Pub Date : 2001-01-01DOI: 10.1163/22118993-90000019
R. Kana’an
{"title":"WAQF, ARCHITECTURE, AND POLITICAL SELF-FASHIONING: THE CONSTRUCTION OF THE GREAT MOSQUE OF JAFFA BY MUHAMMAD AGA ABU NABBUT","authors":"R. Kana’an","doi":"10.1163/22118993-90000019","DOIUrl":"https://doi.org/10.1163/22118993-90000019","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"68 1","pages":"120-140"},"PeriodicalIF":0.4,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84133149","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 : 2001-01-01DOI: 10.1163/22118993-90000022
O. Grabar, Mika Natif
{"title":"TWO SAFAVID PAINTINGS: AN ESSAY IN INTERPRETATION","authors":"O. Grabar, Mika Natif","doi":"10.1163/22118993-90000022","DOIUrl":"https://doi.org/10.1163/22118993-90000022","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"283 1","pages":"173-202"},"PeriodicalIF":0.4,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80190607","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}
{"title":"Socializing Medicine: Illustrations of the Kitāb al-diryāq@@@Socializing Medicine: Illustrations of the Kitab al-diryaq","authors":"Oya Pancaroǧlu, Oya Pancaroǧlu","doi":"10.2307/1523306","DOIUrl":"https://doi.org/10.2307/1523306","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"14 1","pages":"155"},"PeriodicalIF":0.4,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81563251","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 : 2001-01-01DOI: 10.1163/22118993-90000016
F. Flood
{"title":"THE MEDIEVAL TROPHY AS AN ART HISTORICAL TROPE: COPTIC AND BYZANTINE “ALTARS” IN ISLAMIC CONTEXTS","authors":"F. Flood","doi":"10.1163/22118993-90000016","DOIUrl":"https://doi.org/10.1163/22118993-90000016","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"50 1","pages":"41-72"},"PeriodicalIF":0.4,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76253942","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 : 2001-01-01DOI: 10.1163/22118993-90000017
Howayda Al-Harithy
{"title":"THE CONCEPT OF SPACE IN MAMLUK ARCHITECTURE","authors":"Howayda Al-Harithy","doi":"10.1163/22118993-90000017","DOIUrl":"https://doi.org/10.1163/22118993-90000017","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"50 1","pages":"73-93"},"PeriodicalIF":0.4,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84856589","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 : 2000-01-01DOI: 10.1163/22118993-90000010
D. Roxburgh
peculiar to, Bihzad were then picked out and described. Having isolated them, these features attained the status of diagnostics. Visual extrapolation opened up a process in which unsigned works were identified as being made in the early, middle, or late stages of the artist’s life (underwritten by the teleological concept of the artist’s evolution, of his inexorable stylistic trajectory), in relationship to fixed points in his dated corpus. Then attributed works were judged for their authenticity, fleshing out the oeuvre still further. The method is a long established one in the discipline of the history of art, and it was used yet again in Ebadollah Bahari’s recent monograph on Bihzad.8 But, as we shall see, this method of stylistic analysis, more specifically its operative conditions, is actually ill-suited to certain aspects of the practice of painting in the Persianate milieu of the late fifteenth and early sixteenth century. Since the early 1900’s scholars have championed Bihzad, and although their motivations are rarely stated, a desire to promote an individual artist in an art tradition believed to comprise so many anonymous makers does come to the fore. Here, at long last emerged an artist who could rival the European art tradition’s list of heroes: F. R. Martin, writing in 1909 and 1912, raved about Bihzad, asking rhetorically whether or not his portraits matched those of Memling, Holbein, and Raphael; Ali Ahmad Naimi, writing as late as 1948, compared Bihzad to Jean Fouquet and François Clouet. 9 Comparisons between Bihzad and European artists were positively de rigueur. One unspoken reason behind the adulation may have been to enhance the saleability of a “nameable” artist on the early-twentieth-century art market.10 But without inspecting such fundamental aspects of the field’s social and economic culture, the construction and refinement of Bihzad’s role qua painter in the Persianate tradition has continued unchallenged,11 despite more recent attempts to adjust our vision of him. Thomas Lentz proposed a curative of sorts in Bihz ̧d was one of the painters. He painted extremely delicately, but he made the faces of beardless people badly by drawing the double chin too big. He drew the faces of bearded people quite well.
然后把比赫扎德的独特之处挑出来并加以描述。在将它们隔离之后，这些特性达到了诊断状态。视觉外推开启了一个过程，在这个过程中，未签名的作品被认为是在艺术家生命的早期、中期或晚期创作的(由艺术家进化的目的论概念所担保，他不可阻挡的风格轨迹)，与他过时的语料库中的固定点有关。然后对署名作品的真实性进行评判，进一步充实了全部作品。这种方法在艺术史学科中是一种长期建立的方法，在Ebadollah Bahari最近关于bihzad的专著中再次使用。8但是，正如我们将看到的，这种风格分析方法，更具体地说，它的操作条件，实际上不适合15世纪末和16世纪初波斯环境中绘画实践的某些方面。自20世纪初以来，学者们一直支持比赫扎德，尽管他们的动机很少被说明，但在一个被认为包含如此多匿名创作者的艺术传统中，促进个人艺术家的愿望确实出现了。在这里，终于出现了一位可以与欧洲艺术传统的英雄名单相媲美的艺术家:f·r·马丁(f.r. Martin)在1909年和1912年的作品中对比赫扎德赞不绝口，用修辞的方式询问他的肖像是否与梅姆林、霍尔拜因和拉斐尔的肖像相媲美;阿里·艾哈迈德·纳伊米(Ali Ahmad Naimi)直到1948年才将比赫扎德与让·富凯(Jean Fouquet)和弗朗索瓦·克鲁埃(franois Clouet)进行比较。这种吹捧背后的一个不言自明的原因可能是为了在20世纪早期的艺术市场上提高“知名”艺术家的销路但是，如果不考察这一领域的社会和经济文化的这些基本方面，比赫扎德在波斯传统中作为画家的角色的建构和完善一直没有受到挑战，尽管最近有人试图调整我们对他的看法。托马斯·伦茨(Thomas Lentz)提出了一种治疗Bihz的方法，他是画家之一。他画得非常精致，但他把没有胡子的人的脸画得太大了。他把有胡子的人的脸画得很好。
{"title":"KAMAL AL-DIN BIHZAD AND AUTHORSHIP IN PERSIANATE PAINTING","authors":"D. Roxburgh","doi":"10.1163/22118993-90000010","DOIUrl":"https://doi.org/10.1163/22118993-90000010","url":null,"abstract":"peculiar to, Bihzad were then picked out and described. Having isolated them, these features attained the status of diagnostics. Visual extrapolation opened up a process in which unsigned works were identified as being made in the early, middle, or late stages of the artist’s life (underwritten by the teleological concept of the artist’s evolution, of his inexorable stylistic trajectory), in relationship to fixed points in his dated corpus. Then attributed works were judged for their authenticity, fleshing out the oeuvre still further. The method is a long established one in the discipline of the history of art, and it was used yet again in Ebadollah Bahari’s recent monograph on Bihzad.8 But, as we shall see, this method of stylistic analysis, more specifically its operative conditions, is actually ill-suited to certain aspects of the practice of painting in the Persianate milieu of the late fifteenth and early sixteenth century. Since the early 1900’s scholars have championed Bihzad, and although their motivations are rarely stated, a desire to promote an individual artist in an art tradition believed to comprise so many anonymous makers does come to the fore. Here, at long last emerged an artist who could rival the European art tradition’s list of heroes: F. R. Martin, writing in 1909 and 1912, raved about Bihzad, asking rhetorically whether or not his portraits matched those of Memling, Holbein, and Raphael; Ali Ahmad Naimi, writing as late as 1948, compared Bihzad to Jean Fouquet and François Clouet. 9 Comparisons between Bihzad and European artists were positively de rigueur. One unspoken reason behind the adulation may have been to enhance the saleability of a “nameable” artist on the early-twentieth-century art market.10 But without inspecting such fundamental aspects of the field’s social and economic culture, the construction and refinement of Bihzad’s role qua painter in the Persianate tradition has continued unchallenged,11 despite more recent attempts to adjust our vision of him. Thomas Lentz proposed a curative of sorts in Bihz ̧d was one of the painters. He painted extremely delicately, but he made the faces of beardless people badly by drawing the double chin too big. He drew the faces of bearded people quite well.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"28 1","pages":"119-146"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83660879","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 : 2000-01-01DOI: 10.1163/22118993-90000011
Zeren Tanındı
{"title":"ADDITIONS TO ILLUSTRATED MANUSCRIPTS IN OTTOMAN WORKSHOPS","authors":"Zeren Tanındı","doi":"10.1163/22118993-90000011","DOIUrl":"https://doi.org/10.1163/22118993-90000011","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"29 1","pages":"147-161"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75617594","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 : 2000-01-01DOI: 10.1163/22118993-90000012
Serpil Bağcı
{"title":"FROM TRANSLATED WORD TO TRANSLATED IMAGE: THE ILLUSTRATED ŞEHNÂME-İ TÜRKÎ COPIES","authors":"Serpil Bağcı","doi":"10.1163/22118993-90000012","DOIUrl":"https://doi.org/10.1163/22118993-90000012","url":null,"abstract":"","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"19 1","pages":"162-176"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81283212","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 : 2000-01-01DOI: 10.1163/22118993-90000003
J. Bloom
Scholars have offered various explanations for this phenomenon. Some, adducing pictorial evidence from the other arts, such as ceramics, have argued that manuscript illustration had been practiced for a long time in the Islamic lands, although no illustrated manuscripts actually survive from early times.2 Others have traced this explosion of illustrated books to external influences, such as artists in the Islamic lands copying Middle Byzantine or Syrian Jacobite painting,3 while still others have argued that the appearance of illustrated manuscripts was the result of an internal development, specifically the emergence of the bourgeoisie as patrons of this new art form.4 Oddly enough, few if any scholars have linked the emergence of the illustrated book to the introduction and increasing use of paper.5 Paper was introduced to the Islamic lands from Central Asia in the eighth century and was quickly adopted for use in government offices.6 The oldest surviving book on "Arab" or "Islamic" paper is generally thought to be a Greek manuscript of the teachings of the Church fathers (Vat. Gr. 2200), believed to have been copied in Damascus ca. 800. Apart from a manuscript in the Alexandria public library recently discovered by the Israeli scholar Malachi Beit-Arie,7 the oldest surviving book on paper in Arabic (in Europe) is a work in Leiden on unusual terms in the prophetic traditions, which is dated Dhu'l-Qa'da 252 (November-December 867). It bears no indication of where it was copied.8 Over the course of the ninth and tenth centuries
{"title":"THE INTRODUCTION OF PAPER TO THE ISLAMIC LANDS AND THE DEVELOPMENT OF THE ILLUSTRATED MANUSCRIPT","authors":"J. Bloom","doi":"10.1163/22118993-90000003","DOIUrl":"https://doi.org/10.1163/22118993-90000003","url":null,"abstract":"Scholars have offered various explanations for this phenomenon. Some, adducing pictorial evidence from the other arts, such as ceramics, have argued that manuscript illustration had been practiced for a long time in the Islamic lands, although no illustrated manuscripts actually survive from early times.2 Others have traced this explosion of illustrated books to external influences, such as artists in the Islamic lands copying Middle Byzantine or Syrian Jacobite painting,3 while still others have argued that the appearance of illustrated manuscripts was the result of an internal development, specifically the emergence of the bourgeoisie as patrons of this new art form.4 Oddly enough, few if any scholars have linked the emergence of the illustrated book to the introduction and increasing use of paper.5 Paper was introduced to the Islamic lands from Central Asia in the eighth century and was quickly adopted for use in government offices.6 The oldest surviving book on \"Arab\" or \"Islamic\" paper is generally thought to be a Greek manuscript of the teachings of the Church fathers (Vat. Gr. 2200), believed to have been copied in Damascus ca. 800. Apart from a manuscript in the Alexandria public library recently discovered by the Israeli scholar Malachi Beit-Arie,7 the oldest surviving book on paper in Arabic (in Europe) is a work in Leiden on unusual terms in the prophetic traditions, which is dated Dhu'l-Qa'da 252 (November-December 867). It bears no indication of where it was copied.8 Over the course of the ninth and tenth centuries","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"55 1","pages":"17-23"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83721964","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 : 2000-01-01DOI: 10.1163/22118993-90000004
S. Blair
scripts. They have spent less time studying the papers used to support and surround the flowing calligraphy, though these too are often exquisitely tinted and decorated to contribute to this dazzling display. This somewhat lopsided approach reflects the interests of earlier researchers, who preferred paintings to paper. Traditionally, published reproductions show just the miniature or a detail of the illumination and crop the surrounding margins which are often done on colored and decorated paper.' This was the case, for example, in virtually all the miniatures illustrated in the Survey of Persian Art.2 Even such a groundbreaking work as Basil Gray's 1979 volume, The Arts of the Book in Central Asia, which included separate chapters on calligraphy, illumination, and binding, had no discussion of paper, and most of the illustrations in it are cropped to show only the miniatures and not the margins.3 More recent investigations, however, focus on the complete page, including calligraphy and margin, and one of the peripheral purposes of this paper is to encourage reproductions of full rather than cropped pages. Another is to encourage further study and publication of the basic physical aspects of manuscripts. A third is to investigate the connection between technological innovation and descriptions of it in medieval times.
脚本。他们很少花时间研究用来支撑和环绕流畅书法的纸张，尽管这些纸张也经常被精美的着色和装饰，以促进这一令人眼花缭乱的展示。这种有点不平衡的方法反映了早期研究人员的兴趣，他们更喜欢绘画而不是纸。传统上，出版的复制品只展示了缩影或照明的细节，而周围的边缘通常是在彩色和装饰的纸上完成的。”例如，《波斯艺术概览》中几乎所有的微缩图都是如此。即使像巴兹尔·格雷(Basil Gray) 1979年出版的《中亚的书籍艺术》(the Arts of the Book in Central Asia)这样具有开创性的作品，其中包括关于书法、照明和装帧的单独章节，也没有讨论纸张，而且书中的大多数插图都经过剪裁，只显示微缩图，而没有显示边缘然而，最近的调查集中在完整的页面上，包括书法和页边空白，本文的外围目的之一是鼓励复制完整的页面，而不是裁剪过的页面。另一个是鼓励进一步研究和出版手稿的基本物理方面。第三是研究中世纪技术创新与技术创新描述之间的联系。
{"title":"COLOR AND GOLD: THE DECORATED PAPERS USED IN MANUSCRIPTS IN LATER ISLAMIC TIMES","authors":"S. Blair","doi":"10.1163/22118993-90000004","DOIUrl":"https://doi.org/10.1163/22118993-90000004","url":null,"abstract":"scripts. They have spent less time studying the papers used to support and surround the flowing calligraphy, though these too are often exquisitely tinted and decorated to contribute to this dazzling display. This somewhat lopsided approach reflects the interests of earlier researchers, who preferred paintings to paper. Traditionally, published reproductions show just the miniature or a detail of the illumination and crop the surrounding margins which are often done on colored and decorated paper.' This was the case, for example, in virtually all the miniatures illustrated in the Survey of Persian Art.2 Even such a groundbreaking work as Basil Gray's 1979 volume, The Arts of the Book in Central Asia, which included separate chapters on calligraphy, illumination, and binding, had no discussion of paper, and most of the illustrations in it are cropped to show only the miniatures and not the margins.3 More recent investigations, however, focus on the complete page, including calligraphy and margin, and one of the peripheral purposes of this paper is to encourage reproductions of full rather than cropped pages. Another is to encourage further study and publication of the basic physical aspects of manuscripts. A third is to investigate the connection between technological innovation and descriptions of it in medieval times.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"35 6 1","pages":"24-36"},"PeriodicalIF":0.4,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89132736","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}
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