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The Sephardi Berberisca Dress, Tradition and Symbology
37 OPEN SOURCE LANGUAGE VERSION > ESPAÑOL The Sephardi Berberisca Dress, Tradition and Symbology by José Luís Sánchez Sánchez , Bachelor’s degree in Fine Arts and PhD from the Universidad Complutense de Madrid 1 This is an Arab tradition When the Jews were expelled from Spain in 1492 by the Catholic Monarchs, that was adopted by the many of them crossed the Strait of Gibraltar and put themselves under the Jews. Arabs and Berbers attribute a power of healing protection of the Sultan of Morocco, who at the time held court in Fez. This and protection to the henna meant that the Jewish people already living in North Africa, who were either plant and its leaves are used Arabic or Berber in their language and culture, were now joined by Sephardi for aesthetic and healing purposes. On the henna night, Jews from the Iberian Peninsula who held onto Spanish as their language of women paint their hands daily life and kept many of the customs and traditions developed over centuries following an Arab practice back in their beloved Sepharad. The clothing of the Sephardim, too, had its that is supposed to bring luck. own character, which was based on their pre-expulsion Spanish roots and now GOLDENBERG, André. Les Juifs du Maroc: images et changed slowly under the influence of their new Arab surroundings. textes. Paris, 1992, p. 114. The Sephardi berberisca dress, which is also known as el-keswa el-kbira in Arabic and grande robe in French (both meaning “great dress” in English), forms part of the traditional costume of Sephardi brides in northern Morocco. -
Programa 337A Administración Del Patrimonio Histórico
PROGRAMA 337A ADMINISTRACIÓN DEL PATRIMONIO HISTÓRICO NACIONAL 1. DESCRIPCIÓN Los objetivos y las actuaciones básicas del Consejo de Administración del Patrimonio Nacional para el ejercicio 2014, al igual que en los anteriores, vienen determinados por su propia Ley 23/1982, de 16 de junio, Reguladora del Patrimonio Nacional y por su Reglamento, aprobado por Real Decreto 496/1987, de 18 de marzo, modificado por los Reales Decretos 694/1989, de 16 de junio, 2208/1995, de 28 de diciembre, y 600/2011, de 29 de abril, que ha modificado la estructura orgánica del Organismo, en lo referente a las Unidades dependientes de la Gerencia. De acuerdo con lo previsto en el artículo primero de la Ley 23/1982, son fines del Consejo de Administración del Patrimonio Nacional la gestión y administración de los bienes y derechos del Patrimonio Nacional. En virtud del artículo segundo de dicha Ley, tienen la calificación jurídica de bienes del Patrimonio Nacional los de titularidad del Estado afectados al uso y servicio del Rey y de los miembros de la Familia Real para el ejercicio de la alta representación que la Constitución y las leyes les atribuyen. Además se integran en el citado Patrimonio los derechos y cargas de Patronato sobre las Fundaciones y Reales Patronatos a que se refiere la citada Ley. Y conforme prevé el artículo tercero de la Ley 23/1982, en cuanto sea compatible con la afectación de los bienes del Patrimonio Nacional, a la que se refiere el artículo anterior, el Consejo de Administración adoptará las medidas conducentes al uso de los mismos con fines culturales, científicos y docentes. -
Instruction Av 04/2020 Issued by the Management Of
INSTRUCTION AV 04/2020 ISSUED BY THE MANAGEMENT OF PATRIMONIO NACIONAL ESTABLISHING SPECIAL TEMPORARY CONDITIONS FOR PUBLIC VISITS TO THE PATRIMONIO NACIONAL PALACES AND MONASTERIES, AND MONUMENTS FOUNDED UNDER ROYAL PATRONAGE. The present instruction updates the special temporary conditions and reduction in admission charges for visitors to the Patrimonio Nacional palaces and monasteries, and monuments founded under Royal Patronage: CONDICIONES PARA LA VISITA PÚBLICA 1. Opening hours for the different monuments: The opening hours valid as from Monday 26 October 2020 are shown below: OPENING HOURS TIME Mon Tue Wed Thu Fri Sat Sun 10 to 11 11 to 12 12 to 13 13 to 14 ROYAL PALACE OF MADRID 14 to 15 AND ROYAL KITCHEN 15 to 16 16 to 17 17 to 18 Paid admission Free admission NOTE: It is not possible to visit the Royal Kitchen during free admission times. OPENING HOURS TIME Mon Tue Wed Thu Fri Sat Sun PALACE OF LA ALMUDAINA 10 to 11 PALACE OF ARANJUEZ + BARGE MUS. 11 to 12 MONASTERY OF El ESCORIAL 12 to 13 VALLEY OF THE FALLEN 13 to 14 PALACE OF LA GRANJA 14 to 15 PALACE OF RIOFRIO 15 to 16 MONASTERY OF YUSTE 16 to 17 EL PARDO 17 to 18 Paid admission Free admission Página 1 de 6 OPENING HOURS TIME Mon Tue Wed Thu Fri Sat Sun 10:00 to 10:30 10:30 to 11 11 to 12 12 to 13 CONVENT OF SANTA MARIA LA REAL HUELGAS 13 to 14 14 to 15 CONVENT OF SANTA CLARA TORDESILLAS 15 to 16 16 to 17 17 to 18 18 to 18:30 Paid admission Free admission The Casas del Príncipe (at El Pardo and El Escorial), Casa del Infante (at El Escorial) and Casa del Labrador (at Aranjuez) will not be open. -
Museológica: Tendencias E Diccionario Deldibujoylaestampa Instrumentos Léxicosdeinterés,Comoel Definitiva
ARTE GRÁFICO Y LENGUAJE1 Javier Blas José Manuel Matilla Calcografía Nacional Real Academia de Bellas Artes de San Fernando tendencias l empleo de una terminología adecuada relativa al arte gráfico no es una E cuestión irrelevante para el profesional de museos. Precisar el uso de las palabras que integran el vocabulario técnico de la estampa, es decir, atender a su valor semántico, no es sólo una necesidad sino también una exigencia por sus implicaciones en la valoración social museológica: del grabado y procedimientos afines. El debate sobre el vocabulario del arte gráfico sigue abierto, ya que la normalización lingüística en este campo del conocimiento aún no ha sido presentada de manera definitiva. No obstante, hoy se dispone de instrumentos léxicos de interés, como el Diccionario del dibujo y la estampa2, cuyos Lámina. Entintado de la lámina planteamientos ofrecen una línea argumental Francisco de Goya, Volaverunt razonada y son la expresión de una tendencia en el uso de la terminología avalada por las fuentes históricas. Al margen del modelo que propone ese repertorio, cualquier otra alter- nativa de normalización podría ser aceptable. Lo que no resulta admisible es la dispersión de criterios para la definición de idénticos procesos y productos gráficos. 122 museológica. tendencias El uso indebido del lenguaje ha Precisar el uso de las Directamente relacionada con la perpetuado algunas conductas poco citada jerarquía de los medios afortunadas, entre ellas la igualación palabras que integran gráficos se encuentra una cuarta del campo semántico en significantes el vocavulario técnico constatación: el menosprecio genera- de muy distinta procedencia histórica lizado hacia las técnicas introducidas y etimológica. -
Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)
6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera -
Madrid Museums: the Obvious and Not-So-Obvious (And How to Get in for Free)
Madrid Museums: The Obvious and Not-so-obvious (and how to get in for free) Here’s a long list of Madrid museums worth visiting while you’re here. And to make things easier, we’re breaking it down into two parts: the obvious (like the Prado) and the not-so- obvious (like Cerralbo). We’ll also tell you how to get in for free! If you’ve already read up on the famous Madrid museums, then scroll down… The Obvious: All of these Madrid museums are classified as “obvious” because they’re situated along the two great boulevards – Paseo del Prado and Paseo de Recoletos – where you’ll find the city’s finest arts institutions, including the Golden Triangle of Art which refers to the first three institutions on this list. Only one place is not situated here – the Royal Palace. 1. Prado Museum Spain’s national art museum houses a wide collection of European art from the 12th to the early 19th centuries, and its most notable works are by Spanish painters, Diego Velázquez, Francisco de Goya and El Greco. Considered one of the best museums in the world, the Prado’s most famous piece is Las Meninas by Velazquez. Do give yourself a few hours to walk around – the Prado is gigantic! Website When is it free? Always for under-18-year-olds and students ages 18-25 (with valid ID); Sundays and holidays from 5pm-7pm; and Mon-Sat from 6pm-8pm. Prices & Hours: General admission 14€. Open Mon-Sat from 10am–8pm. Sundays and holidays from 10am-7pm. -
Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Krahe
Cover Page The handle http://hdl.handle.net/1887/28741 holds various files of this Leiden University dissertation. Author: Krahe, Cinta Title: Chinese porcelain and other orientalia and exotica in Spain during the Habsburg dynasty Issue date: 2014-09-18 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty GENEALOGY OF THE SPANISH HABSBURG ROYAL HOUSE ROYAL HABSBURG OF THE SPANISH GENEALOGY 279 Cinta Krahe 280 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty BIBLIOGRAPHY Abad Zardoya 2005 Carmen Abad Zardoya, La casa y los objetos. Espacio doméstico y cultura material en la Zaragoza de la primera mitad del Siglo XVIII, Zaragoza, 2005. Abad Zardoya 2009 Carmen Abad Zardoya, ‘ Por el bien y beneficios que de su mano hemos recibido: estudio documental de una donación de bienes muebles hecha por Tomás de Borja a su sobrino el duque de Lerma en 1608’ in Artigrama, no. 24, 2009, pp. 341-71. Addis 1970 John M. Addis, ‘Chinese Porcelain Found in the Philippines’, in Transactions of the Oriental Ceramic Society, vol. 37, 1970, pp. 17–36. Adhyatman and Ridho1984 Sumarah Adhyatman and Abu Ridho, Tempayan Martavans in Indonesia, Jakarta, 1984. (2nd ed.) Adhyatman 1987 Sumarah Adhyatman, Kendi, Jakarta, 1987. Adhyatman 1999 Sumarah Adhyatman, Zhangzhou (Swatow) Ceramics: Sixteenth to Seventeenth Centuries found in Indonesia, Jakarta, 1999. Aguado de los Reyes 1994 Jesús Aguado de los Reyes, Riqueza y Sociedad en la Sevilla del Siglo XVII, Seville, 1994. Aguado de los Reyes 1996 Jesús Aguado de los Reyes, Fortuna y miseria en la Sevilla del siglo XVII, Seville, 1996. -
Making National Museums: Comparing Institutional Arrangements, Narrative Scope and Cultural Integration (Namu)
NaMu Making National Museums: Comparing institutional arrangements, narrative scope and cultural integration (NaMu) NaMu IV Comparing: National Museums, Territories, Nation-Building and Change Linköping University, Norrköping, Sweden 18–20 February 2008 Conference Proceedings Editors Peter Aronsson and Andreas Nyblom Financed by the European Union Marie Curie Conferences and Training Courses http://cordis.europa.eu/mariecurie-actions/ NaMu. Contract number (MSCF-CT-2006 - 046067) Copyright The publishers will keep this document online on the Internet – or its possible replacement – for a period of 25 years starting from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for non- commercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/. -
Architecture: the Museum As Muse Museum Education Program for Grades 6-12
Architecture: The Museum as Muse Museum Education Program for Grades 6-12 Program Outline & Volunteer Resource Package Single Visit Program Option : 2 HOURS Contents of Resource Package Contents Page Program Development & Description 1 Learning Objectives for Students & Preparation Guidelines 2 One Page Program Outline 3 Powerpoint Presentation Overview 4 - 24 Glossary – Architectural Terms 24 - 27 Multimedia Resource Lists (Potential Research Activities) 27 - 31 Field Journal Sample 32 - 34 Glossary – Descriptive Words Program Development This programme was conceived in conjunction with the MOA Renewal project which expanded the Museum galleries, storages and research areas. The excitement that developed during this process of planning for these expanded spaces created a renewed enthusiasm for the architecture of Arthur Erickson and the landscape architecture of Cornelia Oberlander. Over three years the programme was developed with the assistance of teacher specialists, Jane Kinegal, Cambie Secondary School and Russ Timothy Evans, Tupper Secondary School. This programme was developed under the direction of Jill Baird, Curator of Education & Public Programmes, with Danielle Mackenzie, Public Programs & Education Intern 2008/09, Jennifer Robinson, Public Programs & Education Intern 2009/10, Vivienne Tutlewski, Public Programs & Education Intern 2010/2011, Katherine Power, Public Programs & Education Workstudy 2010/11, and Maureen Richardson, Education Volunteer Associate, who were all were key contributors to the research, development and implementation of the programme. Program Description Architecture: The Museum as Muse, Grades 6 - 12 MOA is internationally recognized for its collection of world arts and culture, but it is also famous for its unique architectural setting. This program includes a hands-on phenomenological (sensory) activity, an interior and exterior exploration of the museum, a stunning visual presentation on international museum architecture, and a 30 minute drawing activity where students can begin to design their own museum. -
Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
QLEVELAND NEWS Wednesday. June X., 1949. Xn the Jews. a Thief
§P QLEVELAND NEWS Wednesday. June X., 1949. Xn the jews. A Thief passes for a gentleman, when stealing has made him rich.- Thos.Fuller, SPANISH MORALITX Spain la knocking on the door of the G,S., t&T full recognition, and the UH, for membership. A little-noticed event last year ought to he brought up and settled before Spain goto anywhere. • • • Xou hoar Spain extolled as a "bulwark against European commu nism" , beoauae of the Franco rightist dictatorial positions, but communism would hardly go further than the actions in this parti cular incident* There is in the largo industrial city of Barcelona a public utility, the Barcelona Light, Power & Traotion Go. Xt was built 20 years ago by Investors and engineers of the 0, S., England, Belgium and Canada, and it furnishes the olty with street oars, electric power and lights. When the Franco government oast to power in 1937i It put a stop to money loafing the country. The BLPT Go. went on earning coupon payments for Its bondholders and dividends for its stock holders, but these payments were not allowed to be sent out of Spain: so it deposited all payments la two Banks la Barcelona and Madrid and notified all its Investors that their earnings had beea escrowed in these banks and perhaps some day could bo paid to them. The richest citizen of Spain (and great Franoo supporter) is Juan March, who In the last 20 years has been written up as a "tycoon* a "munitions merchant", a political power over western Europe and the Mediterranean. -
Red De Metro Y Metro Ligero
Red de Metro y Metro Ligero A B C D C-4b COLMENAR VIEJO E F G Dehesa Vieja H I Belvis J Rosa del Jarama Luxemburgo LEYENDA Hospital Infanta Sofía 10 SIMBOLOGÍA a El Goloso Polígono Avd . Arag Pol. Industrial Universidad ón A-1 L Tempranales Norte í n Pontificia de Comillas H e Estación accesible/ascensor LÍNEAS DE METRO M-607 El Goloso M-50 a Hospital Embalde de A l Infanta Sofía t a Fuente Transbordo corto El Pardo V Parque Reyes 1 e Lucha entre líneas de Metro Pinar de Chamartín-Valdecarros l M-616 Extremadura 1 1 o Polígono c Baunatal Católicos i d Universidad Industrial Sur a d Transbordo largo 2 Las Rosas-Cuatro Caminos de Comillas Manuel Universidad entre líneas de Metro Autónoma de Madrid de Falla de nida San Sebastián 3 Villaverde Alto-Moncloa ve C-4a Cambio de tren Cantoblanco Valdelasfuentes A de los Reyes Alcobendas- 3 Línea de Metro 4 Argüelles-Pinar de Chamartín Universidad San Sebastián de los Reyes España 2 Línea de Metro Ligero 5 Alameda de Osuna-Casa de Campo Alcobendas Marqués de Pº de EuropaMoscatelares A Valdelatas ven de Estación y línea de Cercanías-Renfe ida la Valdavia Val e del nd 6 s apa lle a r A Circular t ra dor Oficina de gestión a va l Pol. Ind. al Jardín de S e d ar l Valportillo v la Vega tarjeta transporte público a le V u 7 Monte de Valdelatas B Hospital del Henares-Pitis M-50 Mingorrubio Aeropuerto Adolfo Suárez Madrid-Barajas e l R-2 8 t a Nuevos Ministerios-Aeropuerto Pol.