Land of Enchantment
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Marrakech Architecture Guide 2020
WHAT Architect WHERE Notes Completed in 2008, the terminal extension of the Marrakech Menara Airport in Morocco—designed by Swiss Architects E2A Architecture— uses a gorgeous facade that has become a hallmark of the airport. Light filters into the space by arabesques made up of 24 rhombuses and three triangles. Clad in white aluminum panels and featuring Marrakesh Menara stylized Islamic ornamental designs, the structure gives the terminal Airport ***** Menara Airport E2A Architecture a brightness that changes according to the time of day. It’s also an ال دول ي ال م نارة excellent example of how a contemporary building can incorporate مراك ش مطار traditional cultural motifs. It features an exterior made of 24 concrete rhombuses with glass printed ancient Islamic ornamental motives. The roof is constructed by a steel structure that continues outward, forming a 24 m canopy providing shade. Inside, the rhombuses are covered in white aluminum. ***** Zone 1: Medina Open both to hotel guests and visitors, the Delano is the perfect place to get away from the hustle and bustle of the Medina, and escape to your very own oasis. With a rooftop restaurant serving ،Av. Echouhada et from lunch into the evening, it is the ideal spot to take in the ** The Pearl Marrakech Rue du Temple magnificent sights over the Red City and the Medina, as well as the شارع دو معبد imperial ramparts and Atlas mountains further afield. By night, the daybeds and circular pool provide the perfect setting to take in the multicolour hues of twilight, as dusk sets in. Facing the Atlas Mountains, this 5 star hotel is probably one of the top spots in the city that you shouldn’t miss. -
Architecture and Urbanism in the Middle East
Viewpoints Special Edition Architecture and Urbanism in the Middle East The Middle East Institute Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints is another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US relations with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org Cover photos, clockwise from the top left hand corner: Abu Dhabi, United Arab Emirates (Imre Solt; © GFDL); Tripoli, Libya (Patrick André Perron © GFDL); Burj al Arab Hotel in Dubai, United Arab Emirates; Al Faisaliyah Tower in Riyadh, Saudi Arabia; Doha, Qatar skyline (Abdulrahman photo); Selimiye Mosque, Edirne, Turkey (Murdjo photo); Registan, Samarkand, Uzbekistan (Steve Evans photo). -
Moroccan Highlights Explorica.Com/Myers‐2405 March 11 ‐ March 19, 2023
Moroccan Highlights explorica.com/Myers‐2405 March 11 ‐ March 19, 2023 Day 1 Start tour Day 9 End tour Fly home from Casablanca Day 2 Salam Casablanca Meet your tour director and check into hotel Casablanca guided sightseeing tour Day 3 Casablanca‐‐Fes Travel to Fes via Rabat Mohammed V Mausoleum visit Hassan Tower Free time to explore Fes Day 4 Fes landmarks Fes guided sightseeing tour: Fes‐Jdid Mellah, Royal Palace, Fes el Bali Medina, Karaouine Mosque, University of Al‐Karaouine , Medersa Bou Inania Local tanneries & pottery makers visits Camel burger dinner in the Medina Day 5 Fes‐‐Marrakesh Volubilis Roman Ruins visit Travel to Marrakesh via Meknès, Azrou & Beni Mellal Day 6 Marrakesh Marrakesh city walk Berber herborist visit Dinner and belly dancing show Day 7 Marrakesh landmarks Marrakesh guided sightseeing tour: Koutoubia Mosque , Bahia Palace, Saadian Tombs, Menara gardens , Djemaa el‐Fnaa Square Day 8 Marrakesh‐‐Casablanca Travel to Casablanca Casablanca city walk Reserve your Spot! Tour Center ID: Myers‐2405 Enroll online, Registration deadline: March 25, 2021 by phone, or by mail What's included We provide everything you need for a remarkable trip: Round‐trip airfare 7 overnight stays in hotel with private bathrooms Breakfast daily Dinner daily Full‐time services of a professional tour director Guided sightseeing tours and city walks as per itinerary explorica.com/Myers‐2405 Visits to select attractions as per itinerary Tour Diary™ Local Guide and Local Bus Driver tips; see note regarding other important tips Note: On arrival day only dinner is provided; on departure day, only breakfast is provided Note: Tour cost does not include airline‐imposed baggage fees, or fees for any required passport or visa. -
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. -
A Note from Sir Richard Branson
A NOTE FROM SIR RICHARD BRANSON “ In 1998, I went to Morocco with the goal of circumnavigating the globe in a hot air balloon. Whilst there, my parents found a beautiful Kasbah and dreamed of turning it into a wonderful Moroccan retreat. Sadly, I didn’t quite manage to realise my goal on that occasion, however I did purchase that magnificent Kasbah and now my parents’ dream has become a reality. I am pleased to welcome you to Kasbah Tamadot, (Tamadot meaning soft breeze in Berber), which is perhaps one of the most beautiful properties in the high Atlas Mountains of Morocco. I hope you enjoy this magical place; I’m sure you too will fall in love with it.” Sir Richard Branson 2- 5 THINGS YOU NEED TO KNOW 14 Babouches ACTIVITIES AT KASBAH Babysitting TAMADOT Cash and credit cards Stargazing Cigars Trekking in the Atlas Mountains Departure Asni Market Tours WELCOME TO KASBAH TAMADOT Do not disturb Cooking classes Fire evacuation routes Welcome to Kasbah Tamadot (pronounced: tam-a-dot)! Four legged friends We’re delighted you’ve come to stay with us. Games, DVDs and CDs This magical place is perfect for rest and relaxation; you can Kasbah Tamadot Gift Shop 1 5 do as much or as little as you like. Enjoy the fresh mountain air The Berber Boutique KASBAH KIDS as you wander around our beautiful gardens of specimen fruit Laundry and dry cleaning Activities for children trees and rambling rose bushes, or go on a trek through the Lost or found something? Medical assistance and pharmacy High Atlas Mountains...the choice is yours. -
A Study of Sufis and Sufi Symbolism in Ottoman Miniature Paintings
Student Publications Student Scholarship Fall 2013 Where Have All the Symbols Gone?: A Study of Sufis and Sufi yS mbolism in Ottoman Miniature Paintings Jesse E. Siegel Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Cultural History Commons, and the European History Commons Share feedback about the accessibility of this item. Siegel, Jesse E., "Where Have All the Symbols Gone?: A Study of Sufis and Sufi yS mbolism in Ottoman Miniature Paintings" (2013). Student Publications. 192. https://cupola.gettysburg.edu/student_scholarship/192 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 192 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Where Have All the Symbols Gone?: A Study of Sufis and Sufi yS mbolism in Ottoman Miniature Paintings Abstract Ottoman miniature paintings represent some of the best preserved and documented works of Islamic art still extant. They differ critically from other forms of miniature painting, such as Persian miniature painting, by not representing Sufi symbolism. In the two potential sources of such symbolism, Ottoman Sufism and Persian miniature painters in the Ottoman Empire, appear to have not critically influenced Ottoman miniature painting to produce Sufi symbols, do to political, religious, and cultural factors. -
From the Desert to the Sea March 14 - 28, 2020 (15 Days | 12 Guests) with Professor Trevor Marchand
Maximum of just Archaeology-focused tours for the curious to the connoisseur. 12 guests From the Desert to the Sea March 14 - 28, 2020 (15 days | 12 guests) with Professor Trevor Marchand “Morocco was fascinating because of its cultural, geographic and historical diversity. Trevor was an excellent guide that was a real addition to the trip! Although there was no one that we knew before the trip, we really enjoyed the group.” - Judith, California © Marshallhenrie Aït ben Haddou Casbah © imholiday.com Tanger Nador Oujda Salé Volubilis Kénitra RABAT 2 Rabat Fès Casablanca Sidi Archaeological Institute of America Kacem Meknès CASABLANCA 1 FES 3 El Jadida Lecturer & Host Mohammed V Meknes Bouarfa Trevor Marchand is Emeritus Professor of Safi Oued Zem Social Anthropology at the School of Oriental MARRAKECH 4 ARFOUD 2 and African Studies (SOAS, London) and Atlas Mountains Marrakech recipient of the Royal Anthropological Sijilmassa Institute’s Rivers Memorial Medal (2014). He Erg Chebbi studied architecture Aghmat Tinghir Agadir Dunes (McGill), received a Todgha River Gorge PhD in anthropology Aït ben Haddou (SOAS), and qualified OUARZAZATE 1 as a fine woodworker Réseau ferroviaire en 2011 at London’s Building Ligne à grande vitesse prévue initialement Crafts College (2007). Ligne à grande vitesse étendue Marchand has published extensively. His books MOROCCO include Architectural Heritage Yemen (2017), Craftwork as Problem Solving (2016), The Masons of Djenné (2009, Overnight stops winner of three international prizes), Itinerary stops and -
The Architectural Representation of Islam Tural This Book Is a Study of Dutch Mosque Designs, Objects of Heated Public Debate
THE ARCHI THE R EPRESEN tat T EC THE ARCHITECTURAL REPRESentatION OF ISlam T ION OF OF ION This book is a study of Dutch mosque designs, objects of heated public UR debate. Until now, studies of diaspora mosque designs have largely A consisted of normative architectural critiques that reject the ubiquitous L ‘domes and minarets’ as hampering further Islamic-architectural evolution. I The Architectural Representation of Islam: Muslim-Commissioned Mosque SL Design in The Netherlands represents a clear break with the architectural A critical narrative, and meticulously analyzes twelve design processes M for Dutch mosques. It shows that patrons, by consciously selecting, steering and replacing their architects, have much more influence on their mosques than has been generally assumed. Through the careful transformation of specific building elements from Islamic architectural history to a new context, they literally aim to ‘construct’ the ultimate Islam. Their designs thus evolve not in opposition to Dutch society, but to those versions of Islam that they hold to be false. ERIC ROOSE THE ARCHITECTURAL Eric Roose (1967) graduated with M.A. degrees in Public International Law, Cultural Anthropology, and Architectural History (the latter cum laude) from REPRESENtatION OF ISLAM Leiden University. Between 2004 and 2008 he conducted PhD research at Leiden University, and between 2005 and 2008 was also an Affiliated PhD Fellow at the International Institute for the Study of Islam in the Modern MUSLIM-COMMISSIONED World (ISIM) in Leiden. He is currently a Postdoctoral Fellow at the Amsterdam School for Social Science Research (ASSR) of the University of Amsterdam. MOSQUe DeSIGN ISBN 978 90 8964 133 5 ERIC ERIC IN THe NetHERLANDS R OOS E Eric Roose ISIM ISIM DISSERTATIONS ISIM EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 10/15/2020 10:54 AM via MAASTRICHT UNIVERSITY AN: 324550 ; Roose, Eric.; The Architectural Representation of Islam : Muslim-commissioned Mosque Design in the Netherlands Copyright 2009. -
The Qur'an and Islamic
The Qur’an and Islamic Art Objectives As a result of this lesson, students will be able to: • explain how the Qur’anic prohibition of idolatry affects Islamic art. • define basic terms - Qur’an, tawhid, shirk, idolatry, Arabic, calligraphy, calligram • use the calligram form to express an idea or image for themselves • analyze how the Qur’an and Muslim culture have had impact upon the forms, techniques, and purposes of artistic work; explain the historical, cultural, and social context of representative works of Muslim calligraphy, e.g. a sultan’s seal, a contemporary calligram, a verse of the Qur’an, the name of Allah. (Meets PA Standards for the Arts and Humanities 9.2 A, C, E) Materials Student Handout: Art and the Qur’an Key Questions • What is the Qur’an? • How does it influence Muslim culture? • What does it have to say about images? • How does this affect artists? • How have Muslim artists learned to express themselves while remaining true to their faith? • How has the development of calligraphy affected the decorative arts? Sources Suggested Readings • Annemarie Schimmel. Calligraphy and Islamic Culture • Abdelkebir Khatibi and Mohammed Sijelmassi Hudson. The Splendour of Islamic Calligraphy Websites • There are many images of Islamic calligraphy to be found on-line with a simple Google search. • The Wikipedia entry under Islamic Calligraphy is substantial and contains an animated tughra explaining the writing. Continued on next page 43 Activities 1. Begin by exploring the idea of “image” – how could you describe someone you love if you could not show a picture? 2. Ask what students know about Islam, Muslim culture, the Qur’an. -
A Design Research Journal of the Moorish Influence of Art and Design in Andalusia Written and Designed by Breanna Vick
FOLD UN - A design research journal of the Moorish influence of art and design in Andalusia written and designed by Breanna Vick. This project is developed as a narrative report describing personal interactions with design in southern Spain while integrating formal academic research and its analysis. Migration of Moorish Design and Its Cultural Influences in Andalusia Migration of Moorish Design and Its Cultural Influences in Andalusia UROP Project - Breanna Vick Cover and internal design by Breanna Vick. Internal photos by Breanna Vick or Creative Commons photo libraries. All rights reserved, No part of this book may be reproduced in any form except in case of citation or with permission in written form from author. Printed and bound in the United States of America. Author Bio Breanna Vick is a Graphic Designer based in Minneapolis, Minnesota. She is interested in developing a deeper understanding of different methods of design research. On a site visit to Morocco and Spain in May through June of 2017, Breanna tested her knowledge of design research by observing Moorish design integrated in Andalusia. By developing a research paper, establishing sketchbooks, collecting photographs, and keeping journal entries, she was able to write, design and construct this narrative book. With Breanna’s skill-set in creating in-depth research, she has a deep understanding of the topics that she studies. With this knowledge, she is able to integrate new design aesthetics into her own work. Project Objective My undergraduate research project objective is to advance my understanding of how Moorish design appears in cities located throughout the southern territory of Spain. -
Geometric Patterns and the Interpretation of Meaning: Two Monuments in Iran
BRIDGES Mathematical Connections in Art, Music, and Science Geometric Patterns and the Interpretation of Meaning: Two Monuments in Iran Carol Bier Research Associate, The Textile Museum 2320 S Street, NW Washington, DC 20008 [email protected] Abstract The Alhambra has often served in the West as the paradigm for understanding geometric pattern in Islamic art. Constructed in Spain in the 13th century as a highly defended palace, it is a relatively late manifestation of an Islamic fascination with geometric pattern. Numerous earlier Islamic buildings, from Spain to India, exhibit extensive geometric patterning, which substantiate a mathematical interest in the spatial dimension and its manifold potential for meaning. This paper examines two monuments on the Iranian plateau, dating from the 11 th century of our era, in which more than one hundred exterior surface areas have received patterns executed in cut brick. Considering context, architectural function, and accompanying inscriptions, it is proposed that the geometric patterns carry specific meanings in their group assemblage and combine to form a programmatic cycle of meanings. Perceived as ornamental by Western standards, geometric patterns in Islamic art are often construed as decorative without underlying meanings. The evidence presented in this paper suggests a literal association of geometric pattern with metaphysical concerns. In particular, the argument rests upon an interpretation of the passages excerpted from the Qur' an that inform the patterns of these two buildings, the visual and verbal expression mutually reinforcing one another. Specifically, the range and mUltiplicity of geometric patterns may be seen to represent the Arabic concept of mithal, usually translated as parable or similitude.