Travelogue of an Almohad Sherd: from Twelfth-Century Al-Andalus To
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From Haft Rang to Cuerda Seca
Università degli Studi di Ferrara DOTTORATO DI RICERCA IN ‘SCIENZE e TECNOLOGIE per l’ARCHEOLOGIA e i BENI CULTURALI’ CICLO XXV COORDINATORE Prof. Carlo Peretto Technological study of the seventeenth century haft rang tiles in Iran with a comparative view to the cuerda seca tiles in Spain Settore Scientifico Disciplinare GEO/09 Dottorando Tutori Dott. Holakooei, Parviz Prof. Petrucci, Ferruccio Carlo Prof.ssa Vaccaro, Carmela Anni 2010/2012 Corso di Dottorato in convenzione con To Moslem Mishmastnehi Abstract The history of polychrome glazed objects in Iran is synchronised with the history of the first known examples of polychrome glazed artifacts. The polychrome glazed bricks of Chughā Zanbīl, dated back to the thirteenth century BC, might be the first evidences of such a claim. This tradition was followed until the fall of the Achaemenids in the fourth century BC, when glazed bricks objects were vastly used to cover the friezes of palaces and important edifices at Persepolis and Susa. Making polychrome glazes on ceramic materials, however, seems to be abandoned until the Islamic period, when polychrome underglaze objects were widely in use in Iran from the tenth century onwards. The first evidences of creating overglaze polychrome decoration was nevertheless achieved on mīnāʾī glazed objects in the thirteenth century AD, which as Abu’l Qasim stated used be originally called haft rang, e.g. ‘seven colours.’ This technique was slightly modified and used throughout the fifteenth and sixteen centuries in Iran, and then was extensively used in the seventeenth century over the Safavid period (1501-1736). In all these types of polychromies, a dark colour line (mostly black) is used to separate various coloured glazes. -
The Contribution of the Christians in Asia Minor Pottery
V ASS I LI O S D. K Y RI AZ O P O U LO S THE CONTRIBUTION OF THE CHRISTIANS IN ASIA MINOR POTTERY This study deals with the Greek and Armenian potters especially of North- Western Asia Minor and the contribution of the former to the development of tile-making and -painting in their original homelands and in Greece after their compulsory emigration in 1922. The indigenous populations of Asia Minor —Greek and Armenian Chris tians— are known to have played as important a role before 1923 in the advance ment of the art of pottery in Asia Minor as the alien Muslim population and formerly the Persians. It is also known that during the period of the Turkish empire both in Cyprus and in the Greek islands which were occupied by the Turks until 1912 (i.e. Crete, Rhodes, Cos, Samos, Chios, Lesbos etc.), all the im portant potteries were almost entirely Greek. As is well known, one of the countries where, during the more distant past, the quality of pottery and vase-painting had reached a very high level by world wide standards was Persia. However after the Mongols invaded the country of Darius during the XHIth century, Persian intellectuals and artists, including accomplished vase-painters, fled to Asia Minor, a large part of which (Ana tolia) was in the hands of the Seldjuks who patronized and fostered the fine arts. These Persian specialists in pottery along with many others of their fel low craftsmen, who were later on from time to time transported willy-nilly to Anatolia, passed on their advanced knowledge of ceramics and their artistic disposition to the native Ottomans and Christians, both Greek and Armenian1. -
Appendix for “The Feudal Revolution and Europe's Rise: Political
Appendix for “The Feudal Revolution and Europe’s Rise: Political Divergence of the Christian West and the Muslim World before 1500 CE” August 1, 2012 1 Feudalism and Political Stability To formalize the intuition presented in Section 3.3 using a simple framework, suppose that a perfectly myopic, risk-neutral sovereign imperfectly controls a polity that creates output of size one each period. Denote by γ the amount of land controlled by the military regardless of the actions of the sovereign (this can be interpreted as the percentage of the entire polity controlled by the military). Suppose that there are N perfectly myopic, risk-neutral members of the military (where N is sufficiently large) and that γ is evenly distributed between the members of this class. We consider the parameter value γ exogenously given. A value of γ = 0 corresponds to a perfectly absolutist sovereign (who uses mamluks or mercenaries to staff his military) whereas higher values of γ denote more feudal arrangements. Note that our assumption of perfectly myopic agents allows us to abstract from the potentially important issue of how the sovereign compensates the military (i.e., iqta’ rents versus land grants).1 In addition, we abstract from other important issues in order to focus on the sovereign’s desire to prevent a successful revolt. We do so in order to highlight one mechanism that we believe contributes to the observed increase in ruler duration. The order of play in the game is as follows: after observing γ the sovereign moves first and decides whether to keep the entire amount of output he controls to himself or whether to divide it equally between himself and the military. -
Commemoration of the Eighth Centenary of the Birth of James I
CATALAN HISTORICAL REVIEW, 1: 149-155 (2008) Institut d’Estudis Catalans, Barcelona DOI: 10.2436/20.1000.01.10 · ISSN: 2013-407X http://revistes.iec.cat/chr/ Commemoration of the Eighth Centenary of the Birth of James I: Conference Organized by the History and Archeology Section of the Institut d’Estudis Catalans in Barcelona Maria Teresa Ferrer* Institut d’Estudis Catalans We are commemorating this year, 2008, the eighth cente- ternational Relations). A total of two lectures and twen- nary of the birth of James I ‘the Conqueror’, the son of King ty-four papers were given. Peter I ‘the Catholic’ and Mary of Montpellier, who was At the opening session the President of the Institut born in Montpellier during the night of 1-2 February 1208. d’Estudis Catalans, Salvador Giner, and the Director of He was unquestionably the most important of our the Institut Europeu de la Mediterrània, Senén Florensa, kings, both on account of his conquests and because of both spoke about the eighth centenary celebrations and the governmental action he carried out during his long, two lectures were given. In the first of these Maria Teresa sixty-three-year reign. Ferrer of the Institut d’Estudis Catalans offered a outline To the states he inherited − Aragon, Catalonia and the biography of King James I and an assessment of his reign. seigneury of Montpellier − he added two more − Majorca She referred to the aspects of his rule that were to be stud- and the Valencian Country − which were captured from ied in each of the conferences and recalled the historian the Moors, resettled, and organized as kingdoms in their Robert I. -
Sovereignty, Religion, and Violence in the Medieval Crown of Aragon" Hussein Fancy
Title Pages The Mercenary Mediterranean: "Sovereignty, Religion, and Violence in the Medieval Crown of Aragon" Hussein Fancy Print publication date: 2016 Print ISBN-13: 9780226329642 Published to Chicago Scholarship Online: September 2016 DOI: 10.7208/chicago/9780226329789.001.0001 Title Pages (p.i) The Mercenary Mediterranean (p.ii) (p.iii) The Mercenary Mediterranean THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON (p.iv) HUSSEIN FANCY is assistant professor of history at the University of Michigan, Ann Arbor. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by The University of Chicago All rights reserved. Published 2016. Printed in the United States of America 25 24 23 22 21 20 19 18 17 16 1 2 3 4 5 ISBN-13: 978-0-226-32964-2 (cloth) ISBN-13: 978-0-226-32978-9 (e-book) DOI: 10.7208/chicago/9780226329789.001.0001 The University of Chicago Press gratefully acknowledges the generous support of the University of Michigan toward the publication of this book. Library of Congress Cataloging-in-Publication Data Fancy, Hussein Anwar, 1974– author. The mercenary Mediterranean : sovereignty, religion, and violence in the medieval crown of Aragon / Hussein Fancy. pages : illustrations, maps ; cm Includes bibliographical references and index. ISBN 978-0-226-32964-2 (cloth : alk. paper) — ISBN 978-0-226-32978-9 (e- book) Page 1 of 2 PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use. -
Real Corp 2009
1-ICAUD Timurid Tile Style in Anatolia and Footprints of Masters of Tabriz Mustafa Çağhan Keskin (M.Sc. Arch. Mustafa Çağhan Keskin, Istanbul Technical University, ITU Faculty of Architecture, Taskisla 34437, Istanbul, Turkey, [email protected]) 1 ABSTRACT Due to the political situation after the Ankara Battle, impact of Timurid style appears in Ottoman art lasting about a century. After reorganizing process from the concussion of defeat in Ankara, Ottomans import the artistic style of Timurids, which is their new politic model and rival, with a traumatic apprehension. The signs of this import style can be seen in several structures in Ottoman state and several principalities around. A survey of these structures gives information on the journey of the first group of artists that came from the Timurid state to Anatolia. The first, who came to Anatolia, were a group of Tabrizian artists, with NakkaĢ Ali, who was taken away from Bursa to Semerkand and set free to return after the death of Timur. Masters of Tabriz, who were thought to work in Timurid structures in Samarkand , undertook the tile decoration of YeĢil Complex (1419- 1424), which was the first significant architectural activity after the Ankara Battle. Masters of Tabriz implemented the cuerda seca technique and some other Timurid tile tradition, as an innovation for Anatolia in YeĢil Complex. Just after completing their work in YeĢil Complex, they continued to work in Muradiye Complex (1424-1426). Then, they moved to Edirne with the order of sultan, to decorate Muradiye Mevlevihanesi (1427). After Edirne, they appear in Kütahya, capital of the Germiyanoğlu Principality, decorating the tomb of Yakup Beg II (1429), who had political and relative connections with the Ottoman dynasty. -
DORON BAUER @: [email protected] *: 1019 William Johnston Bldg/143 Honors Way/Tallahassee, FL 32306 (: 949-701-0244
DORON BAUER @: [email protected] *: 1019 William Johnston Bldg/143 Honors Way/Tallahassee, FL 32306 (: 949-701-0244 WORK Florida State University, Tallahassee Assistant Professor of Medieval and Islamic Art, August 2013 - Present University of California, Irvine Visiting Assistant Professor of Medieval and Islamic Art, July 2011 - July 2013 EDUCATION Johns Hopkins University, Baltimore, MD Ph.D., History of Art, 2012 Centre d'études supérieures de civilisation médiévale (CESCM), Poitiers Master 2, Civilisation médiévale, avec très haute distinction, 2009 The Open University of Israel Bachelor of Arts in the Humanities and Social Sciences, cum laude, 2005 PUBLICATIONS Romanesque Sculpture: Towards an Anti-Iconography. Madrid: La Ergástula, 2018 (forthcoming). “Rubens’ Curtains.” In Voiler/dévoiler, edited by Eric Palazzo and Vincent Debiais. Paris: Geuthner, 2017 (forthcoming). With Miquel Àngel Capellà Galmés, Elena Paulino Montero, and Neus Serra. Art in the Kingdom of Majorca: An Anthology of Sources. Palma de Mallorca: Edicions Universitat de les Illes Balears, 2017 (forthcoming). “Orb.” In Object Fantasies. Experience & Creation, edited by Philippe Cordez, Romana Kaske, Julia Saviello, and Susanne Thürigen. Berlin: De Gruyter, 2017 (forthcoming).. “Le non-figuratif et des mécanismes alternatifs de signification dans l'art du monde méditerranéen médiéval: le cas de Santullano.” Cahiers de civilisation médiévale (2017) (forthcoming). “Merchant Identity and Cartographic Impulse in the Architectural Sculpture of the Lonja of Palma de Mallorca.” Hortus Artium Medievalium 22 (2016): 579–89. Revised in “Merchant Identity and Cartographic Impulse in the Architectural Sculpture of the Llotja of Palma de Mallorca.” In Architecture of Trade, edited by Patrick D. Haughey and Robin Williams. Routledge, 2017. “Geological Imagination in Romanesque Sculpture,” MATerialidadeS. -
Oath Ceremonies in Spain and New Spain in the 18Th Century: a Comparative Study of Rituals and Iconography❧
3 Oath Ceremonies in Spain and New Spain in the 18th Century: A Comparative Study of Rituals and Iconography❧ Inmaculada Rodríguez Moya Universitat Jaume I, Spain doi: https://dx.doi.org/10.7440/histcrit66.2017.01 Reception date: March 02, 2016/Acceptance: September 23, 2016/ Modification: October 13, 2016 How to cite: Rodríguez Moya, Inmaculada. “Oath Ceremonies in Spain and New Spain in the 18th century: A Comparative Study of Rituals and Iconography”. Historia Crítica n. ° 66 (2017): 3-24, doi: https://dx.doi.org/10.7440/histcrit66.2017.01 Abstract: This paper will focus on a comparative study of the royal oath ceremonies in Spain and New Spain starting with the 16th century, when the ritual was established, to later consider some examples from the 18th century. A process of consolidating a Latin American and Hispanic identity began in the 17th century and was reflected in religious and political festivals everywhere. The royal oath ceremony was a renewal of vows of loyalty to the Crown, which was especially important in a monarchy composed a variety of different kingdoms. This ritual was very important in the Viceroyalty of New Spain, where a king ruled from afar over subjects scattered throughout a vast territory that was ethnically and culturally very diverse. The ceremony was therefore used in the 18th century to assert matters of identity through ritual gestures and the images that adorned the ephemeral architecture created for it. Accounts of festivities and prints depicting the event as it took place in places like Lisbon, Barcelona, Valencia, Majorca, Mexico and Lima will be studied from a comparative point of view. -
The Islamic World Overview
The Islamic World Overview ● 622-756 ● 1453-1924 ○ Muhammad abandons Mecca for Medina 622 ○ The Ottomans capture Constantinople in 1453 and ○ The Umayyads, the first Islamic dynasty, build the Dome develop the domed central plan mosque of the Rock in Jerusalem and the Great Mosque in ○ Timurid book illumination flowers under shah Tahmasp Damascus ○ Safavid artisans perfect the manufacture of cuerda seca ● 756-1453 and mosaic tiles ○ THe Abbasids produce the earliest Korans with Kufic calligraphy ○ The Spanish Umayyad dynasty builds the Great Mosque in its capital at Cordoba ○ The Nasrids embellish the Alhambra with magnificent palaces ○ The Fatmid, Ayyubid, and Mamluk dynasties in Egypt are lavish art patrons http://www.vox.com/a/maps-explain-the-middle-east https://youtu.be/ymI5Uv5cGU4?t=5m Early Islamic ● Muhammad 570-632 ● https://youtu.be/TpcbfxtdoI8 ● As quickly as Christianity, Islam spread throughout Arabia, palestine, syria iraq and egypt 10 years after Muhammad's death in 632. ● Islamic Art was brought to India, Middle East, Africa, and Europe. ● Most notably Spain. Arabs overthrew the Visigoths led by Abd al-rahman and set the capital up at Cordoba, Islam was entrenched in spain until 1492 during the spanish inquisition. ● Early Islamic ● Before Muhammed, many in Mesopotamia worshiped gods from the Mesopotamian period, were separate small tribes, and nomadic traders ● Not big players on the stage before, in an area between the Byzantine Empire and Sasanian Empire (Persian). ● Muhammed became a central figure in uniting millions under a new religion, that did not have the early problem that Christianity had in waiting for the prophet to return. -
Técnica, Áulica Y Distinción Social En La Cerámica Medieval
Técnica, áulica y distinción social en la cerámica medieval Jaume COLL CONESA Museo Nacional de Cerámica “González Martí” [email protected] RESUMEN La sociedad islámica dotó a la cerámica de una elevada capacidad de representación simbólica del poder gracias a su impulso, favorecedor de un gran desarrollo técnico. En al-Andalus ello se percibe ya en el califato de Córdoba con la introducción de la loza estannífera, pero los reinos de taifas alcanzarán una cota superior con la producción de la loza dorada. Este papel fue emulado por la sociedad cristiana promoviendo la transferencia técnica al fomentar paulatinamente el artesanado mudéjar y destinar sus producciones tanto a necesidades áulicas como de mercado. Palabras clave: Al-Andalus, España Medieval, técnica cerámica, mayólica y loza dorada, cerámica áulica. Technique, Courtliness and Social Distinction in the Medieval Ceramics ABSTRACT Islamic society gave the pottery a high capacity for symbolic representation of power thanks to its promotion, favouring his great technical development. This can be perceived in al-Andalus during the Caliphate of Córdoba, with the introduction of tin-glaze pottery, but it achieved under taifa’s kingdoms an upper bound with the lusterware. This role was emulated by Christian society promoting technical transfer and gradually impulsing the Moorish craft and using their ceramics for both, the Court and market needs. Key words: Al-Andalus, Medieval Spain, ceramic technique, majolica, lustreware, aulic pottery. Anales de Historia del Arte 69 ISSN: 0214-6452 2014, Vol. 24, Nº Esp. Noviembre, 69-97 http://dx.doi.org/10.5209/rev_ANHA.2014.48270 Jaume Coll Conesa Técnica, áulica y distinción social en la cerámica medieval Introducción Durante la Edad Media, la cerámica inició una larga tradición áulica gracias al papel destacado y al especial reconocimiento que le concedió la sociedad islámica, poste- riormente emulado por los reinos cristianos. -
Read Book Islamic Tiles (Eastern Art)
ISLAMIC TILES (EASTERN ART) PDF, EPUB, EBOOK Venetia Porter | 128 pages | 02 May 1995 | BRITISH MUSEUM PRESS | 9780714114569 | English | London, United Kingdom Islamic Tiles (Eastern Art) PDF Book Preview — Islamic Tiles by Venetia Porter. Although luster painting could work with multiple colors, we see more monochromatic examples that later spread elsewhere in Western Asia and then further west to North Africa, Europe, and America. Haft rang tile was a good choice for economic reasons it was both cheaper and quicker to produce , and the seven colors gave more artistic freedom to artisans. These wood-framed decorative windows are distinctive features of the palace's architecture. This architecture is characterised by its monumental scale, its relative simplicity of form and a somewhat sombre tone. Al Arte Magazine. Two physicists, Peter J. Muqarnas decoration, Unknown, Turkey, Bursa, 15th century, Ceramics, Earthenware, cuerda seca technique, Specifically associated with Islamic architecture, the muqarnas is a three-dimensional decorative element that resembles a honeycomb or stalactite. These are stable in either a contracted or an expanded state, and can switch between the two, which might be useful for surgical stents or for spacecraft components. As a result, many Islamic decorations feature stylized motifs and either interlacing patterns such as geometric designs or arabesques or calligraphy — or a combination. Hadi is currently reading it Dec 30, Image via Wikimedia Commons The Dome of the Rock exterior from the late seventh century features a border of blue tile with white calligraphy. Patterns in the "shabaka" windows include 6-, 8-, and point stars. Architectural drawing for brick vaulting, Iran, probably Tehran, — The earliest geometrical forms in Islamic art were occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. -
La Fabricación De Cerámica Islámica En Almería: La Loza Dorada
LA FABRICACIÓN DE CERÁMICA ISLÁMICA EN ALMERÍA: LA LOZA DORADA Isabel Flores Escobosa* RESUMEN RÉSUMÉ Almería desempeñó un papel importante en el cir- Almería a joué un rôle important dans le ciurcuit cuito comercial mediterráneo, fundamentalmente comercial méditerranéen principalement au XIIe en el siglo XII. Además de sus tejidos, ensalzados siècle. Outre ses tissus, élogieusement décrits par de por numerosos autores, fabricó cerámicas doradas nombreux auteurs, elle a fabriqué de la céramique HQ UHOLHYH \ GRUDGRHVJUD¿DGDV FRQVWDWiQGRVH GRUpHVXUPRXOHRXGRUpHDYHFVJUDI¿WH2QHQDOD tanto por la aparición de moldes como por dese- preuve grâce á l´apparition de moules ainsi que de chos de alfar y análisis de laboratorio. déchets de poterie, et par des analises en laboratoire. PALABRAS CLAVE MOTS CLEF Almería, circuito comercial mediterráneo, cerá- Almería, circuit comercial méditerranée, céra- mica dorada en relieve, molde, cerámica dorado- mique dorée sur moule, céramique dorée avec HVJUD¿DGD VJUD¿WH * Mi agradecimiento a Ana D. Navarro Ortega, directora del Museo de Almería, así como a Lourdes Páez Morales y a Ma- nuel López-Gay Salmerón, ayudante de Museos y Área de Difusión respectivamente, por las facilidades dadas en la con- VXOWDGHORVPDWHULDOHVLVDÀRUHV#KRWPDLOFRP Tudmir nº 2 (2011) pp. 9-28 9 ISABEL FLORES ESCOBOSA ALGUNOS DATOS SOBRE LA FABRICA- de la conocida como verde-manganeso o verde- CIÓN DE CERÁMICA ISLÁMICA EN AL- morado califal, considerada heredera de Madinat MERÍA Y SU DISTRIBUCIÓN al-Zahrá o Madinat Elvira, con formas y elemen- tos decorativos similares en todos los centros fa- Las numerosas intervenciones urbanas llevadas briles como se muestra en el ataifor de la lámina a cabo desde los años ochenta en Almería han IId donde alternan palmas muy esquemáticas y ido aportando valiosas informaciones acerca de ÀRURQHV HQ XQD FRPSRVLFLyQ FHQWUDO FXDGUDGD la medina islámica, sobre todo en lo referido muy diáfana (García y otros, 1992).