Pub Date : 2021-05-05DOI: 10.1163/9789004449886_003
M. Volait
This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. Early displays of Islamic arts and crafts in nineteenth-century Europe are commonly associated with a set of shows that were held between 1885 and 1910 in London (Exhibition of Arab and Persian Art, 1885), Paris (Les Arts musulmans, 1893 and 1903), Stockholm (F. R. Martins Sammlungen aus dem Orient within the General Art and Industry exhibition, 1897), Algiers (Exposition d’art musulman, 1905) and Munich (Meisterwerke Muhammedanischer Kunst, 1910).1 These did not represent however the first or sole opportunities for direct exposure to artworks from the Eastern Mediterranean and North Africa that were offered to European audiences during the age of empire, industry and spectacle. Every single Universal Exposition since 1851 presented objects from the region,2 whether they were the product of current craftsmanship or “curiosities” from the past – the common term then used for non-Western artworks.3 From the very beginning, shows devoted to applied arts, routinely described as industrial, ornamental or decorative in the sources, also hosted Islamic artefacts among their exhibits; alternative viewing was thus provided to those who had not travelled East. More
这是一个在CC BY-NC-ND 4.0许可条款下发布的开放获取章节。19世纪欧洲早期的伊斯兰艺术和工艺展览通常与1885年至1910年间在伦敦(阿拉伯和波斯艺术展览，1885年)、巴黎(Les arts musulmans, 1893年和1903年)、斯德哥尔摩(F. R. Martins Sammlungen aus dem Orient within General Art and Industry展览，1897年)、阿尔及尔(Exposition d’Art musulman, 1905年)和慕尼黑(Meisterwerke Muhammedanischer Kunst, 1910年)举办的一系列展览有关然而，这些并不是第一次或唯一一次直接接触东地中海和北非艺术作品的机会，而这些艺术作品是在帝国、工业和奇观时代提供给欧洲观众的。自1851年以来，每一届世界博览会都会展出来自该地区的物品，无论它们是当前工艺的产物，还是过去的“珍品”——当时用于非西方艺术品的常用术语从一开始，专门展示应用艺术的展览，在资料中通常被描述为工业的、装饰性的或装饰性的，在他们的展品中也有伊斯兰文物;因此，为没有到东方旅行的人提供了另一种观赏方式。更多的
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Pub Date : 2021-05-05DOI: 10.1163/9789004449886_004
M. Volait
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Pub Date : 2021-05-05DOI: 10.1163/9789004449886_002
M. Volait
This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. It was by sheer accident that I came across the topic at the origin and core of the present book. As an architectural historian interested in the working of modernity in pre-Nasserist Egypt, in the early 1990s I was fortuitously given access to an unprecedented resource on the making of Khedivial Cairo: the private papers of French architect Ambroise Baudry (1838–1906), who had been active in the city from 1871 to 1886. For the first time ever, the architectural fashioning of modern Cairo could be viewed and experienced through primary sources, instead of secondary, and mostly indirect, ones. Baudry’s carefully kept archive, then in his descendants’ hands, consisted of an extensive collection of correspondence (about 800 letters to family, friends, mentors and clients); an accounts’ ledger detailing commissions, costs, collaborators and contractors on an almost year-by-year basis; and sets of photographs and architectural drawings, a number of which were acquired in 2000 by the Musée d’Orsay in Paris.1 The archive also contained documentation on his art collections: Baudry was an early enthusiast and proud owner of valuable Islamic objects from Egypt and Syria, among other high “curiosities,” the then current shorthand term for non-Western artworks. A selection of his Iznik tiles and Mamluk woodwork is now housed in the Musée du Louvre in Paris; while the Metropolitan Museum of Art in New York holds carved and inlaid woodwork from his collection too. Most remaining pieces were dispersed in 1999 and 2000.2 The papers revealed a fine artist who gave birth to one of the most original and alluring form of Mamluk-inspired architecture conceived during
这是一个在CC BY-NC-ND 4.0许可条款下发布的开放获取章节。这本书的起源和核心是我偶然遇到的话题。作为一名对前纳塞主义埃及的现代化工作感兴趣的建筑历史学家，在20世纪90年代初，我有幸获得了一个前所未有的关于凯迪维尔开罗建造的资源:法国建筑师Ambroise Baudry(1838-1906)的私人文件，他从1871年到1886年一直活跃在这个城市。有史以来第一次，现代开罗的建筑风格可以通过第一手资料来观察和体验，而不是次要的，而且大多是间接的。鲍德里精心保存的档案，当时在他的后代手中，包括大量的信件(大约800封写给家人、朋友、导师和客户的信);几乎按年为基础，详细列出佣金、成本、合作者和承包商的分类帐;这些档案还包含了他的艺术收藏的文件:鲍德里是一个早期的狂热爱好者，并自豪地拥有来自埃及和叙利亚的珍贵伊斯兰物品，以及其他高度“好奇”的东西，当时非西方艺术品的简称。他的一些伊兹尼克瓷砖和马穆鲁克木制品现在收藏在巴黎卢浮宫的mussame du Louvre;而纽约大都会艺术博物馆也收藏着他收藏的雕刻和镶嵌木制品。剩下的大部分作品在1999年和2000年分散了。这些论文揭示了一位优秀的艺术家，他创造了一种最原始、最诱人的马穆鲁克风格的建筑形式
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Pub Date : 1900-01-01DOI: 10.1163/9789004449886_006
Albert Goupil
This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. Among the collectors who lent works of Islamic Art to the 1865 and 1869 retrospective shows of the Union centrale des beaux-arts appliqués à l’industrie in Paris, two groups can tentatively be differentiated in terms of display. On the one hand, were art lovers who typically kept their pieces in glass cases and cabinets, such as the Marquess of Hertford, or alternatively were to install “treasure chambers” (in German, Schatzkammer), as the Rothschilds famously did. Alphonse de Rothschild, who exhibited “Arab” enamelled glass in 1865, had his precious specimens, together with rock crystal, carved ivories and medieval enamels, locked in a mezzanine room at his hôtel particulier [private mansion] on 2 Saint-Florentin Street in Paris. The smoking room created in 1889 by Ferdinand de Rothschild at Waddesdon Manor for his valuable Renaissance Museum, visually epitomises how objects, such as the famous Palmer Cup (a thirteenth-century enamelled glass beaker from Egypt or Syria mounted on a French silver-gilt foot) and a Mamluk mosque lamp, were presented: they were lined up and protected under glass.1 (Fig. 87) On the other hand were artists, architects and would-be designers who engaged in arranging immersive displays for their curios and pieces of salvage. Some of the atmospheric rooms they created were rather casually conceived. In the studio of Mariano Fortuny y Marsal in Rome, the bricà-brac coexisted side by side with valuable collectibles and some of them performed mundane
这是一个在CC BY-NC-ND 4.0许可条款下发布的开放获取章节。在把伊斯兰艺术作品借给巴黎美术中心(Union centrale des beaux-arts appliqus l 'industrie) 1865年和1869年回顾展的收藏家中，从展示的角度可以初步区分为两类人。一方面，像赫特福德侯爵(Marquess of Hertford)那样的艺术爱好者通常把他们的作品放在玻璃柜和橱柜里，或者像罗斯柴尔德家族(rothschild)那样，安装“宝库”(在德语中是Schatzkammer)。阿方斯·德·罗斯柴尔德(Alphonse de Rothschild)在1865年展出了“阿拉伯”珐琅玻璃，他的珍贵标本，连同水晶、雕刻象牙和中世纪珐琅，被锁在他位于巴黎圣弗洛伦丁街2号hôtel私人宅邸的一个夹层房间里。1889年，费迪南德·德·罗斯柴尔德(Ferdinand de Rothschild)在沃德斯登庄园(Waddesdon Manor)为他珍贵的文艺复兴博物馆(Renaissance Museum)建造了吸烟室，从视觉上体现了著名的帕尔默杯(Palmer Cup)(一种来自埃及或叙利亚的13世纪搪瓷玻璃烧杯，安装在法国镀金的银脚上)和马穆鲁克清真寺的一盏灯等物品的展示方式:它们被放置在玻璃下保护起来(图87)另一方面，艺术家、建筑师和想成为设计师的人，为他们的古玩和打捞物品安排沉浸式展示。他们创造的一些大气房间是相当随意的构思。在罗马Mariano Fortuny y Marsal的工作室里，bricà-brac与珍贵的收藏品并排存在，其中一些表现得很平凡
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Pub Date : 1900-01-01DOI: 10.1163/9789004449886_008
Today, it is easy to ridicule the pursuits discussed throughout this book. They were already mocked in their own day. The French writer Pierre Loti and his fictitious mosque devoted to the mourning of an impossible intercultural love springs to mind. But the assumption made here is that they should be taken seriously because they say something about how one related to the past and inhabited the world in the age of empire, spectacle and industry. The past seemed proximate at the time, and the world wide open.
{"title":"Diverging Routes","authors":"","doi":"10.1163/9789004449886_008","DOIUrl":"https://doi.org/10.1163/9789004449886_008","url":null,"abstract":"Today, it is easy to ridicule the pursuits discussed throughout this book. They were already mocked in their own day. The French writer Pierre Loti and his fictitious mosque devoted to the mourning of an impossible intercultural love springs to mind. But the assumption made here is that they should be taken seriously because they say something about how one related to the past and inhabited the world in the age of empire, spectacle and industry. The past seemed proximate at the time, and the world wide open.","PeriodicalId":114953,"journal":{"name":"Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890","volume":"230 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123002155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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