DOCSLIB.ORG

Th E a G a K H a N P Ro G R a M F O R Is La M Ic a R C H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Th E a G a K H a N P Ro G R a M F O R Is La M Ic a R C H THE AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE 8issue AKPIA AKTC Established in 1979, the Aga Khan Pro- Buildings and public spaces are grams for Islamic Architecture (AKPIA) at physical manifestations of culture in Harvard University and at the Massa- societies both past and present. They chusetts Institute of Technology are sup- represent human endeavors that can ported by endowments for instruction, enhance the quality of life, foster self- akpia research, and student aid from His High- understanding and community values, THE AGA KHANTRUST FOR CULTURE ness the Aga Khan. AKPIA is dedicated to and expand opportunities for economic aktc the study of Islamic architecture, urban- and social development into the 2 0 1 1 - 2 0 1 2 ism, visual culture, and conservation, in future. The Aga Khan Trust for Culture an effort to respond to the cultural and (AKTC) is an integral part of the Aga features: educational needs of a diverse constitu- Khan Development Network (AKDN), Harvard HAA ency drawn from all over the world. a family of institutions created by His Activities p. 2 Highness the Aga Khan with distinct yet People p. 8 Along with the focus on improving the complementary mandates to improve teaching of Islamic art and architecture the welfare and prospects of people Harvard GSD Activities p. 20 and setting a standard of excellence in in countries of the developing world, People p. 27 professional research, AKPIA also con- particularly in Asia and Africa. tinually strives to promote visibility of MIT Activities p. 33 the pan-Islamic cultural heritage. Though their spheres of activity and People p. 39 expertise differ—ranging from social development to economic development Archnet p. 50 to culture—AKDN institutions share at least three principles that guide & their work. The first is dedication to self- sustaining development that can contribute to long-term economic advancement and social harmony. The second is a commitment to the vigorous participation of local communities in all development efforts. Finally, all Network institutions seek shared responsibility for 1 positive change. AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY 2011-12 AKPIA HARVARD LECTURE SERIES: A November 10 March 8 FORUM FOR ISLAMIC ART AND ARCHITECTURE “Water and Work in the Mughal Landscape” “Edirne: A Former Capital of the Ottoman Empire James Wescoat and Its Architecture” AKPIA lectures are held on Thursdays, 5:30– Aga Khan Professor, Massachusetts Institute of Nevnihal Erdog˘an 6:30 pm, in Room 318 of the Arthur M. Sackler Technology Post-Doctoral Fellow in the Aga Khan Program AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & Museum, Harvard University, 485 Broadway. for Islamic Architecture, Harvard University; Professor of Architecture, Kocaeli University Lectures are free and open to the public. For November 17 “The Aga Khan Museum: Creating a New additional information, please visit http:// Museum of Islamic Art” March 22 agakhan.fas.harvard.edu/. Michael Brand “Opus Sectile Decorations of Mamluk Cairo” Director, Aga Khan Museum, Toronto Ruggero Longo November 3 Post-Doctoral Fellow in the Aga Khan Program “The Eagle Capitals in the Dome of the Rock” February 16 for Islamic Architecture, Harvard University; issue Lawrence Nees “Petrified Powers: Medieval Islamic Talismans” Research Associate, Università degli Studi della Professor of Medieval Art, University of Delaware Persis Berlekamp Tuscia, Viterbo 8 Co-sponsored with the Committee on Medieval Post-Doctoral Fellow in the Aga Khan Program akpia aktc Studies at Harvard University for Islamic Architecture, Harvard University; March 29 2011-2012 Assistant Professor of Art History, University “‘Many a wish has turned to dust’: Pir Budaq and THE AGA KHANTRUST FOR CULTURE of Chicago the Formation of Turcoman Arts of the Book” David J. Roxburgh Prince Alwaleed bin Talal Professor of Islamic Art History, Harvard University April 19 “Chaha¯rba¯ghs, Palaces, and Mughal Court Routine in the Sixteenth Century” Laura Parodi Associate in the Aga Khan Program for Islamic Architecture, Harvard University April 26 “Mustafa ´Ali and the Arts of the Book” Serpil Bag˘ cı Professor of Islamic Art, Hacettepe University 2 AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY 2011–2012 ACTIVITIES 2011–2012 CONFERENCE AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & The Aga Khan Program at Harvard University actively promotes, nurtures, and disseminates research on the history of art and architecture in the Islamic world through the scholarship and teaching of its faculty, the activities of its students, the sponsorship of the Aga Khan Fellowship Program, the AKPIA Lecture Series, issue and the publication of Muqarnas: An Annual on 8 the Visual Cultures of the Islamic World. akpia aktc 2011-2012 2011–2012 EVENTS THE AGA KHANTRUST FOR CULTURE On November 18, 2011, Professor Gülru Necipog˘ lu, Director of the Aga Khan Program for Islamic Architecture, arranged a one-day meeting at the Department of History of Art and Architecture at Harvard University, bringing together all the Aga Khan Professors with repre- sentatives of the Aga Khan Foundation (Geneva) and directors and curators from the Aga Khan Museum (Toronto) to discuss future collabora- tions. This meeting took place the day after Dr. Michael Brand delivered his AKPIA lecture at 3 Harvard on plans for the Toronto museum. AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY MUQARNAS: AN ANNUAL ON THE VISUAL CULTURES OF THE ISLAMIC WORLD AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & 8issue akpia aktc 2011-2012 THE AGA KHANTRUST FOR CULTURE The Aga Khan Program for Islamic Architecture at Harvard University is pleased to announce the publication of Muqarnas 28 (2011) and the latest Supplement to Muqarnas, Mir´a¯t al-quds (Mirror of Holiness): A Life of Christ for Emperor Akbar, by Pedro Moura Carvalho, with a translation by Wheeler M. Thackston (2011). These volumes are now available for purchase through Brill Publishers, www.brill.nl. 4 AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY STUDIES AND SOURCES ON ISLAMIC ART AND ARCHITECTURE: SUPPLEMENTS TO MUQARNAS AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & 8issue akpia aktc 2011-2012 THE AGA KHANTRUST FOR CULTURE 5 AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY 2011–2012 AKPIA RESEARCH AND TRAVEL AKPIA, History of Art and Architecture, History of Art and Architecture 249n: GRANTS Harvard University, Courses Offered The Travel Narrative and Art History David J. Roxburgh and Hugo van der Velden Anastassiia Botchkareva, HAA doctoral student 2011–2012 COURSES Bibliothèque nationale Travel narratives of the medieval through early AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & Paris, France FALL 2011 modern periods recorded by pilgrims, artists, Institute of Oriental Studies ambassadors, among others, are examined for what they offer to art historical inquiry. Critical St. Petersburg, Russia Aesthetic and Interpretive Understanding 40: texts from Europe and Asia are studied. Monuments of Islamic Architecture Zeynep Og˘ uz, HAA doctoral student Gülru Necipog˘lu-Kafadar and David J. Roxburgh History of Art and Architecture 124e: Architecture RCAC Intensive Ottoman Epigraphy course, of the Early Modern Islamic Empires: Proseminar Koç University An introduction to ten iconic monuments of the Gülru Necipog˘ lu-Kafadar Islamic world from the beginning of Islam to issue Istanbul, Turkey the early modern period. The course introduces Between the 16th and 18th centuries, three various types of building—mosques, palaces, 8 Ünver Rüstem, HAA doctoral student great empires ruled the Islamic lands from the akpia multifunctional complexes—and city types and Centre des Archives diplomatiques Balkans to Bengal. The Mediterranean-based aktc the factors that shaped them, artistic, patronal, 2011-2012 Nantes, France Ottomans, Safavids in Iran, and Mughals in THE AGA KHANTRUST FOR CULTURE socio-political, religio-cultural, and economic. Topkapı Palace Museum Library; Prime Ministry India developed visual cultures with distinctive Each case study is divided into two lectures. Ottoman Archives; Nuruosmaniye Mosque architectural and ornamental idioms, originating The first presents the monument or city by from a shared Timurid heritage. The cities, Istanbul, Turkey “walking” through it. The second is devoted to monuments, and modes of ornament created themes elicited from the example, developed in in each empire are studied from aesthetic and Abbey Stockstill, HAA doctoral student light of comparative monuments, sites, and/or contextual perspectives, with respect to religious Middlebury College Language School written sources, and to problems of patronage, orientations, imperial ideologies, and theories of Middlebury, Vermont production, audience, and meaning as they dynastic legitimacy. pertain to architectural history. 6 AGA KHAN PROGRAM, DEPARTMENT OF HISTORY OF ART AND ARCHITECTURE, HARVARD UNIVERSITY SPRING 2012 History of Art and Architecture 222m: Architecture in the Early Modern Mediterranean World: A Cross-Cultural Perspective AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE & Gülru Necipog˘lu-Kafadar and Alina A. Payne Architecture of the eastern Mediterranean basin (at Italian, Ottoman, and Mamluk courts) with emphasis on cross-cultural encounters and transmission of the Romano-Byzantine heritage, science
Load more

Recommended publications
  • The Architectural Style of Bay Pines VAMC
    The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques.
    [Show full text]
  • Architectural Styles in Spain.Pdf
    These presentations are examples of our work on Romanesque, Gothic, Renaissance and Baroque art styles. Students have made this activity with the purpose of learning the main characteristics of each style, mainly focused on architecture and also a little of sculpture and painting as a complement. So that’s why students write about the main characteristics of each style and illustrate it with examples. TIEHA ARCHITECTURAL STYLES Romanesque Gothic Renaissance Baroque Names: Núria Gassó, Kiona Gil, Ikram maaroufi & Aina Canosa Year: 3rd A Subject: History Date: INDEX ● ROMANESQUE ● GOTHIC ● RENAISSANCE ● BAROQUE ROMANESQUE Sant Martí de la Cortinada, Andorra 1. Romanesque introduction 11th - 13th 1.2 ROMANESQUE ARCHITECTURE Buttress Round arch Depth walls Few windows Barrel vault Latin cross plan Capital Rib vault EXAMPLES Church of San Martin, Segovia, Spain Sant Climent de Taüll Cantabria GOTHIC 2. GOTHIC INTRODUCTION 12th - 15th 2.2 GOTHIC ARCHITECTURE Pinnacle Flying 2 towers buttress Rib vault 3 spaces buttress Pointed floor plant arches Pillar church Examples Santa Maria del Mar church, Barcelona The Cathedral of Notre Dame, The Cathedral of St. John the Baptist, Paris Savannah, Neogothic style (Georgia, United States) RENAISSANCE 3. RENAISSANCE INTRODUCTION 15th 16th Antropocentrism 3.1. RENAISSANCE ARCHITECTURE Ceilings Columns Dome SYMMETRY & PROPORTION Proportion, harmony and humanism Human Proportion Symmetry in Basilica of Saint Andrea QUATTROCENTO dome lighter latin cross The birth of Venus by Sandro Botticelli. Gates of Paradise of Florence Cathedral by Ghiberti. CINQUECENTO Tempietto’s ground plan The creation of Adam, Sistine Chapel Villa Rotunda Leonardo Da Vinci The School of Athens by Raphael. IN SPAIN: PLATERESQUE (1st/3 of the 16th century) ● Inside: Gothic ● Outside: Renaissance ● Abundant and detailed decoration: Silversmith San Esteban Church (Salamanca) IN SPAIN: PURIST (2nd/3 of the 16th century) ● Pure, simple and proportional (as italian).
    [Show full text]
  • Baroque Architecture Through a Century of Art Historiography and Politics
    From ‘bad’ to ‘good’: Baroque architecture through a century of art historiography and politics Review of: Evonne Levy, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr, 400 pp., 42 ills, Basel: Schwabe, 2015. € 68, ISBN 978-3-7965-3396-9 Marco M. Mascolo Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, the downfall of Hitler’s Third Reich, with the consequent scrutiny on methods compromised with the National Socialist regime, as in the case of art-historical works of Albert Erick Brinckmann (chapter four) and the Austrian Hans Sedlmayr (chapter five).4 In the middle, the book follows the ideas of two of the most important baroquists of the first half of the twentieth century: Heinrich Wölfflin (chapter two) and Cornelius Gurlitt (chapter three).
    [Show full text]
  • Ottoman Baroque
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction It is fair and accurate to say that this beautiful building and gladdening house of worship— all of solid marble and so charming— has no like or counterpart not only in the capital [Istanbul], but indeed in [all] the lands of Islam. —­Ahmed efendİ, construction accountant of the nuruosmanİye mosque The mosque that Sultan Mahamout had built is, without doubt, the most beautiful that one can see in the Empire, after one has seen St. Sophia. — Jean-­Claude flachat, french merchant and resident of istanbul ritten of the mid- eighteenth- century Nuruosmaniye Mosque by authors contemporary with its construction, these statements may surprise the Wmodern observer (fig. 1). So conditioned are we to locate the heyday of Ottoman architecture in the sixteenth century— and above all in the works of Sinan (d. 1588)— that it is difficult to credit that a later building could have excited such praise. If the first statement might be dismissed as mere hyperbole on the part of an Ottoman official involved in the mosque’s construction, the second— penned by a Frenchman with no connection to the project— cannot be so easily disregarded. Indeed, the widespread acclaim that greeted the Nuruosmaniye bespeaks a mo- mentous shift in the history of Ottoman architecture, one embedded in, and itself constitutive of, far- reaching sociopolitical developments. The modern focus on the period before 1600— what has come to be known as the Ottoman classical age— has obscured the decisive role of the eighteenth century in (re)shaping the Ottoman Em- Fig.
    [Show full text]
  • Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture
    Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.
    [Show full text]
  • Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education
    Italian Humanism Was developed during the fourteenth and the beginning of the fifteenth centuries as a response to the Medieval scholastic education • Growing concern with the natural world, the individual, and humanity’s worldly existence. • Revived interest in classical cultures and attempt to restore the glorious past of Greece and Rome. Recovering of Greek and Roman texts that were previously lost or ignored. • Interest in the liberal arts - grammar, rhetoric, poetry, history and moral philosophy. • Promotes human values as distinct from religious values, mainly Roman civic virtues: self-sacrificing service to the state, participation in government, defense of state institutions. Renaissance architecture: Style of architecture, reflecting the rebirth of Classical culture, that originated in Florence in the early 15th century. There was a revival of ancient Roman forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order. Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius. As in the Classical period, proportion was the most important factor of beauty. Filippo Brunelleschi (1377 - 1446), Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence. Besides accomplishments in architecture, Brunelleschi is also credited with inventing one-point linear perspective which revolutionized painting. Sculpture of Brunelleschi looking at the dome in Florence Filippo Brunelleschi, Foundling Hospital, (children's orphanage that was built and managed by the Silk and Goldsmiths Guild), Florence, Italy, designed 1419, built 1421-44 Loggia Arcade A roofed arcade or gallery with open sides A series of arches supported by stretching along the front or side of a building.
    [Show full text]
  • Baroque Architecture
    '"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated.
    [Show full text]
  • Baroque Architecture and Design. Hampton Court Palace- Baroque Style
    Baroque Architecture and Design. Hampton Court Palace- Baroque style. During the reign of King William 111,( 1689-1702) and over 100 years after Henry VIII had created his Tudor Palace, part of Hampton Court Palace was destroyed and re-designed by the world famous architect Sir Christopher Wren. Sir Christopher Wren re-built the south front of Hampton Court. Do you notice how similar it is to the Palace of Versailles? South Front of Hampton Court Palace of Versailles Palace. So what is Baroque? Baroque architecture/ design is a style that started in Italy but soon expanded to countries all over the world. What clues do we need to look for to identify baroque buildings and design? • Grand. • Symmetry. • Contrast. • Curves and twists. • Bright colours. • Vividly painted ceilings. • Use of plaster (or stucco) marble. • Shapes of nature e.g. grapes, corn, shells. • Grand carvings. • Use of mirrors to create light. Baroque design around the Palace. Can you find examples of symmetry, painted ceilings, carvings, patterns, bright colours? King William III's massive rebuilding and expansion project was intended to rival the Palace of Versailles in France. However, work stopped in 1694, leaving the palace in two very different architectural styles: Tudor and Baroque. The Privy Garden The privy, meaning private, garden was created in 1701 to allow a quiet space for King William’s exclusive use. William III didn’t live to enjoy his new garden. In 1702, he fell from his horse and died two weeks later. The garden was designed to follow the latest French garden fashion combining topiary ( hedge design), grand fountains and statues, elements of symmetry and pattern.
    [Show full text]
  • The Andean Hybrid Baroque
    BaileyG_FM:Layout 1 8/4/10 1:37 PM Page iii Gauvin Alexander Bailey THE ANDEAN HYBRID BAROQUE Convergent Cultures in the Churches of Colonial Peru UNIVERSITY OF NOTRE DAME PRESS NOTRE DAME, INDIANA © 2010 University of Notre Dame Press BaileyG_FM:Layout 1 8/4/10 1:37 PM Page iv Copyright © 2010 by University of Notre Dame Notre Dame, Indiana 46556 www.undpress.nd.edu All Rights Reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Bailey, Gauvin A. The Andean hybrid baroque : convergent cultures in the churches of colonial Peru / Gauvin Alexander Bailey. p. cm. — (History, languages, and cultures of the Spanish and Portuguese worlds) Includes bibliographical references and index. ISBN-13: 978-0-268-02222-8 (cloth : alk. paper) ISBN-10: 0-268-02222-4 (cloth : alk. paper) 1. Church architecture—Peru. 2. Architecture, Spanish colonial—Peru. 3. Architecture, Baroque—Peru. 4. Sculpture, Peruvian—Themes, motives. 5. Sculpture, Baroque—Peru—Themes, motives. 6. Decoration and ornament, Architectural—Peru—Themes, motives. 7. Decoration and ornament, Baroque— Peru—Themes, motives. I. Title. NA5413.B35 2010 726.50985'0903—dc22 2010024243 ∞ The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. © 2010 University of Notre Dame Press BaileyG_Intro:Layout 1 8/4/10 1:38 PM Page 1 Introduction “Mestizo Style” and Andean Hybrid Baroque In the southern Andes during the last century and a half of colonial rule, when the Spanish Crown was slowly losing its grip on the Americas and Amerindian groups began organizing into activist and increasingly violent political movements, a style of architectural sculpture emerged that remains one of the most vigorous and original outcomes of the meeting of two cultures.
    [Show full text]
  • Architecture
    Frick Fine Arts Library Art History: Sources in Architecture Library Guide No. 24 "Qui scit ubi scientis sit, ille est proximus habenti." Brunetiere* Before Beginning Research FFAL hours: M-H, 9-9; F, 9-5; Sa-Su, Noon – 5 Policies: Food and drink may only be consumed in the building’s cloister and not in the library. Personal Reserve: Undergraduate students may, if working on a class term paper, ask that books be checked out to the “Personal Reserve” area where they will be placed under your name while working on your paper. The materials may not leave the library. Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facillity at no charge by using the Requests Tab in Pitt Cat. Items that are not in the Pitt library system may also be requested from another library that owns them via the Requests tab in Pitt Cat. There is a $5.00 fee for journal articles using this service, but books are free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). Funds may be added to the cards at a machine in Hillman Library by using cash or a major credit credit car; or by calling the Panther Central office (412-648-1100) or visiting Panther Central in the lobby of Litchfield Towers and using cash or a major credit card.
    [Show full text]
  • Spanish Baroque Architecture .·
    Baroque Routes Events · 5 Spanish Baroque Architecture .· The three main phases of the development of Baroque atehit~ture discussed in depth the unique architectural treatise ofJuan de in seventeenth- and eighteenth-century Spain were the subject Caramucl, known as the Arqllitd11ra Civil rutay oblima which of an intensive course oflectures by Professor Mercedes Gome:z­ formed the basis of architectural expression in Andalucia in the Ferrer Lo:zano to students attending the MA in Baroque Studies second half of the seventeenth century. course at the lntetitatiooallnstitute for Baroque Studies at the Other topics discussed were the Jesuit contribution to Spanish University of Malta. Baroque and th~ superb interventions in the cathedrals of Santiago Professor Gomez-Fcrrer Lozano is a renowned scholar in de Compostela and Toledo. architectural history at the department of Azt History of the The Director of the Intemational Institute for Baroque Studies, University of Valencia in Spain. Professor Denis De Lucca, said that Spanish Baroque was one of The course, which focused on the so-called 'golden age' (S~Io dt the important contributions to the history of European Oro) of Spain, covered different aspects of the Baroque architecture, and that a proper understanding ofits 'spirit' and an:h.itectural expression in the Iberian penmsula,placed within undedying theory is an essential component of the postgraduate the context of the painting activity of Velasque:z and Zurbaran course on Baroque studies at the IIBS. and the plays of Lope de Vega and Calderoo, all renowned The lectures on Spanish Baroque were concluded with a discussion among the finest achievements of the European Baroque in heritage.
    [Show full text]
  • Spanish-Colonial Architecture in Mexico
    >* 111 111 11 I 111 SPANISH COLONIAL ARCHITECTURE IN MEXICO. THIS GOMEZ DE MORA EDITION OF SPANISH-COLONIAL ARCHITECTURE IN MEXICO IS LIMITED TO ONE HUNDRED AND FIFTY NUMBERED AND REGISTERED COPIES OF WHICH THIS IS NUMBER *3 SPANISH-COLONIAL ARCHITECTURE IN MEXICO BY SYLVESTER BAXTER WithPhotographicPlates by HENRY GREENWOOD FEABOEV andPlans by BERTRAM GROSVENOR GOODHUE BOSTON Published by J.B.MILLET. MCMI Copyright, 1902, By Art Library Publishing Company, J. B. Millet, Proprietor. TO THE MEMORY OF FREDERIC EDWIN CHURCH AND OF CHARLES DUDLEY WARNER THIS BOOK IS AFFECTIONATELY DEDICATED. TABLE OF CONTENTS. CHAPTER PAGE I. ARCHITECTURAL CHARACTER i I. Colonial Architecture in North America 2 II. Organic Character ; Concentration of Ornament 5 III. Spanish Qualities and their Relation to Local Environment ... 6 IV. Mexico a Land of Domes 10 V. Glazed Tile in Polychrome Decoration of Surfaces 14 VI. Character of Ornament 14 VII. The Indigenous Influence; Native Artist-Artisans 18 VIII. Construction and Style 23 IX. The Renaissance in Mexico 24 X. TheTwoDominantStvi.es; Spanish Baroque and the Churkigl krksquk 26 XI. The Churrigueresque — Magnificent, though Debased, It has Decided Merits 2S XII. A Mexican Appreciation of the Churrigukresque 31 XIII. Various Characteristics, General and Specific 36 XIV. The Architects of Mexico 4° II. DECORATIVE SCULPTURE 43 III. DECORATIVE PAINTING 60 I. The Earlier Painters 63 II. A Decadence 69 III. The Influence of Murili.o 72 IV. Last Masters of the Mexican Schooi 77 IV. THE CATHEDRAL OF MEXICO AND THE SAGKARIO MFTROPOLITANO 87 I. The Cathedral Interior 94 II. The Sagrario Metropoi.itano 102 V.
    [Show full text]