz This thesis was prepared under the direction of the candidate's thesis advisor, Angela Dieosola, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty ofthc Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster ofArts in Teaching Art. SUPERVISORY COMMIITEE: • ~~ Angela Dicosola, M.F.A. Thesis Advisor 13nw..Le~ Bonnie Seeman, M.F.A. !lu.oa.twJ4..,;" ffi.wrv Susannah Louise Brown, Ph.D. Linda Johnson, M.F.A. Chair, Department of Visual Arts and Art History .-dJh; -ZLQ_~ Manjunath Pendakur, Ph.D. Dean, Dorothy F. Schmidt College ofArts & Letters 4"jz.v" 'ZP// Date Dean. Graduate Collcj;Ze ii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Professor John McCoy, Dr. Susannah Louise Brown, Professor Bonnie Seeman, and a special thanks to my committee chair, Professor Angela Dicosola. Your tireless support and wise counsel was invaluable in the realization of this thesis documentation. Thank you for your guidance, inspiration, motivation, support, and friendship throughout this process. To Karen Feller, Dr. Stephen E. Thompson, Helena Levine and my colleagues at Donna Klein Jewish Academy High School for providing support, encouragement and for always inspiring me to be the best art teacher I could be.
  • Celebrating Thirty Years of Muqarnas

    Celebrating Thirty Years of Muqarnas

    Muqarnas An Annual on the Visual Cultures of the Islamic World Celebrating Thirty Years of Muqarnas Editor Gülru Necipoğlu Managing Editor Karen A. Leal volume 30 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN • BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978 90 04 25576 0 CONTENTS Gülru Necİpoğlu, Reflections on Thirty Years of Muqarnas . 1 Benedict Cuddon, A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston . 13 Silvia Armando, Ugo Monneret de Villard (1881–1954) and the Establishment of Islamic Art Studies in Italy . 35 Ayşİn Yoltar-Yildirim, Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in t he Early Twentieth Century . 73 D. Fairchild Ruggles, At the Margins of Architectural and Landscape History: The Rajputs of South Asia . 95 Jennifer Pruitt, Method in Madness: Recontextualizing the Destruction of Churches in the Fatimid Era . 119 Peter Christensen, “As if she were Jerusalem”: Placemaking in Sephardic Salonica . 141 David J. Roxburgh, In Pursuit of Shadows: Al-Hariri’s Maqāmāt . 171 Abolala Soudavar, The Patronage of the Vizier Mirza Salman . 213 Lâle Uluç, An Iskandarnāma of Nizami Produced for Ibrahim Sultan . 235 NOTES AND SOURCES Serpİl Bağci, Presenting Vaṣṣāl Kalender’s Works: The Prefaces of Three Ottoman Albums . 255 Gülru Necİpoğlu, “Virtual Archaeology” in Light of a New Document on the Topkapı Palace’s Waterworks and Earliest Buildings, circa 1509 . 315 Ebba Koch, The Wooden Audience Halls of Shah Jahan: Sources and Reconstruction .
  • Religion and Museums: Immaterial and Material Heritage

    Religion and Museums: Immaterial and Material Heritage

    RELIGION AND MUSEUMS RELIGION RELIGION AND MUSEUMS The relation between religion and museum is particularly fertile and needs an organic, courageous and interdisciplinary Immaterial and Material Heritage reflection. An established tradition of a religion museology - EDITED BY let alone a religion museography - does not exist as yet, as well VALERIAMINUCCIANI as a project coordinated at European level able to coagulate very different disciplinary skills, or to lay the foundations for a museums’ Atlas related to this theme. Our intention was to investigate the reasons as well as the ways in which religion is addressed (or alternatively avoided) in museums. Considerable experiences have been conducted in several countries and we need to share them: this collection of essays shows a complex, multifaceted frame that offers suggestions and ideas for further research. The museum collections, as visible signs of spiritual contents, can really contribute to encourage intercultural dialogue. Allemandi & C. On cover Kolumba. View of one of the rooms of the exhibition “Art is Liturgy. Paul Thek and the Others” (2012-2013). ISBN 978-88-422-2249-1 On the walls: “Without Title”, 28 etchings by Paul Thek, 1975-1992. Hanging from the ceiling: “Madonna on the Crescent”, a Southern-German wooden sculpture of the early sixteenth century (© Kolumba, Köln / photo Lothar Schnepf). € 25,00 Allemandi & C. RELIGION AND MUSEUMS Immaterial and Material Heritage EDITED BY VALERIA MINUCCIANI UMBERTO ALLEMANDI & C. TORINO ~ LONDON ~ NEW YORK Published by Umberto Allemandi & C. Via Mancini 8 10131 Torino, Italy www.allemandi.com © 2013 Umberto Allemandi & C., Torino all rights reserved ISBN 978-88-422-2249-1 RELIGION AND MUSEUMS Immaterial and Material Heritage edited by Valeria Minucciani On cover: Kolumba.