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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. -
Islamic Geometric Patterns Jay Bonner
Islamic Geometric Patterns Jay Bonner Islamic Geometric Patterns Their Historical Development and Traditional Methods of Construction with a chapter on the use of computer algorithms to generate Islamic geometric patterns by Craig Kaplan Jay Bonner Bonner Design Consultancy Santa Fe, New Mexico, USA With contributions by Craig Kaplan University of Waterloo Waterloo, Ontario, Canada ISBN 978-1-4419-0216-0 ISBN 978-1-4419-0217-7 (eBook) DOI 10.1007/978-1-4419-0217-7 Library of Congress Control Number: 2017936979 # Jay Bonner 2017 Chapter 4 is published with kind permission of # Craig Kaplan 2017. All Rights Reserved. This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques
European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.4 Special Issue on Architecture, Urbanism, and Civil Engineering ISSN 1805-3602 Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques Parvin Farazmand1*, Hassan Satari Sarbangholi2 1Young Researchers and Elite Club, Tabriz Branch, Islamic Azad University, Tabriz, Iran; 2Architecture Group of Azad-e-Eslami University, Tabriz Branch *Email: [email protected] Abstract Islamic architecture, which is based on the Islamic school, has been shaped by the total awareness of architects’ of techniques of architecture and adherence to the principles of geometry and inspired by religious beliefs. Principles of geometry and religious beliefs caused certain patterns to take shape in Islamic architecture that were used in designing buildings including mosques. With the advancements in technology, architecture entered a new stage considering the form of construction and the buildings. Islamic architecture and mosque, which is the primary symbol of Islamic architecture, are not different and consequently went through changes in forms and patterns. In this paper, the purpose is to express the place of patterns of Islamic Architecture in the mosques of the third millennium. The method used is descriptive-analytic and the mosques of the third millennium are the statistical population and ten of them are the statistical sample. The tools used are the library studies and the data has been analyzed using chars obtained from Excel. The result indicated that in the architecture of the mosques of the third millennium, the patterns of Islamic architecture have been fixed and proposed, and yet do create different designs that would be novel. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
The Traditional Arts and Crafts of Turnery Or Mashrabiya
THE TRADITIONAL ARTS AND CRAFTS OF TURNERY OR MASHRABIYA BY JEHAN MOHAMED A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Art Graduate Program in Liberal Studies Written under the direction of Dr. Martin Rosenberg And Approved by ______________________________ Dr. Martin Rosenberg Camden, New Jersey May 2015 CAPSTONE ABSTRACT The Traditional Arts and Crafts of Turnery or Mashrabiya By JEHAN MOHAMED Capstone Director: Dr. Martin Rosenberg For centuries, the mashrabiya as a traditional architectural element has been recognized and used by a broad spectrum of Muslim and non-Muslim nations. In addition to its aesthetic appeal and social component, the element was used to control natural ventilation and light. This paper will analyze the phenomenon of its use socially, historically, artistically and environmentally. The paper will investigate in depth the typology of the screen; how the different techniques, forms and designs affect the function of channeling direct sunlight, generating air flow, increasing humidity, and therefore, regulating or conditioning the internal climate of a space. Also, in relation to cultural values and social norms, one can ask how the craft functioned, and how certain characteristics of the mashrabiya were developed to meet various needs. Finally, the study of its construction will be considered in relation to artistic representation, abstract geometry, as well as other elements of its production. ii Table of Contents Abstract……………………………………………………………………….……….…..ii List of Illustrations………………………………………………………………………..iv Introduction……………………………………………….…………………………….…1 Chapter One: Background 1.1. Etymology………………….……………………………………….……………..3 1.2. Description……………………………………………………………………...…6 1.3. -
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 . -
The Art of Decadence Dar Doukkala
The Art of Decadence Dar Doukkala he arched wooden doorway that leads you into Dar Doukkala from Tthe busy street of the same name is pleasing, but no-more so than many of the houses in Marrakech Medina, although the stately sweep of the stairway just inside is pretty spiffy, with its white and red tiled treads and vaguely sensual hooping rise of the chrome banister. The internal garden is delightful, with pathways separating the quadrants of palm trees and lush floribunda, but other than the size and the pretty alcoves set in the walls to sit and mull the day away in, it’s akin to what you would expect to find as the centerpiece of many of the best riads. But it’s when you get to the bedrooms that the ‘Oh my giddy aunt!’ effect kicks in, backed up later when you take yourself down to dinner in the long, chi-chi dining room that’s just made for romantic evenings and whispered conversations. It doesn’t take long to realise that this is no ordinary riad, and certainly no ordinary restoration. Many of even the best riads in the ancient quarter have the reputation for bedrooms being a bit pokey, but Dar Doukkala was obviously designed as the riad keeping the hubbub of the Medina streets a grand residence of someone of substance in the at bay. early 19th century because the six bedrooms and It’s been my habit over many years of travelling to two suites are expansive by anyone’s standard. And dress for dinner. -
REPUBLIC of AZERBAIJAN on the Rights of Manuscript ABSTRACT Of
REPUBLIC OF AZERBAIJAN On the rights of manuscript ABSTRACT of the dissertation for the degree of Doctor of Philosophy HISTORICAL AND ARCHITECTURAL MONUMENTS OF THE GIRDIMAN RIVER BASIN Speciality: 6401.01 – Theory and History of Architecture, Restoration and Reconstruction of Monuments Field of Science: Architecture Applicant: Mahammad Nurmammad Nurmammadov Baku–2021 The work was performed at the Department of Restoration of Architectural Structures and Monuments at Azerbaijan University of Architecture and Construction Scientific supervisor: Academician of the International Academy of Engineers and the International Academy of Architecture of Eastern Countries, Honored Architect of Azerbaijan, Doctor of Architecture, Professor Gulchohra Huseyn Mammadova Official opponents: Doctor of Architecture, Professor Nargiz Javad Abdullayeva Doctor of Philosophy in Architecture, Assoc. Prof. Rizvan Mustafa Bayramov Doctor of Historical Sciences Tufan Isag Akhundov Dissertation council FD 2.29 of Supreme Attestation Commission under the President of the Republic of Azerbaijan operating at Azerbaijan Univeristy of Architecture and Construction Chairman of the Dissertation council: Doctor of Architecture, Professor __________ Gulchohra Huseyn Mammadova Scientific secretary of the Dissertation council: Doctor of Philosophy in Architecture, Assoc. Prof. __________ Surayya Alifagha Akhundova Chairman of the scientific seminar: Doctor of Architecture, Professor __________ Sabina Khalid Hajiyeva GENERAL CHARACTERISTICS OF THE RESEARCH The relevance of the research. Most of the monuments presented on the topic are studied for the first time. These monuments are connected with poorly studied periods and historical events of Azerbaijan's history and architecture until recently. In this regard, the actual materials presented in the research on these monuments can play an important role in solving the problems which have been mentioned. -
Morocco Hides Its Secrets Well; Who Can Riad in Marrakesh, Morocco
INTERIORS TexT KALPANA SUNDER A patio with a pool at the centre of a Morocco hides its secrets well; who can riad in Marrakesh, Morocco. A riad imagine the splendour of a riad? Slip away is known for the lush greenery that from the hustle and bustle of aggressive is intrinsic to its open-air courtyard, street vendors and step into a cocoon of making it an oasis of peace. tranquillity. Frank Waldecker/Look/Dinodia Frank 74•JetWings•December 2014 JetWings•December 2014•75 Interiors AM IN THE lovely rose-pink Moroccan Above: View from the of terracotta roofs and legions of satellite dishes. town of Marrakesh, on the fringes of the rooftop of a riad that The minaret of the Koutoubia Mosque, the tallest lets you see all the Sahara, and in true Moroccan spirit, I’m way to the medina building in the city, is silhouetted against a crimson staying at a riad. Riads are traditional (the old walled part) sky; in the distance, the evocative sound of the Moroccan homes with a central courtyard of Marrakesh. muezzin called the faithful to prayer. With arched garden; in fact, the word riad is derived Below: A traditional cloisters, pots of lush tangerine bougainvillea and fountain in the inner from the Arabic word for garden. They offer courtyard of a riad in tiled courtyards, this is indeed a visual feast. refuge from the clamour and sensory overload of Fez, Morocco’s third the streets, as well as protection from the intense largest city, brings WHAT LIES WITHIN a sense of coolness cold of the winter and fiery warmth of the summer. -
WISDOM (Tlwma) and Pffllosophy (FALSAFA)
WISDOM (tLWMA) AND PfflLOSOPHY (FALSAFA) IN ISLAMIC THOUGHT (as a framework for inquiry) By: Mehmet ONAL This thcsis is submitted ror the Doctor of Philosophy at the University of Wales - Lampeter 1998 b"9tr In this study the following two hypothesisare researched: 1. "WisdotW' is the fundamental aspect of Islamic thought on which Islamic civilisation was established through Islamic law (,Sharfa), theology (Ldi-M), philosophy (falsafq) and mysticism (Surism). 2. "Due to the first hypothesis Islamic philosophy is not only a commentary on the Greek philosophy or a new form of Ncoplatonism but a native Islamic wisdom understandingon the form of theoretical study". The present thesis consists of ten chaptersdealing with the concept of practical wisdom (Pikmq) and theoretical wisdom (philosophy or falsafa). At the end there arc a gcncral conclusion,glossary and bibliography. In the introduction (Chapter One) the definition of wisdom and philosophy is establishedas a conceptualground for the above two hypothesis. In the following chapter (Chapter Two) I focused on the historical background of these two concepts by giving a brief history of ancient wisdom and Greek philosophy as sourcesof Islamic thought. In the following two chapters (Chapter Three and Four) I tried to bring out a possibledefinition of Islamic wisdom in the Qur'5n and Sunna on which Islamic jurisprudence (fiqh), theology (A-alim), philosophy (falsafq) and mysticism (Sufism) consistedof. As a result of the above conceptual approaching,I tried to reach a new definition for wisdom (PiLma) as a method that helps in the establishmentof a new Islamic way of life and civilisation for our life. -
Cusack's Freehand Ornament. a Text Book with Chapters on Elements
GIFT OF MICHAEL REESE Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/cusacksfreehandoOOarmsrich I CUSACK'S FREEHAND ORNAMENT. I CUSACK'S FREEHAND ORNAMENT. • A Text Book with Chapters on Elements, Principles, and Methods of Freehand Drawing, FOR THE GENERAL USE OF Teachers and Students of Public, Private and Elementary Schools ; for Students in Training Colleges, and for Elementary Art Students. BY CHAKLES AKMSTKONG, ft Art Master, City of London School of Art ; Late of the National Art Training School Examiner to the Art Department. Author of " Cusack's Shading " and '* Ciisack's Model Dravciny. vSS^ ^"^^^ 3/6 net. .CALIFORNl^^^ CITY OF LONDON BOOK DEPOT: White Street and Finsbury Street, Moorfields, London, E.G. /VC650 Pbinted bv Stbaker Bbothees & Co. " The Bishopsoate Pbess," 41-47, Bishopsoate Withoit, E.G. PEEFACE Twenty years ago it was generally believed that only a very small portion of the population were born with natural ability to draw, and that it was useless for the remainder to try. Now, however, it is generally admitted that all can develop a certain amount of ability to draw. Drawing has become general in elementary schools, and is recognised as a help in almost every trade or profession. This sudden popularity of the subject must make it very hard for teachers, who find a large proportion of their pupils with natural ability far below the average. To make headway at all with such pupils, definite method is essential. The object of this book is to teach definite methods, and to impress them on the mind by repetition. -
Restoration of Al-Abbas Mosque Asnaf, Yemen
The Aga Khan Award for Architecture Restoration of Al-Abbas Mosque Asnaf, Yemen Conservator: French Center for Yemeni Studies, Marylène Barret, Abdullah Hadrami Paris, France Client: General Organization of Antiquities, Museum and Manuscripts Sanaa, Yemen Date of Completion: 1996 1831.YEM Table of Contents 2004 Technical Review Summary (22 pages) 2001 Technical Review Summary (28 pages) 2004 Architect’s Record (6 pages) Nomination Forms (2 pages) Architect’s Presentation Panels (18 panels on 9 pages) Thumbnail Images of Scanned Slides (11 pages) List of Visual Materials (6 pages) List of Additional Materials (1 page) On Site Review Reports 1831.YEM by Reha Günay (2004) and Ayşl Yavuz (2001) Restoration of Al-Abbas Mosque Asnaf, Yemen Conservator French Centre for Yemeni Studies Marylène Barret Abdullah Hadrami Client General Organization of Antiquities, Museum and Manuscripts Design 1987 Completed 1996 Restoration of Al-Abbas Mosque Asnaf, Yemen 2004 Report: Reha Günay I. Introduction Al-Abbas Mosque is situated 40 kilometres south-east of Sana’a and 2 kilometres from the village of Asnaf. Dating back to the twelfth century, the mosque is cubic in form, and measures only 100 square metres in area. Besides its value as an ancient monument, the mosque has particular historical significance since we know its exact date of construction, its founder and its builder. In addition, it stands out among Yemen’s cubic-shaped mosques because of its exceptional ceiling, which has survived intact more than eight hundred years. Of particular interest is that fact that the roots of this type of cubic mosque go back to pre- Islamic temples in the Arabian Peninsula, such as the Ka’bah (in Mecca).