Pub Date : 2016-11-14DOI: 10.1163/22118993_03301P004
Sandra Aube
The recent rediscovery of the mosque erected around 1477–84 (882–89) in Tabriz by the Aq Qoyunlu ruler Uzun Hasan (r. 1457–78]) provides new perspectives on ceramic tile production in the former Turkmen capital. The Blue Mosque and its exceptional tile decoration have long been considered to be the last vestiges of the innovative features of the Qara Qoyunlu workshops in Tabriz. The recovery of the Uzun Hasan Mosque sheds new light on this prestigious artistic center: besides confirming the innovative traits of Tabrizi production, its architectural decoration highlights the strong artistic continuity from Qara Qoyunlu to Aq Qoyunlu workshops. These unusual ceramic tiles also constitute a previously unknown stage in the history of Iranian ceramic tiles.
最近在大不里士(Tabriz)由Aq Qoyunlu统治者Uzun Hasan (r. 1457-78)于1477-84(882-89)建造的清真寺的重新发现，为前土库曼首都的瓷砖生产提供了新的视角。蓝色清真寺及其独特的瓷砖装饰一直被认为是大不里士Qara Qoyunlu工作室创新特征的最后遗迹。乌尊哈桑清真寺的恢复为这个著名的艺术中心提供了新的视角:除了证实了大布里兹生产的创新特征外，其建筑装饰突出了从卡拉巧云路到阿克巧云路车间的强烈艺术连续性。这些不寻常的瓷砖也构成了伊朗瓷砖历史上一个以前不为人知的阶段。
{"title":"The Uzun Hasan Mosque in Tabriz: New Perspectives on a Tabrizi Ceramic Tile Workshop","authors":"Sandra Aube","doi":"10.1163/22118993_03301P004","DOIUrl":"https://doi.org/10.1163/22118993_03301P004","url":null,"abstract":"The recent rediscovery of the mosque erected around 1477–84 (882–89) in Tabriz by the Aq Qoyunlu ruler Uzun Hasan (r. 1457–78]) provides new perspectives on ceramic tile production in the former Turkmen capital. The Blue Mosque and its exceptional tile decoration have long been considered to be the last vestiges of the innovative features of the Qara Qoyunlu workshops in Tabriz. The recovery of the Uzun Hasan Mosque sheds new light on this prestigious artistic center: besides confirming the innovative traits of Tabrizi production, its architectural decoration highlights the strong artistic continuity from Qara Qoyunlu to Aq Qoyunlu workshops. These unusual ceramic tiles also constitute a previously unknown stage in the history of Iranian ceramic tiles.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"9 1","pages":"33-62"},"PeriodicalIF":0.4,"publicationDate":"2016-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84233657","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 : 2015-08-27DOI: 10.1163/22118993-00321P11
Eva-Maria Troelenberg
This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kuhnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history.
{"title":"Arabesques, Unicorns and Invisible Masters. The Art Historian's Gaze as symptomatic Action?","authors":"Eva-Maria Troelenberg","doi":"10.1163/22118993-00321P11","DOIUrl":"https://doi.org/10.1163/22118993-00321P11","url":null,"abstract":"This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kuhnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"11 1","pages":"213-232"},"PeriodicalIF":0.4,"publicationDate":"2015-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79027485","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 : 2015-08-27DOI: 10.1163/22118993-00321P05
D. Ruggles
Whereas reliance on official texts such as chronicles often leads modern historians to overlook women, the built works of female patrons can provide a valuable historical source because they stand publicly for female patrons who were themselves unseen. Indeed, it is difficult to imagine Damascus and Cairo without the visually prominent tombs and pious foundations of the otherwise invisible Fatimid and Ayyubid women. Among the latter was Shajar al-Durr, a Turkic concubine who rose from slavery to become the legitimate sultan of Egypt in 1250. Her short reign and subsequent marriage ended violently with her death in 1257, but in that space of time she made architectural innovations that ultimately inspired lasting changes in Cairo’s urban fabric. Shajar al-Durr’s impact as architectural patron was as pivotal as her political role: the tomb that she added to her husband’s madrasa led to his permanent and highly visible presence in central Cairo, an innovation that was followed in the endowed complexes of the Mamluks. In her own more modest tomb, she chose not monumentality but iconography, representing herself pictorially in dazzling mosaic, a daring gesture in a world where female propriety meant invisibility.
{"title":"Visible and invisible bodies: The architectural patronage of Shajar al-Durr","authors":"D. Ruggles","doi":"10.1163/22118993-00321P05","DOIUrl":"https://doi.org/10.1163/22118993-00321P05","url":null,"abstract":"Whereas reliance on official texts such as chronicles often leads modern historians to overlook women, the built works of female patrons can provide a valuable historical source because they stand publicly for female patrons who were themselves unseen. Indeed, it is difficult to imagine Damascus and Cairo without the visually prominent tombs and pious foundations of the otherwise invisible Fatimid and Ayyubid women. Among the latter was Shajar al-Durr, a Turkic concubine who rose from slavery to become the legitimate sultan of Egypt in 1250. Her short reign and subsequent marriage ended violently with her death in 1257, but in that space of time she made architectural innovations that ultimately inspired lasting changes in Cairo’s urban fabric. Shajar al-Durr’s impact as architectural patron was as pivotal as her political role: the tomb that she added to her husband’s madrasa led to his permanent and highly visible presence in central Cairo, an innovation that was followed in the endowed complexes of the Mamluks. In her own more modest tomb, she chose not monumentality but iconography, representing herself pictorially in dazzling mosaic, a daring gesture in a world where female propriety meant invisibility.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"51 1","pages":"63-78"},"PeriodicalIF":0.4,"publicationDate":"2015-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88258714","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 : 2014-01-29DOI: 10.1163/22118993-0301P0002
G. Neci̇poğlu
In this volume marking the thirtieth anniversary of Muqarnas, the Editor reflects on the evolution of the journal over the years. To that end, the members of the Editorial and Advisory Boards were sent a questionnaire, asking them to comment on the contributions of Muqarnas and its Supplements series to the field of Islamic art and architecture studies over the past three decades, and to provide suggestions for future directions. Their observations, thoughts, and hopes for Muqarnas have been anonymously incorporated into this essay, which, in conversation with their comments, looks back on the history of the publication and offers some possibilities for the path it might take going forward. The goal here is neither to assess the historiography nor to examine the current state of the field thirty years after the opening essay of volume 1. Instead, the focus is on the development and impact of both Muqarnas and the Supplements series in a highly specialized field with relatively few and short-lived or sporadic journals, before turning to the successes and shortcomings of these publications, as outlined by some of the board members.
{"title":"Reflections on Thirty Years of Muqarnas","authors":"G. Neci̇poğlu","doi":"10.1163/22118993-0301P0002","DOIUrl":"https://doi.org/10.1163/22118993-0301P0002","url":null,"abstract":"In this volume marking the thirtieth anniversary of Muqarnas, the Editor reflects on the evolution of the journal over the years. To that end, the members of the Editorial and Advisory Boards were sent a questionnaire, asking them to comment on the contributions of Muqarnas and its Supplements series to the field of Islamic art and architecture studies over the past three decades, and to provide suggestions for future directions. Their observations, thoughts, and hopes for Muqarnas have been anonymously incorporated into this essay, which, in conversation with their comments, looks back on the history of the publication and offers some possibilities for the path it might take going forward. The goal here is neither to assess the historiography nor to examine the current state of the field thirty years after the opening essay of volume 1. Instead, the focus is on the development and impact of both Muqarnas and the Supplements series in a highly specialized field with relatively few and short-lived or sporadic journals, before turning to the successes and shortcomings of these publications, as outlined by some of the board members.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"1 1","pages":"1-12"},"PeriodicalIF":0.4,"publicationDate":"2014-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78177541","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 : 2011-01-01DOI: 10.1163/22118993-90000172
Alain George
{"title":"THE ILLUSTRATIONS OF THE MAQĀMĀT AND THE SHADOW PLAY","authors":"Alain George","doi":"10.1163/22118993-90000172","DOIUrl":"https://doi.org/10.1163/22118993-90000172","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"21 1","pages":"1-42"},"PeriodicalIF":0.4,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79937457","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 : 2008-01-01DOI: 10.1163/EJ.9789004173279.I-396.60
A. Welch
This chapter briefly discusses the two Mughal tombs: (i) The Tomb of Ataga Khan; and (ii) The tomb of Adham Khan and Maham Anaga. The author's efforts to understand the architecture of the Delhi Sultanate through its inscriptions owe much to his elegant and rigorous work. In its epigraphic analysis the examination of early Mughal architecture that the author submits in this chapter in Oleg Grabar's honor is clearly informed by his methods. The author recalls Oleg?s argument that great art can arise in times of great tension as a compelling statement of ambition and authority. In author's study of Sultanate and early Mughal Delhi, a tomb situated in the fourteenth century dargah of Nizamuddin Awliya in Delhi becomes a shrine to one of Akbar?s most loyal adherents, commemorating a defining event in Akbar?s kingship, one that marks a cultural shift and the formation of a new dynastic direction. Keywords: Adham Khan; Akbar?s kingship; Ataga Khan; Delhi Sultanate; early Mughal architecture; Maham Anaga; Mughal tombs; Nizamuddin Awliya; Oleg Grabar
{"title":"THE EMPEROR’S GRIEF: TWO MUGHAL TOMBS","authors":"A. Welch","doi":"10.1163/EJ.9789004173279.I-396.60","DOIUrl":"https://doi.org/10.1163/EJ.9789004173279.I-396.60","url":null,"abstract":"This chapter briefly discusses the two Mughal tombs: (i) The Tomb of Ataga Khan; and (ii) The tomb of Adham Khan and Maham Anaga. The author's efforts to understand the architecture of the Delhi Sultanate through its inscriptions owe much to his elegant and rigorous work. In its epigraphic analysis the examination of early Mughal architecture that the author submits in this chapter in Oleg Grabar's honor is clearly informed by his methods. The author recalls Oleg?s argument that great art can arise in times of great tension as a compelling statement of ambition and authority. In author's study of Sultanate and early Mughal Delhi, a tomb situated in the fourteenth century dargah of Nizamuddin Awliya in Delhi becomes a shrine to one of Akbar?s most loyal adherents, commemorating a defining event in Akbar?s kingship, one that marks a cultural shift and the formation of a new dynastic direction. Keywords: Adham Khan; Akbar?s kingship; Ataga Khan; Delhi Sultanate; early Mughal architecture; Maham Anaga; Mughal tombs; Nizamuddin Awliya; Oleg Grabar","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"1 1","pages":"255-274"},"PeriodicalIF":0.4,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88844233","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 : 2007-01-01DOI: 10.1163/EJ.9789004163201.I-310.13
Oya Pancaroǧlu
This chapter investigates the ideological and methodological principles that formed the academic conceptualization of Turkish Art by the Viennese scholars Josef Strzygowski, Heinrich Gluck, and Ernst Diez and the direct contributions of these scholars to the teaching of the subject in the universities of Istanbul (Faculty of Literature) and Ankara (Faculty of Language, History, and Geography). The causality of formalism and its ideological extensions are, of course, limited neither to these individuals, who established an art-historical umbilical cord between Austria and Turkey, nor to the particular university departments and faculties in which their legacy was sustained. The chapter sheds light on one particular aspect of a much larger topic by means of a case study on the workings of a methodologically driven vision of Turkish Art in the first half of the twentieth century. Keywords: academic conceptualization; Ankara; Austria; formalism; Istanbul; Turkish Art; twentieth century; Viennese scholars
{"title":"FORMALISM AND THE ACADEMIC FOUNDATION OF TURKISH ART IN THE EARLY TWENTIETH CENTURY","authors":"Oya Pancaroǧlu","doi":"10.1163/EJ.9789004163201.I-310.13","DOIUrl":"https://doi.org/10.1163/EJ.9789004163201.I-310.13","url":null,"abstract":"This chapter investigates the ideological and methodological principles that formed the academic conceptualization of Turkish Art by the Viennese scholars Josef Strzygowski, Heinrich Gluck, and Ernst Diez and the direct contributions of these scholars to the teaching of the subject in the universities of Istanbul (Faculty of Literature) and Ankara (Faculty of Language, History, and Geography). The causality of formalism and its ideological extensions are, of course, limited neither to these individuals, who established an art-historical umbilical cord between Austria and Turkey, nor to the particular university departments and faculties in which their legacy was sustained. The chapter sheds light on one particular aspect of a much larger topic by means of a case study on the workings of a methodologically driven vision of Turkish Art in the first half of the twentieth century. Keywords: academic conceptualization; Ankara; Austria; formalism; Istanbul; Turkish Art; twentieth century; Viennese scholars","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"41 1","pages":"67-78"},"PeriodicalIF":0.4,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87497972","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 : 2006-03-22DOI: 10.1163/22118993-90000100
E. Lambourn
A challenge to the widely perceived notion that the architecture of Gujarat is a stone-based tradition, this article (based on extensive fieldwork in Gujarat supported by the Society for South Asian Studies of the British Academy and the Fondation Max van Berchem, Geneva) explores the full range of materials available across the region and the economic and technological factors that condition their circulation. It suggests that brick and timber construction actually constituted the norm of construction in the majority of the region, aided by the availability of hardwoods, imported from South India by sea. The Islamic religious architecture of the region is reviewed against this background and supported by the presentation of two previously unpublished 15th-17th century brick and timber mosques. This research has resulted in a reconceptualisation of the nature of Gujarati architecture, and the relationship of sea and land in the development and meanings of material culture.
人们普遍认为古吉拉特邦的建筑是以石头为基础的传统，这篇文章(基于在古吉拉特邦广泛的实地调查，由英国科学院南亚研究协会和日内瓦Max van Berchem基金会支持)探索了该地区可用的各种材料，以及影响它们流通的经济和技术因素。它表明，砖木建筑实际上构成了该地区大部分建筑的标准，并借助于从南印度通过海运进口的硬木。该地区的伊斯兰宗教建筑在此背景下进行了回顾，并以两座以前未发表的15 -17世纪砖和木结构清真寺的展示为支持。这项研究导致了古吉拉特建筑性质的重新概念化，以及海洋和陆地在物质文化发展和意义中的关系。
{"title":"Brick, Timber, and Stone: Building Materials and the Construction of Islamic Architectural History in Gujarat","authors":"E. Lambourn","doi":"10.1163/22118993-90000100","DOIUrl":"https://doi.org/10.1163/22118993-90000100","url":null,"abstract":"A challenge to the widely perceived notion that the architecture of Gujarat is a stone-based tradition, this article (based on extensive fieldwork in Gujarat supported by the Society for South Asian Studies of the British Academy and the Fondation Max van Berchem, Geneva) explores the full range of materials available across the region and the economic and technological factors that condition their circulation. It suggests that brick and timber construction actually constituted the norm of construction in the majority of the region, aided by the availability of hardwoods, imported from South India by sea. The Islamic religious architecture of the region is reviewed against this background and supported by the presentation of two previously unpublished 15th-17th century brick and timber mosques. This research has resulted in a reconceptualisation of the nature of Gujarati architecture, and the relationship of sea and land in the development and meanings of material culture.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"25 1","pages":"191-217"},"PeriodicalIF":0.4,"publicationDate":"2006-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83465537","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 : 2002-03-22DOI: 10.1163/22118993_01901009
Brian L. McLaren
. . the native architecture of our Mediterranean colonies presents, for those who may know how to recognize it, all the necessary requirements from which to deduce a perfect modern colonial architecture: rationality in planning, contemporary simplicity of form in exterior appearance, perfect adherence to the necessity of the African climate, perfect harmony with the Libyan nature. When the frequent examples that they propose to us of vivid polychromy applied to affect and brighten up the nudity of the cubic masses and smooth walls are added to these qualities, it will be shown that the native architecture of Libya offers us all of the desirable elements for creating our present-day colonial architecture.
{"title":"The Italian Colonial Appropriation of Indigenous North African Architecture in the 1930’s","authors":"Brian L. McLaren","doi":"10.1163/22118993_01901009","DOIUrl":"https://doi.org/10.1163/22118993_01901009","url":null,"abstract":". . the native architecture of our Mediterranean colonies presents, for those who may know how to recognize it, all the necessary requirements from which to deduce a perfect modern colonial architecture: rationality in planning, contemporary simplicity of form in exterior appearance, perfect adherence to the necessity of the African climate, perfect harmony with the Libyan nature. When the frequent examples that they propose to us of vivid polychromy applied to affect and brighten up the nudity of the cubic masses and smooth walls are added to these qualities, it will be shown that the native architecture of Libya offers us all of the desirable elements for creating our present-day colonial architecture.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"14 1","pages":"164-192"},"PeriodicalIF":0.4,"publicationDate":"2002-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86047979","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 : 2002-01-01DOI: 10.1163/22118993-90000031
Shirine Hamadeh
This verse, composed by the court poet Vaslf Bey at the close of the eighteenth century, belongs to a large body of popular Ottoman lore centering on fountains. Here an anxious mother warns her unwed daughter of the dangers that lurk on a trip to the fountain, a necessary daily routine for ordinary people at that time,2 but also one that provided a pretext for men and women to meet and, in this mother's mind, thereby an opportunity to get into mischief. In one of the traditional Nasreddin Hoca stories, the central character slaps his daughter before she even goes to the fountain in anticipation of the dangers the errand invokes. When asked about his reasons the Hoca explains, "What's the use of slapping her after the jar breaks?" Vasif's verse also reminds us that this was a time when fountains were ceasing to be innocuous little structures and were instead celebrated as objects of architectural splendor and as focal elements in a flourishing culture of middle class recreation. These "minor" edifices are seldom regarded by modern architectural historians as anything more than necessary appendages to more imposing structures such as mosques and madrasas, 3 but in the eighteenth century, they were a central feature of visual and literary representations of Istanbul. As buildings, they turned into the most lavish of public monuments and became a predominant obsession among an expanding number of rich patrons.
{"title":"SPLASH AND SPECTACLE: THE OBSESSION WITH FOUNTAINS IN EIGHTEENTH-CENTURY ISTANBUL","authors":"Shirine Hamadeh","doi":"10.1163/22118993-90000031","DOIUrl":"https://doi.org/10.1163/22118993-90000031","url":null,"abstract":"This verse, composed by the court poet Vaslf Bey at the close of the eighteenth century, belongs to a large body of popular Ottoman lore centering on fountains. Here an anxious mother warns her unwed daughter of the dangers that lurk on a trip to the fountain, a necessary daily routine for ordinary people at that time,2 but also one that provided a pretext for men and women to meet and, in this mother's mind, thereby an opportunity to get into mischief. In one of the traditional Nasreddin Hoca stories, the central character slaps his daughter before she even goes to the fountain in anticipation of the dangers the errand invokes. When asked about his reasons the Hoca explains, \"What's the use of slapping her after the jar breaks?\" Vasif's verse also reminds us that this was a time when fountains were ceasing to be innocuous little structures and were instead celebrated as objects of architectural splendor and as focal elements in a flourishing culture of middle class recreation. These \"minor\" edifices are seldom regarded by modern architectural historians as anything more than necessary appendages to more imposing structures such as mosques and madrasas, 3 but in the eighteenth century, they were a central feature of visual and literary representations of Istanbul. As buildings, they turned into the most lavish of public monuments and became a predominant obsession among an expanding number of rich patrons.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"1 1","pages":"123-148"},"PeriodicalIF":0.4,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73875899","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：