Pub Date : 2018-10-03DOI: 10.1163/22118993_03501p008
Maximilian Hartmuth
In the Balkan region of Herzegovina is found a series of Ottoman-period mosques distinguished by minarets of an atypical form: unlike standard Ottoman designs with cylindrical or polygonal minaret shafts, the square plan of these minarets makes them more reminiscent of bell towers. Despite this salient and unusual feature, the “campanile minarets,” as some scholars choose to call them, remain little studied as a historical phenomenon; outside the former Yugoslavia, they are still practically unknown. The current article aims to establish the reasons for the popularity and dissemination of this curious architectural feature in a particular region and time. It discusses two hypotheses that link square-tower minarets morphologically to the Catholic Adriatic and Arab world, but ultimately offers a different interpretation of their formal origins and their establishment as a type.
{"title":"Mosque-Building on the Ottoman-Venetian Frontier, circa 1550–1650: The Phenomenon of Square-Tower Minarets Revisited","authors":"Maximilian Hartmuth","doi":"10.1163/22118993_03501p008","DOIUrl":"https://doi.org/10.1163/22118993_03501p008","url":null,"abstract":"\u0000 In the Balkan region of Herzegovina is found a series of Ottoman-period mosques distinguished by minarets of an atypical form: unlike standard Ottoman designs with cylindrical or polygonal minaret shafts, the square plan of these minarets makes them more reminiscent of bell towers. Despite this salient and unusual feature, the “campanile minarets,” as some scholars choose to call them, remain little studied as a historical phenomenon; outside the former Yugoslavia, they are still practically unknown. The current article aims to establish the reasons for the popularity and dissemination of this curious architectural feature in a particular region and time. It discusses two hypotheses that link square-tower minarets morphologically to the Catholic Adriatic and Arab world, but ultimately offers a different interpretation of their formal origins and their establishment as a type.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43986077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P011
I. Taxel, A. Lester, Uzi ʿAd
This article discusses two near-complete ceramic vessels—a deep, cup-shaped bowl and a shallow bowl/plate—found in recent excavations carried out at the rural site of el-Khirba/Nes Ziyyona in central Israel, in an early Abbasid context dated to the ninth century. The vessels bear unusual painted decorations on their exterior and interior. The decoration of the first bowl consists of alternating pairs of large black and white palm trees and large birds. The second bowl/plate is decorated with eight stylized trees emerging from a central circle, with small circles between them; these motifs were drawn in black over a white-painted surface. These bowls are associated with a local fine ware ceramic group, known as Fine Byzantine (or Fine Islamic) Ware, which originated in the Jerusalem region. However, their decorations reflect stylistic traditions familiar across the Early Islamic Near East and beyond, including from statuary works, illustrated manuscripts, and other ceramics. Altogether, it can be suggested that rural elites in Early Islamic Palestine used luxury ceramics decorated with pan-Islamic patterns as a way of identifying themselves with cosmopolitan, pan-Islamic society.
{"title":"Two Rare Early Abbasid Paint-Decorated Ceramic Bowls from el-Khirba/Nes Ziyyona, Israel","authors":"I. Taxel, A. Lester, Uzi ʿAd","doi":"10.1163/22118993_03501P011","DOIUrl":"https://doi.org/10.1163/22118993_03501P011","url":null,"abstract":"\u0000 This article discusses two near-complete ceramic vessels—a deep, cup-shaped bowl and a shallow bowl/plate—found in recent excavations carried out at the rural site of el-Khirba/Nes Ziyyona in central Israel, in an early Abbasid context dated to the ninth century. The vessels bear unusual painted decorations on their exterior and interior. The decoration of the first bowl consists of alternating pairs of large black and white palm trees and large birds. The second bowl/plate is decorated with eight stylized trees emerging from a central circle, with small circles between them; these motifs were drawn in black over a white-painted surface. These bowls are associated with a local fine ware ceramic group, known as Fine Byzantine (or Fine Islamic) Ware, which originated in the Jerusalem region. However, their decorations reflect stylistic traditions familiar across the Early Islamic Near East and beyond, including from statuary works, illustrated manuscripts, and other ceramics. Altogether, it can be suggested that rural elites in Early Islamic Palestine used luxury ceramics decorated with pan-Islamic patterns as a way of identifying themselves with cosmopolitan, pan-Islamic society.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47060909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P009
Nebahat Avcioğlu
This article is a study of the family photo album of Elisabeth Leitner (ca. 1842?–1908), a Hungarian immigrant in the Ottoman empire. The album contains a complete set of cartes de visite portraits of the Ottoman sultans by the Abdullah Frères. As the only surviving example of such a collection with a known provenance, it provides a rare opportunity for understanding how such images were used in the context of identity formation and social mobility undertaken by a member of the immigrant population. The album, which has never been studied before, is also a fascinating source for investigating the history of Hungarian immigrants in the Ottoman empire who were displaced after the 1848 Revolution. The article approaches the intriguingly autobiographical album by means of a close reading of Elisabeth Leitner’s diaries and unfinished autobiography. My interpretation serves to dismantle notions of a carefree global cosmopolitanism and exposes a historiographical bias that privileges men and their collections of images and ethnographic artifacts over those of women. Elisabeth Leitner’s writings and photographic collection also represent a vast and entirely untapped resource for investigating cultural contacts between Europe and the Ottoman empire in the second half of the nineteenth century.
{"title":"Immigrant Narratives: The Ottoman Sultans’ Portraits in Elisabeth Leitner’s Family Photo Album, circa 1862–72","authors":"Nebahat Avcioğlu","doi":"10.1163/22118993_03501P009","DOIUrl":"https://doi.org/10.1163/22118993_03501P009","url":null,"abstract":"\u0000 This article is a study of the family photo album of Elisabeth Leitner (ca. 1842?–1908), a Hungarian immigrant in the Ottoman empire. The album contains a complete set of cartes de visite portraits of the Ottoman sultans by the Abdullah Frères. As the only surviving example of such a collection with a known provenance, it provides a rare opportunity for understanding how such images were used in the context of identity formation and social mobility undertaken by a member of the immigrant population. The album, which has never been studied before, is also a fascinating source for investigating the history of Hungarian immigrants in the Ottoman empire who were displaced after the 1848 Revolution. The article approaches the intriguingly autobiographical album by means of a close reading of Elisabeth Leitner’s diaries and unfinished autobiography. My interpretation serves to dismantle notions of a carefree global cosmopolitanism and exposes a historiographical bias that privileges men and their collections of images and ethnographic artifacts over those of women. Elisabeth Leitner’s writings and photographic collection also represent a vast and entirely untapped resource for investigating cultural contacts between Europe and the Ottoman empire in the second half of the nineteenth century.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47756802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P010
Saleem Al-Bahloly
This essay explores how the re-encounter with a medieval history of manuscript illustration laid a foundation for the practice of modern art in Iraq. It focuses on the artist Jewad Selim (1919–61) and his discovery of Yahya al-Wasiti’s illustrations of the Maqāmāt al-Ḥarīrī, but it also marks the ways in which that discovery was mediated by the enterprise of orientalist scholarship, the context of European modernism, and the broader cultural renewal that occurred with the collapse of the Ottoman empire and the creation of new nation-states in the Middle East.
{"title":"History Regained: A Modern Artist in Baghdad Encounters a Lost Tradition of Painting","authors":"Saleem Al-Bahloly","doi":"10.1163/22118993_03501P010","DOIUrl":"https://doi.org/10.1163/22118993_03501P010","url":null,"abstract":"\u0000 This essay explores how the re-encounter with a medieval history of manuscript illustration laid a foundation for the practice of modern art in Iraq. It focuses on the artist Jewad Selim (1919–61) and his discovery of Yahya al-Wasiti’s illustrations of the Maqāmāt al-Ḥarīrī, but it also marks the ways in which that discovery was mediated by the enterprise of orientalist scholarship, the context of European modernism, and the broader cultural renewal that occurred with the collapse of the Ottoman empire and the creation of new nation-states in the Middle East.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45105811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P014
L. Mulvin
In the Gennadius Library of the American School of Classical Studies at Athens, Greece, is a heretofore unknown large-format volume that contains many extra illustrations, original drawings, and proofs of plates for The Arabian Antiquities of Spain by James Cavanah Murphy (1760–1814). Based on research conducted between 1802 and 1809, The Arabian Antiquities of Spain features engravings of major monuments of Hispano-Islamic architecture, including the Alhambra, the Great Mosque at Cordoba, and the Generalife at Granada; the work was published posthumously in 1816. Since the Gennadius volume also includes sketches of Islamic monuments from Malaga, Seville, and Xeres, it appears that Murphy originally intended to publish a complete survey of Hispano-Islamic monuments in southern Spain. In the Gennadius volume, grangerized drawings are placed opposite published engravings for comparative purposes; the drawings include notes written by Murphy to the engravers, and several are hand-tinted, which reveal Murphy’s interest in polychromy. This article presents the newly discovered drawings in the Gennadius volume, which adds to our understanding of the monuments depicted in the published plates of Arabian Antiquities, and serves to position Murphy’s pioneering efforts in the context of architectural scholarship, chromolithography, and the book trade in the early nineteenth century.
在希腊雅典美国古典研究学院的Gennadius图书馆中，有一本迄今为止不为人知的大容量书籍，其中包含詹姆斯·卡瓦纳·墨菲（1760–1814）为《西班牙阿拉伯文物》（the Arabian Antiques of Spain）所作的许多额外插图、原始图纸和图版校样。根据1802年至1809年间进行的研究，西班牙的阿拉伯文物以西班牙伊斯兰建筑的主要纪念碑为特色，包括阿尔罕布拉、科尔多瓦大清真寺和格拉纳达大教堂；这部作品于1816年在死后出版。由于Gennadius卷还包括马拉加、塞维利亚和Xeres的伊斯兰纪念碑草图，Murphy似乎最初打算出版一份关于西班牙南部Hispano伊斯兰纪念碑的完整调查报告。在Gennadius卷中，出于比较目的，将grangerized绘画与已出版的版画相对放置；这些画包括墨菲写给雕刻师的笔记，还有几幅是手绘的，这表明墨菲对多色的兴趣。这篇文章介绍了Gennadius卷中新发现的绘画，这增加了我们对已出版的阿拉伯文物图版中描绘的纪念碑的理解，并有助于定位Murphy在19世纪初建筑学术、彩色印刷术和图书贸易方面的开拓性努力。
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Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P004
Abbey Stockstill
The Kutubiyya Mosque, the hallmark monument of the Almohad dynasty (1121–1269) in their capital city of Marrakesh, has resisted scholarly interpretation due to its unique plan, featuring two prayer halls wedged apart by the monumental minaret. The south-facing qibla and the architectural use of a prior dynasty’s palatial remains further complicate the narrative surrounding the function of the mosque within the urban fabric and the Almohads’ dynastic self-concept. This article argues that such idiosyncrasies are indicative of the Almohads’ sensitivity to the intellectual, religious, and legal arguments of the day, expressed through a deliberate adaptation or repudiation of the architectural precedents in the Islamic West. The Kutubiyya must be understood as a monumental record of the dynastic shifts in ideology and identity as the Almohads struggled to define themselves against their predecessors and competitors. The site’s unique plan and complex construction history are the physical evidence of this struggle, which makes the role of the Kutubiyya in the urban history of Marrakesh all the more significant.
{"title":"A Tale of Two Mosques: Marrakesh’s Masjid al-Jamiʿ al-Kutubiyya","authors":"Abbey Stockstill","doi":"10.1163/22118993_03501P004","DOIUrl":"https://doi.org/10.1163/22118993_03501P004","url":null,"abstract":"\u0000 The Kutubiyya Mosque, the hallmark monument of the Almohad dynasty (1121–1269) in their capital city of Marrakesh, has resisted scholarly interpretation due to its unique plan, featuring two prayer halls wedged apart by the monumental minaret. The south-facing qibla and the architectural use of a prior dynasty’s palatial remains further complicate the narrative surrounding the function of the mosque within the urban fabric and the Almohads’ dynastic self-concept. This article argues that such idiosyncrasies are indicative of the Almohads’ sensitivity to the intellectual, religious, and legal arguments of the day, expressed through a deliberate adaptation or repudiation of the architectural precedents in the Islamic West. The Kutubiyya must be understood as a monumental record of the dynastic shifts in ideology and identity as the Almohads struggled to define themselves against their predecessors and competitors. The site’s unique plan and complex construction history are the physical evidence of this struggle, which makes the role of the Kutubiyya in the urban history of Marrakesh all the more significant.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48332249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P005
Yves Porter, Richard Castinel
The Begumpuri or Jamiʿ (Friday) Masjid of Jahanpanah (Delhi) is an impressive monument built during the Tughluq period, circa 1343. Although often credited to Firuz Shah (1351–88), the mosque was probably ordered by Muhammad Shah Tughluq (1325–51), since it was situated next to his royal palace in the heart of his capital (Jahanpanah). The Begumpuri Masjid represents a particular phase in the sequence of Tughluq architecture, both for its plan and elevation, and for its architectural decoration. It has often been described as a “Persianate” four-iwan mosque, although such a designation seems inappropriate. This article explores the probable patronage of the mosque by Muhammad Tughluq and its siting at the center of Jahanpanah. The plan and elevation of the mosque are detailed, with a discussion on the possible models for the building, together with its vernacular characteristics. We then present a study of the architectural decoration, made in stone, stucco, and turquoise glazed tiles. The peculiar features of the Begumpuri Masjid make it a unique monument celebrating the grandeur of Muhammad Tughluq through its huge and void court, as well as in its mulūk khāna (Royal Loggia).
{"title":"Jahanpanah’s Jamiʿ Masjid (Circa 1343): A Reassessment","authors":"Yves Porter, Richard Castinel","doi":"10.1163/22118993_03501P005","DOIUrl":"https://doi.org/10.1163/22118993_03501P005","url":null,"abstract":"\u0000 The Begumpuri or Jamiʿ (Friday) Masjid of Jahanpanah (Delhi) is an impressive monument built during the Tughluq period, circa 1343. Although often credited to Firuz Shah (1351–88), the mosque was probably ordered by Muhammad Shah Tughluq (1325–51), since it was situated next to his royal palace in the heart of his capital (Jahanpanah). The Begumpuri Masjid represents a particular phase in the sequence of Tughluq architecture, both for its plan and elevation, and for its architectural decoration. It has often been described as a “Persianate” four-iwan mosque, although such a designation seems inappropriate. This article explores the probable patronage of the mosque by Muhammad Tughluq and its siting at the center of Jahanpanah. The plan and elevation of the mosque are detailed, with a discussion on the possible models for the building, together with its vernacular characteristics. We then present a study of the architectural decoration, made in stone, stucco, and turquoise glazed tiles. The peculiar features of the Begumpuri Masjid make it a unique monument celebrating the grandeur of Muhammad Tughluq through its huge and void court, as well as in its mulūk khāna (Royal Loggia).","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46378314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-10-07DOI: 10.1163/22118993_03401P009
A. Lenssen
The essay explores how the Syrian artist Adham Ismaʿil (1922–63) linked his modernist painting strategies to the activism of the Baʿth political movement during Syria’s independence decade through a conceptual reworking of the “arabesque”—the rhythmic pattern of unending line and pure color that Orientalist scholars considered a product of the Arab and Muslim episteme and French modernist painters adopted as a fresh compositional device. It draws on a new archive of correspondence, writings, and sketches, supplemented by political memoirs detailing Ismaʿil’s experience of displacement after the 1939 transfer of his native Alexandretta to Turkey, to uncover his efforts to forge new aesthetic unities as a mechanism for Arab activation and rebirth. Ismaʿil and his comrades accorded a radical charge to the concept of vital Arab energy in particular; once manifested in the sensory experience of line and color, it promised to assemble audiences in new collectivities and to help topple the Syrian status quo. The essay thus analyzes Ismaʿil’s radical Arab painting as evidence of not only the complexity of the intellectual debates in the Middle East but also the generative fragmentation of modernist tenets under the (not quite) postwar, postcolonial world order.
{"title":"Adham Ismaʿil’s Arabesque: The Making of Radical Arab Painting in Syria","authors":"A. Lenssen","doi":"10.1163/22118993_03401P009","DOIUrl":"https://doi.org/10.1163/22118993_03401P009","url":null,"abstract":"The essay explores how the Syrian artist Adham Ismaʿil (1922–63) linked his modernist painting strategies to the activism of the Baʿth political movement during Syria’s independence decade through a conceptual reworking of the “arabesque”—the rhythmic pattern of unending line and pure color that Orientalist scholars considered a product of the Arab and Muslim episteme and French modernist painters adopted as a fresh compositional device. It draws on a new archive of correspondence, writings, and sketches, supplemented by political memoirs detailing Ismaʿil’s experience of displacement after the 1939 transfer of his native Alexandretta to Turkey, to uncover his efforts to forge new aesthetic unities as a mechanism for Arab activation and rebirth. Ismaʿil and his comrades accorded a radical charge to the concept of vital Arab energy in particular; once manifested in the sensory experience of line and color, it promised to assemble audiences in new collectivities and to help topple the Syrian status quo. The essay thus analyzes Ismaʿil’s radical Arab painting as evidence of not only the complexity of the intellectual debates in the Middle East but also the generative fragmentation of modernist tenets under the (not quite) postwar, postcolonial world order.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"20 1","pages":"223-258"},"PeriodicalIF":0.4,"publicationDate":"2017-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74441373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-14DOI: 10.1163/22118993_03301P007
Charles Melville
The discovery and recent publication of the third volume of the Afḍal al-tawārīkh (The Most Excellent of Histories) by Fazli Beg Khuzani Isfahani (d. after 1640), with its rich layers of new details on the reign of Shah ʿAbbas I (1587–1629), has made possible a search for fresh information on the shah’s architectural patronage and development of the Safavid capital at Isfahan in the early seventeenth century. Apart from several details not recorded elsewhere, Fazli Beg’s chronicle provides a more continuous account of the development of the city than other contemporary sources, which tend instead to concentrate and group the details of the construction of different buildings into the record of a few specific dates, so that it is not always clear when they were initiated or completed. Fazli Beg gives the impression of a city under constant construction, and of the shah’s restless impatience to propel the work forward. The paper also attempts to address the chronological disparities found in the main sources for the period.
由Fazli Beg Khuzani Isfahani(1640年后)撰写的Afḍal al-tawārīkh(最优秀的历史)第三卷的发现和最近的出版，其中包含了沙阿阿巴斯一世(1587-1629)统治时期的丰富层次的新细节，使人们有可能搜索到17世纪早期沙阿的建筑赞助和萨法维首都伊斯法罕的发展的新信息。除了其他地方没有记录的一些细节外，Fazli Beg的编年史提供了一个更连续的城市发展描述，而不是其他同时代的资料，这些资料倾向于集中并将不同建筑的建造细节集中到几个特定的日期记录中，因此并不总是清楚它们何时开始或完成。Fazli Beg给人的印象是一个不断建设的城市，以及国王对推进工作的不耐烦。本文还试图解决在这一时期的主要来源中发现的时间差异。
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