Max Van Berchem Foundation, Geneva : THESAURUS D'epigraphie ISLAMIQUE

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H-Announce Max van Berchem Foundation, Geneva : THESAURUS D'EPIGRAPHIE ISLAMIQUE Announcement published by Ludvik KALUS on Wednesday, June 17, 2020 Type: Online Digital Resources Location: Switzerland Subject Fields: African History / Studies, Arabic History / Studies, Islamic History / Studies, Art, Art History & Visual Studies, Asian History / Studies Max van berchem Foundation, Geneva THESAURUS D'EPIGRAPHIE ISLAMIQUE Conceived and directed by L. KALUS, co-directed by F. BAUDEN, developed by F. SOUDAN New Website : http://www.epigraphie-islamique.uliege.be This project aims to bring together all the Arabic, Persian and Turkish (or even in other languages) inscriptions of the Muslim world until the year 1000 AH, that is to say the period usually identified as the Middle Ages. The collection and computerization of the inscriptions began in the late 1980s, the whole Muslim world is now covered. Currently, the database contains some 49,500 cards which critically present the texte of the inscriptions already published, while certain texts are presented for the first time. Inscriptions known to exist because they are mentioned in publications of all kinds are also taken into consideration. Many of the inscriptions are illustrated with photographs from the Max van Berchem Foundation Photo Library as well as from other collections. The database continues to be regularly enhanced and supplemented. Contact Info: Ludvik KALUS, Honorary Professor at Université de Paris-Sorbonne, Honorary Directeur d'Etudes at Ecole Pratique des Hautes Etudes, Paris Contact Email: [email protected] URL: http://www.epigraphie-islamique.uliege.be Citation: Ludvik KALUS. Max van Berchem Foundation, Geneva : THESAURUS D'EPIGRAPHIE ISLAMIQUE. H-Announce. 06-17-2020. https://networks.h-net.org/node/73374/announcements/6198754/max-van-berchem-foundation-geneva-thesaurus-depigraphie Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1.

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New Draft of Art Historiography Article
Regarding the exhibition: the Munich exhibition Masterpieces of Muhammadan Art (1910) and its scholarly position Eva-Maria Troelenberg ‘Muhammadan art’ in the Weltstadt It was the cultural event of the year 1910:1 on 14 May, the municipal exhibition ground in Munich’s Theresienhöhe opened its gates to an unprecedented and exotic event, the exhibition Masterpieces of Muhammadan Art. This mammoth undertaking featured more than 3,600 artworks from approximately 250 international collections, museums and institutions and was installed in eighty halls (figure 1). * This paper summarizes and partially expands some aspects of my dissertation, which is the first comprehensive and contextualized monograph on the Munich exhibition Masterpieces of Muhammadan Art (Meisterwerke muhammedanischer Kunst): Eva-Maria Troelenberg, Eine Ausstellung wird besichtigt. Die Münchner ‘Ausstellung von Meisterwerken muhammedanischer Kunst’ 1910 in kultur- und wissenschaftsgeschichtlicher Perspektive, Frankfurt and Berlin: Peter Lang, 2011. For the sake of brevity, I will not refer to every corresponding section of my own book in this paper. For specific facets of the Munich show see also the contributions in Andrea Lermer and Avinoam Shalem, eds, After One Hundred Years. The 1910 Exhibition ‘Meisterwerke muhammedanischer Kunst’ Reconsidered, Leiden and Boston: Brill, 2010; as well as the catalogue for the exhibition The Future of Tradition – The Tradition of Future, which was held at Haus der Kunst in Munich in 2010-11: see Chris Dercon, León Krempel and Avinoam Shalem, eds, The Future of Tradition – The Tradition of Future. 100 years after the exhibition Masterpieces of Muhammadan Art in Munich, Munich, London and New York: Prestel, 2010. Apart from these publications, which were prompted by the centenary of the event, and appeared almost simultaneously, the 1910 Munich exhibition had been addressed by several scholars who have touched upon it within larger contexts of art history, historiography or museology, most notably: David J.
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On the Wall Above the Main Entrance to the St. James Armenian Convent
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The Arab Mosque in Athens
THE ARAB MOSQUE IN ATHENS (PLATE 49) AGORA I 3837 (P1. 49, a) consists of four joining fragments of Hymettian marble. The fragments were found together on March 19, 1936, in a modern house wall north of the Church of the Holy Apostles in the southeast corner of the ancient Agora at Athens. The repaired piece measures 0.21 m. in height and 0.29 m. in maximum length. There are irregular fractures at each end and a nearly rectilinear fracture at the top. The lower edge, however, is preserved. Two fragmentary lines of Kufic Arabic inscription, carved in relief, cover the face. The letters range in height from approximately 0.075 to 0.08 m. The lines of inscription are framed by straight bands, also in relief, the lower being about 0.012 m. in height, the upper two about 0.01 m. The back of the stone (P1. 49, b) is smooth. The base has an irregular profile (Fig. 1 ) : for a distance of approximately 0.022 m. from the face toward the back it is roughly at right angles to the face; it then slants upward for about 0.05 m. Where this slanting surface joins the smooth back there is a low ridge, about 0.01 in height. The stone tapers in thickness from 0.063 m. at the bottom (including the ridge) to 0.035 m. at the broken upper edge. The two fragmentary lines read as follows: The upper line contains two and a half words-[Al] lah. For perhaps thes [e]- from the Qur'an, surak IX, verse 18, which in its entirety reads: "Verily only he shall visit the mosques of Allah who believes in Allah and the Day of Judgment and who is constant in prayer and pays the legal alms and fears only Allah.
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Press Kit Max Van Berchem
PRESS KIT MAX VAN BERCHEM. THE ADVENTURE OF ARABIC EPIGRAPHY FROM 16 APRIL TO 6 JUNE 2021 MUSEUM OF ART AND HISTORY T +41 (0)22 418 26 00 MAHMAH.CH/BLOG RUE CHARLES-GALLAND 2 [email protected] MAHMAH.CH/COLLECTION CH-1206 GENEVA MAHMAH.CH MAHGENEVA PRESS KIT The adventure of Arabic epigraphy Just a century ago, Max van Berchem (1863-1921) died of illness and exhaustion a few days before his fifty-eighth birthday. This man, whom few Genevans remember today, was the founder of Arabic epigraphy; the study of inscriptions in Arabic. The Musée d'art et d'histoire pays tribute to him today with an exhibition that reveals the importance of his work for the understanding of Islamic civilisation and art in the early 20th century. This presentation, in the gallery overlooking the Hall of Armour, brings together a selection of works from the MAH collection and historical and documentary evidence of the incredible scientific adventure that was the life of Max van Berchem. Born of the ties that have united the MAH and the Max van Berchem Foundation since its creation in 1973, the project benefits from exceptional loans from the Max van Berchem Foundation and the Bibliothèque de Genève. The latter holds the library bequeathed by Max van Berchem and his scientific archives donated by his family in 1972. For its part, the MAH holds part of the researcher's collection, donated by his widow in 1921. 2 1. Exhibition route a. Max van Berchem and Geneva: the birth of a vocation Max van Berchem was born in 1863 into a wealthy Genevan patrician family and, together with his two brothers, Paul and Victor, were educated in Switzerland and Germany.
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ÏN T UKMÀIHJN Iu ÜSEKS This Manuscript Has Been Reproduced
ÏNt UKMÀIHJN iU ÜSEKS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and ohotoeraohs. orint bleedthroueh. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMÎ University Microfilms Internationa! A Beil & Howell information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800.521-0600 Order Number 9401197 Late Mamluk patronage: Qansuh al-Ghurl’s w a q fan d h is foundations in Cairo Alhamzeh, Khéiled Ahmad.
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Corpus Inscriptionum Arabicarum Palaestinae, Volume Four: -G
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Alexander Asa Eger
A. Asa Eger Curriculum Vitae Department of History University of North Carolina at Greensboro 2113 MHRA Building, PO Box 26170 2132 Sunset Ave. Greensboro, NC 27401 Durham, NC 27705 Office Tel: 336-334-5203 Cell Phone: 773-209-8143 [email protected] [email protected] EDUCATION University of Chicago, Department of Near Eastern Languages and Civilizations Ph.D. in Islamic Archaeology with honors August 2008 Dissertation title: “The Spaces Between the Teeth: Environment, Settlement, and Interaction on the Islamic-Byzantine Frontier” Committee: Donald Whitcomb (chair), Fred Donner, Walter Kaegi Comprehensive Examination Fields: Methodology of Islamic Archaeology, Syro-Palestinian Islamic Archaeology, Anatolian and thughūr Islamic Archaeology, Early Islamic History, Islamic Civilization University of Chicago, Department of Near Eastern Languages and Civilizations M.A. in Near Eastern Archaeology June 2002 Thesis title: “Rural Settlement and Land Use in the Amuq (Antiochene) Plain: A Historical Geography of the Byzantine and Islamic Periods” Thesis Advisors: Donald Whitcomb (first reader), Tony Wilkinson (second reader) Rutgers College, Rutgers University, Department of Art History May 1998 B.A. in Art History cum laude, minors in Anthropology and English Thesis title: “The Piscinae at Tel Tanninim: A Comparative Study of Ancient and Modern Aquaculture in Israel” ACADEMIC APPOINTMENTS UNC-Greensboro, Associate Professor of the Islamic World, Dept. of History 2016- Faculty in Archaeology Program UNC-Greensboro, Assistant Professor of the Islamic World, Dept. of History 2009-2016 Faculty in Archaeology Program American Council of Learned Societies, Fellow 2016-2017 Dumbarton Oaks, Fellow, Byzantine Studies Spring 2012 Princeton University, Visiting Fellow, Hellenic Studies Fall 2011 Koç University (Istanbul), Senior Fellow, Research Center for Anatolian Civilizations 2008-2009 PUBLICATIONS-BOOKS Eger, A.
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IN MEMORIAM — MAX VAN BERCHEM the 16Th March, 1963
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OLBA XXI (Ayrıbasım / Offprint)
ISSN 1301 7667 MERSİN ÜNİVERSİTESİ KILIKIA ARKEOLOJİSİNİ ARAŞTIRMA MERKEZİ MERSIN UNIVERSITY PUBLICATIONS OF THE RESEARCH CENTER OF CILICIAN ARCHAEOLOGY KAAM YAYINLARI OLBA XXI (Ayrıbasım / Offprint) MERSİN 2013 KAAM YAYINLARI OLBA XXI © 2013 Mersin Üniversitesi/Türkiye ISSN 1301 7667 Yayıncı Sertifika No: 14641 OLBA dergisi; ARTS & HUMANITIES CITATION INDEX, EBSCO, PROQUEST ve TÜBİTAK-ULAKBİM Sosyal Bilimler Veri Tabanlarında taranmaktadır. Alman Arkeoloji Enstitüsü’nün (DAI) Kısaltmalar Dizini’nde ‘OLBA’ şeklinde yer almaktadır. OLBA dergisi hakemlidir ve Mayıs ayında olmak üzere, yılda bir kez basılmaktadır. Published each year in May. KAAM’ın izni olmadan OLBA’nın hiçbir bölümü kopya edilemez. Alıntı yapılması durumunda dipnot ile referans gösterilmelidir. It is not allowed to copy any section of OLBA without the permit of KAAM. OLBA dergisinde makalesi yayımlanan her yazar, makalesinin baskı olarak ve elektronik ortamda yayımlanmasını kabul etmiş ve telif haklarını OLBA dergisine devretmiş sayılır. Each author whose article is published in OLBA shall be considered to have accepted the article to be published in print version and electronically and thus have transferred the copyrights to the journal OLBA.. OLBA’ya gönderilen makaleler aşağıdaki web adresinde ve bu cildin giriş sayfalarında belirtilen formatlara uygun olduğu taktirde basılacaktır. Articles should be written according the formats mentioned in the following web address. Redaktion: Yrd. Doç. Dr. Deniz Kaplan OLBA’nın yeni sayılarında yayınlanması istenen makaleler için yazışma adresi: Correspondance addresses for sending articles to following volumes of OLBA: Prof. Dr. Serra Durugönül Mersin Üniversitesi Fen-Edebiyat Fakültesi, Arkeoloji Bölümü Çiftlikköy Kampüsü, 33342 Mersin - TURKEY Diğer İletişim Adresleri Other Correspondance Addresses Tel: 00.90.324.361 00 01 (10 Lines) 4730 / 4734 Fax: 00.90.324.361 00 46 web mail: www.kaam.mersin.edu.tr www.olba.mersin.edu.tr e-mail: [email protected] [email protected] Baskı / Printed Matsis Matbaa Hizmetleri Tevfikbey Mah.
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Matériaux Pour Un Corpus Inscriptionum Arabicarum, Première Partie Égypte: Par Max Van Berchem. Mémoires De La Mission Arch
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14 Islamic Visual Culture
Part Three Architecture and Culture Chapter XIV The Inscriptions of the Madrasa-Mausoleum of Qaytbay* It is well known that few periods in the rich history of Islamic architecture are as fully documented as the Mamluk centuries in Cairo. Hundreds of monuments have been preserved, many more are known through texts, chronicles and descriptions are comparatively easily available, and most inscriptions have been published. In other words it should be possible to begin writing a true history of this architecture, to identify its constructional, social, formal and aesthetic motors, and to explain how this extraordinary explosion of building activities could have taken place in the midst of a checkered and often brutal political history. In reality, however, we are still far from being able to write up the development of Mamluk architecture, for it is only occasionally that visual, epigraphic, literary, social and aesthetic documents have been put together in any sort of coherent and systematic form. In attempting to do so for one particularly celebrated monument, I shall rely primarily on inscriptions. In this fashion I hope to pay homage to George Miles in two ways. On the one hand it is an occasion to recall his admonition to me many years ago that any knowledge of Islamic art in its cultural setting requires a deep familiarity with the works and the thought of Max van Berchem. And then it is an opportunity to express in a very small fashion how much I owe to the sane wisdom and to the kindly learning of a most knowledgeable gentleman and scholar.
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