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+{"00dfb034-7745-571e-9003-aff48bf346d0":{"name":"Talismanic necklace","description":"A triangular silver pendant decorated with small circles on the top and five blue beads with five silver Ottoman coins dangling at the end, and a silver chain known traditionally as “heal of gazelle”. Silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom.","type":"Amulet; cultic object; talismanic object; jewellery","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"012a86aa-50ab-584f-aaec-cc16d09de613":{"name":"Oval amulet with Arabic script","short_description":"An oval amulet of rock crystal, with *naskhi* epigraphy in the centre reading: “There is no God but Allah the king the manifest truth”.  \nIn the background there are crossing and parallel lines forming rhombus shapes, while the external frame is formed by two lines.","type":"Amulets","holder":"Kunsthistorisches Museum","dates":"Hegira 11th–12th century / AD 17th–18th century","location":"Vienna","dimensions":"Length: 3.43cm, Width: 1.92cm, Depth: 0.55cm, Weight: 7gr","method_for_datation":"Expertise curatorial staff","method_for_provenance":"Museum inventory","provenance":"Near East","obtention":"Bought AD 1942","bibliography":"Komorzynski, \"Assyrische, babylonische und südarabische Denkmäler im KHM in Wien,\" *Österr. Literaturzeitung*, 1 (1952): 6.  \nLeitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006: 135, Kat.-Nr. 156.","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["epigraphic decoration","jewellery","Talisman","inscription","religious objects","naskhi","calligraphy"],"materials":["Rock crystal"]},"04c37681-3626-531f-b0b8-f3b3b408eab3":{"name":"Talismanic manuscript","short_description":"Talismans are supposed to ward off evil through the power of words, signs, or images. The most efficient are believed to be the prayers quoting from the Qur’an, including the name of God or that of important religious figures. This small talismanic manuscript is rather unusual: its circular binding, provided with a cover, encloses nine leaves: one leaf is glued to the support and another to the cover, while the other seven are bound together with woven strips. On opening the manuscript one can see nine pages with blue corners and, upon turning them, seven pages with red corners. A gold medallion with religious texts in Arabic is painted on each of the nine pages with blue corners. The texts include almost all ninety-nine names of Allah (the *Asma al-Husna*), of which the most important is, in this case, *al Khafiz* (the Guarding One). The root *khfz* can be found in many words which make up the text of the manuscript. The ‘seven sleepers of Ephesus’ (*Ashab al-Kahf*) and their dog Qitmir, whose story is recounted in the Qur’an (Sura XVIII – *Al Kahf* / *The Cave*), are mentioned on the final leaf. According to the legend the seven Christian men escaped the persecution of the Roman emperor Decius by taking refuge in a cave where they slept for some three hundred years; the legend has it that those who read their story will be protected from evil as were those who found shelter in the cave. On the leaves with red corners divine names fill the compartments of a square inscribed in a circle which is made up of three registers with religious inscriptions and a larger register with occult signs; the letters were not joined together in order to enhance their magic power.","type":"Manuscript","holder":"The National Museum of Art of Romania","dates":"Hegira 12th century / AD 18th century","location":"Bucharest","dimensions":"Diameter: 10.7cm (binding); Height: 7cm; Width: 7cm (cover)","method_for_datation":"Stylistic analysis","method_for_provenance":"Style of decoration and calligraphy","provenance":"Ottoman Empire","obtention":"Purchased by the Museum in 2007.","bibliography":"Dunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 112, no. 53.","author":"Mircea Dunca","keywords":["magic","Talisman"],"materials":["Cardboard","Gouache","colloidal gold on polished paper","black and red ink","leather and silk binding"]},"0ae5bb98-ff82-5c47-b575-e5dded2d383a":{"name":"Doorknocker.","description":"This doorknocker consists of two fantastical winged dragons opposing one another; their front legs are connected and their heads turned backwards. Their jaws are wide open, and they look as if they are about to swallow their own wings. The ends of their tails are entwined together and end in griffin heads. The dragons are connected with a single lion’s head with a long pin, which allows the knocker to be attached to a door. The surfaces of the dragons’ sculpted bodies are engraved. There is no known counterpart to this doorknocker; however, a very similar doorknocker used to exist in the Ulu Cami (Great Mosque) in Cizre in southeast Anatolia and is housed today in Istanbul in the Museum of Turkish and Islamic Art.  \nWooden doors that were nearly five metres in height, adorned with expensive bronze fittings, were considered objects of interest from the start. They were also chronicled with admiration in medieval sources, such as the book by the engineer Isma'il b. ar-Razzaq al-Jazari who wrote, during this period, about the great doors of the Artuqid Palace in Diyarbakır.  \nRepresentations of winged dragons, facing each other with wide-open jaws, were thought of at the time as charms or amulets to ward off evil. The forms used in this doorknocker illustrate Zangid ideas about magic and a supernatural symbolism of the world. Such ideas appear also in other places and genres. Examples include the Talisman Gate of AH 617–18 / AD 1221–2 in Baghdad; the reliefs on the citadel of Konya (Turkey) of the same year (which is today in the Ince Minareli Madrasa Museum, Konya); or the title pages of manuscripts from around 1200, such as the book on antidotes written in AH 595 / AD 1199, now in the National Library in Paris, which symbolically features the moon on its front cover. Secondary literature has emphasised that such motifs on doors were supposed to prevent undesirable visitors from crossing the threshold.","short_description":"This doorknocker shows two fierce dragons that seem to swallow their own wings and whose entwined tails end in griffin heads. The dragons are joined together by a lion’s head, which has a long pin to fix the knocker to a door. Dragons such as these were thought to protect a building from evil.","type":"Doorknocker, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira beginning of 7th century / AD beginning of 13th century","location":"Berlin","dimensions":"Height 27.5 cm, width 24 cm.","method_for_datation":"The existence of similar doorknockers from the Ulu Cami (Great Mosque) in Cizre, and other similar examples, suggests that this object dates from the beginning of the 7th / 13th century.","method_for_provenance":"As this doorknocker, acquired in Tbilisi, Georgia, displays very close parallels to doorknockers from the Ulu Cami (Great Mosque) in the southeast Anatolian town of Cizre, and also by comparisons in the recent literature, it is believed to have originated from southern Anatolia.","provenance":"Southeast Anatolia (Turkey).","obtention":"From an art dealer in Tbilisi, Georgia. Obtained in 1912 as a gift from A. Francke.","bibliography":"Hattstein, M. and Delius, P., *Islam: Art and Architecture*, Cologne, 2000, pp.384–5.  \nHillenbrand, R., *Islamic Art and Architecture*, London, 1999, pp.111–37.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, cat no. 14, p.17.  \n*Museum für Islamische Kunst*, Catalogue, Mainz, 2001, p.66.  \nRoxburgh, D. J. (ed.),*Turks: a Journey of a Thousand Years, 600–1600*, Exhibition catalogue, London, 2005, pp.130–1, cat. no. 87.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["bronze","zangids","symbolism","doorknocker","imaginary animal","dragon","zoomorphic imagery"],"materials":["engraved.","cast","Bronze"]},"0dda7d39-b57f-5849-bcea-6897a0d0d4be":{"name":"Amulet","alternate_name":"Ornament with prophylactic intention","description":"Throughout the 19th century in Macedonia, jewellery was not used only for adornment; it also served an apotropaic function. People used to wear various kinds of reliquaries for the purpose of personal protection from evil spirits. These protective items used to be worn in pockets or sewn to the garment. This amulet is made of silver using the techniques of hammering and engraving. The rectangular plate depicts the Virgin and Child flanked by two angels above them. The rings on the sides show that the amulet must have been worn suspended on a chain.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","provenance":"Gostivar","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega"},"1339038e-f661-5345-9923-697aa6a4fa79":{"name":"Oval amulet with Sura","short_description":"An oval amulet made of white and red garnet, with an inscribed invocation in the centre, framed by two lines. This is surrounded by *naskhi* epigraphy of *Surat Al-Fatiha* (*The Opening*) reading: \"In the Name of Allah, the Most Gracious, the Most Merciful. All the praises and thanks be to Allah, the Lord of the Alamin (mankind, jinn and all that exists). The Most Gracious, the Most Merciful. The Only Owner (and the Only Ruling Judge) of the Day of Resurrection. You (Alone) we worship, and You (Alone) we ask for help (for each and everything). Guide us to the Straight Way. The way of those on whom You have bestowed Your Grace, not (the way) of those who earned Your Anger, nor of those who went astray\".  \nThis *Sura* is framed by four lines. The outermost field is inscribed with qur’anic epigraphy of *Surat Al-Kafirun* reading: \"In the Name of Allah, the Most Gracious, the Most Merciful. Say (O Muhammad) to (O Al – Kafirun) disbelievers in Allah: I worship not that which you worship, Nor will you worship that which I worship, and I shall not worship that which you are worshipping, Nor will you worship that which I worship, To you be your religion, and to me my religion (Islamic Monotheism)\".  \nThe background of all the inscriptions is decorated with three- and five-fold dots, while the external frame is formed of two.","type":"Amulets","holder":"Kunsthistorisches Museum","dates":"Hegira 11th–12th century / AD 17th–18th century","location":"Vienna","dimensions":"Length: 5.8cm, Width: 3.55cm, Depth: 0.7cm","method_for_datation":"Expertise curatorial staff","method_for_provenance":"Museum inventory","provenance":"Near East","obtention":"Bought AD 1942","bibliography":"Komorzynski, \"Assyrische, babylonische und südarabische Denkmäler im KHM in Wien,\" *Österr. Literaturzeitung*, 1 (1952): 6.  \nLeitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006: 135, Kat.-Nr. 156.","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["epigraphic decoration","jewellery","Talisman","inscription","religious objects","naskhi","calligraphy"],"materials":["Orange-red carnelian"]},"201954ee-da8e-50a5-a061-1b9e19db7811":{"name":"Ostrich egg pendants","short_description":"Since the early modern period, ostrich eggs have been suspended in rooms in the Christian and Islamic regions of the Mediterranean. Their purpose is to warn the faithful and to safeguard their souls against harm. In bazaars, they are hung on the fronts of street side shops, and in and above gateways. Ostrich eggs decorate the tombs of saints, churches and mosques. With the fashion for all things Oriental, they have found their way into upper class living rooms furnished \"in Moorish style.\"","type":"Architecture; religion","holder":"Weltmuseum Wien","dates":"Before 1855","location":"Vienna","dimensions":"Eggs: H: max. 15cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt (prob. Nubia) and Turkey","obtention":"Miramar Collection of Archduke Ferdinand Max, brother of Emperor Franz Joseph I, which was officially incorporated in 1878 into the Imperial Collection in Vienna.","bibliography":"Steinmann, Axel, \"Strauß-Eier als orientalisches Präservativ gegen das Malocchio\", in Ilsebill Barta (ed), *Maximilian von Mexiko. Der Traum vom Herrschen, exhibition catalogue* Vienna: Hofmobiliendepot - Möbelmuseum Wien, 2013: 97-100.","materials":["silk","wool","cotton","silver thread","pigment","Ostrich eggs"]},"21979064-bb4f-57a3-8990-b944ae319b20":{"name":"Talismanic shirt.","description":"The front of the shirt has a round collar and is open down to the level of the abdomen. The entire surface of the shirt is decorated with Qur'anic verses, prayers, magic formulas and numerological charms. The back part of the shirt features a design of naturalistic flowers executed in coloured pigments.  \n  \nThe inscriptions on talismanic shirts consist mostly of chapters and verses of the Qur'an. In addition to these, the names and epithets of God (the *Asma al-Husna*), the names of various prophets and the four major angels, the seal of the Prophet Muhammad and poems praising him, and occasionally the *hilya* (Description of the Prophet) are written. Sometimes the names of Fatima, her sons Hasan and Husayn, the first four caliphs and the signs of the zodiac are encountered. Almost all talismanic shirts have magic formulas and numerological charms made up of letters and numbers, which are thought to have magical powers and meanings. The Museum has many talismanic shirts from different tombs.","short_description":"The Qur'anic verses, which are the words of God, were not only read for prayer but were also perceived as talismanic symbols. Sometimes they were carried as an amulet necklace and sometimes they covered entire costumes known as 'talismanic shirts'.","type":"Ottoman costumes, garment, textile, amulet","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira, end of the 8th–beginning of the 9th / AD end of the 14th–beginning of the 15th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 100 cm, chest (from cuff of sleeve to cuff of sleeve) 120 cm.","method_for_datation":"The shirt's yellow colour, inscriptions, and naturalistic floral decoration suggest that it was made in the early years of the Ottoman dynasty and used by Sultan Bayezid I ('the Thunderbolt').","provenance":"Bursa, Turkey.","obtention":"Brought in 1332 / 1914 from the tomb of Sultan Bayezid I ('the Thunderbolt') at his complex in Bursa.","bibliography":"ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.248–9.","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Talisman","shirt","Sultan Bayezid I","Amulet","costume","calligraphy"],"materials":["Yellow dyed silk."]},"233f177a-9a79-505a-9d9f-69315d5046d2":{"name":"Oval amulet with Sura","short_description":"An oval amulet made of white and red garnet, bordered with a line from *Ayat-al-Kursi* (*The Chair*) in *naskhi* epigraphy reading: \"Allah! None has the right to be worshipped but He, the Ever Living, the One who sustains and protects all that exists. Neither slumber nor sleep overtakes Him. To Him belongs whatever is in the heavens and whatever is on the earth. Who is he that intercedes with Him except with His Permission? He knows what happens to them (His creatures) in this world, and what will happen to them in the Hereafter. And they will never compass anything of his Knowledge except that which He wills. His *Kursi* (Chair) extends over the heavens and earth, and He feels no fatigue in guarding and preserving them\".  \nSetting the closing words of the Ayat in the centre of the amulet, which read: \"And He is the most High, the most Great\".","type":"Amulets","holder":"Kunsthistorisches Museum","dates":"Hegira 11th–12th century / AD 17th–18th century","location":"Vienna","dimensions":"Length: 6.48cm, Width: 3.77cm, Depth: 0.6cm","method_for_datation":"Expertise curatorial staff","method_for_provenance":"Museum inventory","provenance":"Near East","obtention":"Bought AD 1942","bibliography":"Komorzynski, \"Assyrische, babylonische und südarabische Denkmäler im KHM in Wien,\" *Österr. Literaturzeitung*, 1 (1952): 6.  \nLeitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006: 135, Kat.-Nr. 156.","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["epigraphic decoration","jewellery","sura al-baqara","Talisman","ayat al-kursi","inscription","religious objects","naskhi","calligraphy"],"materials":["Orange-red carnelian"]},"2d7d148e-c180-5cf1-813a-f3b4c6cdb469":{"name":"Prayer book.","description":"This small book is a compilation of various religious texts illustrating popular beliefs and customs. Its content is based mainly on the Qur'an to which the first part of the manuscript is dedicated. The text starts with the *fatiha*, the first sura, and ends with the last sura CXIV, but it is not the complete Qur'an. The text was written in a *muhaqqaq* style and in *naskhi* script possibly by two different calligraphers. One of them was Ibrahim Babirbarzadeh, whose signature appears in a later part of the manuscript. On each page the text is framed by a broad gold stripe and lines of black and bright bluish-red ink. The sura headings are illuminated and the verses are marked by golden rosettes. The first part of the manuscript is followed by a selection of suras and Qur'anic verses. According to popular belief, the words of the Qur'an possess supernatural powers because of their divine origin, which help in cases of misfortune. The margins of these pages are also covered with texts. These margin notes might provide explanation of the specific use of the quotations, for example, against disease or poverty. The 99 beautiful names of Allah and the names of the Prophet, which are written on the next pages of the manuscript, are also considered to afford special protection. A common element of books of this kind is prayers of blessing whose recitation was a deserving act of believers. The most impressive part of the manuscript is a series of painted pages showing the names of Allah and Muhammad in golden script against a blue background, the footprint and the sandal of the Prophet, views of Mecca and Medina and powerful quotations, letters and names of God arranged in circles and squares as protection against the evil eye.  \nThe binding of the book is of dark brownish-red leather ornamented with a central golden rectangle and filled with a rhomb pattern. The inside of the binding is covered with a polished yellow paper showing a design of large leaves.","short_description":"Small book with a compilation of various religious texts popularly used for protection. In addition to the mostly Qur’anic quotations it contains prayers of blessing. Most impressive are its painted pages showing the footprint and the sandal of the Prophet or the views of Mecca and Medina.","type":"Manuscript, miniature, leather, paper, ink, gold","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Hegira 12th century / AD 18th century.","location":"Stockholm","dimensions":"Height 14.7 cm, width 9.5 cm.","method_for_datation":"From stylistic aspects of the illuminations. Their floral elements, for example, are close to those of Ottoman Qur'ans of the 12th / 18th century.","method_for_provenance":"From stylistic aspects of the illuminations. Their floral elements, for example, are close to those of Ottoman Qur'ans of the 12th / 18th century.","provenance":"Turkey.","obtention":"Purchased in auction at François de Ricqlès, Paris, 22 March 1996, lot no 33.","bibliography":"*Islamische Kunst aus Privaten Sammlungen in Deutschland*, Exhibition catalogue, Munich, 2000, pp.14–5.  \n*Turkish Miniature Painting and Manuscripts from the Collection of Edwin Binney 3rd*, Metropolitan Museum of Art, New York, 1973, cat. no. 40.","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["prayer","Qur’an","religious manuscript","Religion"],"materials":["leather","illuminated","Gold","Ink","Paper","illustrated.","calligraphy"]},"2f56270b-4828-5cb4-988d-4fea854d025c":{"name":"Crescent-shaped amulet","short_description":"Presented by the late Sultan Said bin Taimur to his son the late Sultan Qaboos bin Said.","holder":"National Museum Oman","dates":"Hegira 8 Sha’ban 1328 / AD 13 August 1910","location":"Muscat","dimensions":"Diameter: 16cm, Weight: 131.5g","copy_editor":"Liz Cooper","materials":["Gold","pearls and turquoise"]},"324db717-f88f-51eb-8d77-e05946d136f3":{"name":"Headdress ornament.","description":"Made up of a nickel silver-plate disc with metal chains, Ottoman coins, charms and beads, this headdress ornament would have been worn as part of a bridal outfit, fixed to the top of a bonnet made of embroidered fabric, and shaped to fit the head. One of the charms is a French medal of Saint Joseph, and the other is the Hand of Fatima. The coins, except for one Spanish coin that shows the name of King Phillip V of Spain, are Ottoman, dated between AH 1180 and 1260 (AD 1766–1844). The coins in such headdresses had two functions, one simply about decoration, and the other as an indicator of the bride's wealth; her social status and the value of her dowry. The presence of the Christian saint's medal centred in the front section of the disk draws attention to the probability that this headdress may have belonged to a Christian bride! In Palestine, which is full of intermingling Christian and Muslim villages, this headdress is a good example of the cultural diversity of the Ottoman Middle East. Other European coins popular in Middle Eastern jewellery include coins depicting the Austrian Empress Maria Theresa.  \n  \nThe brides of Ramallah (a predominantly Christian town) would have worn headdresses such as this one for their wedding celebrations. A woman would be free to either add more coins or to take some off for personal use, for home improvements for example. Many of these headdresses were passed down through generations, and when gold coins came into fashion, many of the silver coins were replaced.","short_description":"A Christian saint’s medal attached to the front of this ornament reveals that it belonged to an Arab Christian bride from the Ottoman period in Palestine. It would have been worn as part of the bridal outfit of a lady from Ramallah. The silver coins are Ottoman from between AH 1180 and 1260 (AD 1766–1844).","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Diameter (of disk) 13.5 cm; depth (of disk, convex) 3 cm; length of short chains 12 cm; length of long chains 28.5 cm.","method_for_datation":"Stylistic analysis and dating of the Ottoman coinage used on the headdress of between AH 1180 and 1260 (AD 1766–1844).","provenance":"Ramallah, Palestine.","obtention":"Donated to the Museum in 1987.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["marriage","numismatics","jewellery","women","Coin","Daily life","Traditional costume","Coinage","costume"],"materials":["Nickel silver-plate with metal chains and coins","and glass and stone beads."]},"3816252d-1e7b-505e-aad8-6913c3069310":{"name":"Kilim (2)","description":"A pair of the Pirot kilims of the so-called *draper* type was used as a double-bed cover. The kilims were part of the dowry of Miroslava Živanović, the daughter of Dušan Živanović, a judge of the Court of Cassation in Pirot. In both kilims, the central field features a large medallion filled with the so called *devil’s knee* (*vraško koleno*) ornament, whereas the remaining space is filled with the ornament called *bibice*. The wide outer border (*ploča*), which frames the central field on three sides, is also filled with the *devil’s knee* ornament. The colours used are dark red, black and white. Although very old, the *devil’s knee* ornament has remained one of the favourite motifs in the Pirot kilim-making. Its name is derived from the folk round dance (*kolo*), in which dancers form a circle, due to which the ornament has an apotropaic function. It was believed that the more “circles” and “wreaths” there were in a home, the stronger the protection from all evil powers. The same ornament can also be found in Anatolian kilims woven in the provinces of Van, Aydın and Esme.","type":"Carpet","holder":"Museum of Applied Art","dates":"Around 1925","location":"Belgrade","dimensions":"H: 178cm, W: 73cm (each item)","method_for_datation":"By stylistic analysis, material and technique; by historical research (belonged to the third generation of a family)","provenance":"Pirot","obtention":"Purchased in 2015","bibliography":"Maskareli, D., “Kilim (2)”, *Journal*, Belgrade: Museum of Applied Art, n. s. 11 (2015): 110–111.  \nHull, A., and Luczyc-Wyhowska, J., *Kilim: The Complete Guide, History, Pattern, Technique, Identification*, London: Thames&Hudson, 2008.  \nVitković-Žikić, M., *Pirotski ćilimi = Les Kilims de Pirot*, Belgrade: Muzej primenjene umetnosti, 2001.  \nPetković, M., and Vlatković, R., *Pirotski ćilim* \\[Abstract in English\\], Belgrade: Srpska akademija nauka i umetnosti, 1996.  \nStojanović, D., *Pirotski ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1987.","author":"Draginja Maskareli","keywords":["weave","wool","Şarköy","Pirot","Kilim"],"materials":["weaving","wool"]},"3c17f86e-d439-5b20-bc58-743d4944d612":{"name":"Talismanic linen shirt","short_description":"This shirt is completely covered with magic numerical squares, talismanic formulae and proper names, most of them with the ending \"*Al-Khazraji*\". On the inside of the back, two individuals are named in a Turkish colophon as responsible for inscribing the shirt: al-Sayyid al-Shaykh Abd al-Rahman Erzinjani and al-Sayyid al-Shaykh Hasan Ibrahim Ahmad.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 12th century / AD 18th century","location":"Sharjah","provenance":"Ottoman Empire, possibly Arabia or Iraq","keywords":["Talisman","shirt","Amulet","costume","calligraphy"]},"418d5f13-426c-5a27-b41a-2628f935f8f4":{"name":"Talismanic Shirt","short_description":"A rich display of calligraphy covers this garment belonging to a group of magic objects called Islamic Talismanic shirts. Sewn from cream-colored cotton, the caftan is adorned with blue and red ink as well as liquidized gold.  \n  \nThe Qur’an refers to Prophet Yusuf wearing a similar protective shirt, written to have restored sight in Yusuf’s father, Yacub. In Turkey, sultans would gear up with this robe for battles as spiritual and bulletproof armour.  \n  \nThis example from 17th century Turkey shimmers with Qur’anic verses in *naskh* and *ruqqa* calligraphy. The verses include the *Surat al-Fatiha* (opening chapter of the Qur’an), *Ayat al-Kursi* (the Throne Verse), the *Surat Yasin* against evil sorcery, and the verse “Help from God and a speedy victory” from Surat al-Saff. The squares emphasize Mohammed and Allah in *kufic* script. Prayers enrich the magical shirt in bilateral symmetry. Furthermore, the first four caliphs and ninety-nine beautiful names of God appear within the fabric. Additional amuletic signs hide in plain sight, obscured in magical shapes and the science of letters (*ilm al huruf*). As one of the most efficacious inscriptions, the beautiful names of God may each represent a letter, planet, a day and an angel.  \n  \nPredominantly from India, Iran and Turkey between the 14th and 17th centuries, the wearer embodies the caftan’s healing power. The textile functions as a vehicle for the interaction of the body and sacred script, simultaneously blessing and protecting the person reading, touching or wearing the jacket. When gifted, the talismanic shirt amplifies the connection between the gift-giver and recipient.","type":"Costumes and accessories","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 106cm, Width: 88cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","provenance":"Turkey","obtention":"Purchase","bibliography":"Al-Saleh, Y., “Amulets and Talismans from the Islamic World”, *Heilbrunn Timeline of Art History*, (2000).  \nAnetshofer, H., \"The Hero Dons a Talismanic Shirt for Battle: Magical Objects Aiding the Warrior in a Turkish Epic Romance\", *Journal of Near Eastern Studies*, 77 : 2 (2018): 175–193.  \nMuravchick, R. E., \"God is the Best Guardian: Islamic Talismanic Shirts from the Gunpowder Empires\", *Publicly Accessible Penn Dissertations 1380*, (2014).  \nMuravchick, R. E., \"Objectifying the Occult: Studying an Islamic Talismanic Shirt as an Embodied Object,\" *Arabica*, 64 : 3–4 (2017): 673–693.  \nNazanin Hedayat Munroe, \"Wrapped Up: Talismanic Garments in Early Modern Islamic Culture\", *Journal of Textile Design Research and Practice*, 7 : 1 (2019): 4–24.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["caftan","magic","Turkey","Clothing","Ottoman","Talisman","Amulet"],"materials":["cotton","Sewing"]},"501785a0-9d3d-5517-9bcf-01c3e0ae7519":{"name":"Bowl","short_description":"This bowl has a central high boss and gadrooned sides. Vessels of this shape, harking back to antique libation bowls, were used in the Islamic world in the hammam or as magic bowls. The magic healing properties of this particular bowl are betrayed by the undeciphered symbols on the rim. Qur’anic verses ornament the frieze under the rim and the sides of the boss, while on its flattened top is inscribed, within a six-pointed star, the name of Allah.","type":"Tinned copper","holder":"Benaki Museum","dates":"Hegira 10th-11th century / AD 16th-17th century","location":"Athens","dimensions":"Diameter 18 cm","provenance":"Turkey","keywords":["Quranic inscriptions","Ottoman bath culture","Magical bowl"],"materials":["Tinned copper"]},"51757aaf-3959-52b5-9501-f542549914de":{"name":"‘Keff’ or hand-palm amulet.","description":"A small, moulded glass 'keff' hand, which would have been threaded with many others like it to make a chain or necklace; it may also have been sewn on to a garment or a headdress. The main function of the keff is to protect the wearer against the 'evil eye' by stopping the damage that evil thoughts and deeds can do to the wearer. This hand is made of coloured glass, which has been cast into a mould. The loop has been made by twisting the base of the hand (the wrist area) on itself; the loop is at the front of the hand in the palm area, and once threaded, the fingers of the hand would point down.  \n  \nThe keff pre-dates Islam and has been fully incorporated into Islamic popular culture, used widely as a protective charm throughout the Middle East and North Africa. Although the keff is particularly prevalent on jewellery it also appears on paper charms and talismans, on textiles and embroidery, and on vernacular architecture.","short_description":"In popular Islamic cultures of the Middle East, small glass amulets such as this one would have been used both as decoration and for protection. The main function of the *keff* is to protect the wearer against the 'evil eye' by stopping the damage that evil thoughts and deeds can do to the wearer.","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira, late 13th–early 14th century / AD late 19th–early 20th century.","location":"Glasgow, Scotland","dimensions":"Length 2 cm, width 1.5 cm.","method_for_datation":"Stylistic analysis: many similar examples made of the same colour glass and of the same size exist and they have been dated to the Ottoman period and attributed in provenance to Hebron in Palestine.","method_for_provenance":"Many similar examples exist attributed in provenance to Hebron in Palestine.","provenance":"Hebron, Palestine.","obtention":"Purchased by the Museum in 1912.","bibliography":"Budge, Sir, E. A. Wallis, *Amulets and Superstitions*, London, 1930.  \nWeir, S., *Palestinian Costume*, London, 1989","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["jewellery","Talisman","figurative decoration","religious objects"],"materials":["moulded","coloured glass."]},"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0":{"name":"Veil","alternate_name":"Ghudfeh","description":"Three natural cotton and linen fabrics sewn and decorated with cross-stitch with embroidered folkloric patterns (known as “cypress trees”, “amulets”, “keys”, “saw” and “Shuayb teeth”). They are mainly in red with some green colour; a small linen fringe dangles from two sides. The veil was an essential piece of women’s dress. Girls started preparing their trousseau (clothes, shawls, and other belongings collected for marriage) at the age of ten. Married women had various embroidered costumes worn for special occasions. As the economy of the Jordanian territory in the late 19th century-early 20th century relied on trades and crafts, new waves of traders and artisans started to arrive and to settle. Thus, traditional costumes reflect a variegated population composition, demographic changes, personal attire and local rites.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Palestine, Ashdod and Hebron villages","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"52bc1f5c-19f1-5c15-8794-630ecd367289":{"name":"Amulet","description":"This object is a piece of horse jewellery, an amulet worn around the horse's neck to ward off misfortune. Horse jewellery was used among Bedouins and villagers communities. This amulet consists of a silver-cased crescent composed of two joined tusks of wild boar. A ¼ Majidi Ottoman gold coin dangles from the crescent with three crescents and stars at the end. The silver chain is called “heal of gazelle”.","type":"Cultic Object; ornament; talismanic object; jewellery","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"58b8041e-0838-56a2-b0b3-2369a498e868":{"name":"Belt.","description":"This type of long brocade silk belt, or *lampas*, woven on a draw-loom in the workshops of Fez, appeared in the early AH 12th / AD 18th century. Worn on top of a kaftan by aristocratic and middle-class women, it was wrapped several times around the waist. Folded in half, it could be used on either side. This piece is narrow and flexible like the older examples. On a red background, brocade decoration consisting of five differently coloured motifs inspired by the decorative Moroccan-Andalusian repertoire of is embellished with elements borrowed from Persian and Ottoman art: geometric knotwork whose interstices are decorated with flowers, fleurons and palms, ovoid motifs reminiscent of the fruit of the citrus tree *tronjia*, and friezes of arcades decorated with flowers similar to the designs found on wall hangings. These motifs appear on their own or combined in repetitive alternating transverse bands.  \nThe two ends of the belt are decorated with several stylised hands and eight-pointed stars, or Solomon's seals, considered in esoteric Moroccan tradition to be prophylactic symbols. Between the large motifs that make up the main decoration of the fabric and the two ends of the belt, a narrow band decorated with small tulips arranged head-to-foot is the mark of the workshop.  \nThe long cords that finish the belt are knotted at the front to keep it around the waist.","short_description":"This sort of long silk-brocade belt would have been worn above a kaftan by the wives of important dignitaries and the bourgeoisie. It would have been wrapped around the waist several times and could be worn either way around.","type":"Belt, silk","holder":"Museum of the Udayas.","dates":"Hegira 12th-13th centuries / AD 18th–19th centuries.","location":"Rabat.","dimensions":"Length 135 cm, width 32 cm.","method_for_datation":"By its decoration, the length and width of the belt and the flexibility of the fabric.","method_for_provenance":"According to the studies carried out on the subject and the work of historians, brocade workshops were set up in Fez from the Marinid era until the early 20th century.","provenance":"Fez, Morocco.","obtention":"Purchased.","bibliography":"Golvin, L., 'Les métiers à la tire des fabricants de brocarts de Fès', *Hespéris*, 1950, 1st & 3rd quarters, pp.37-48.  \nVogel, L., *Soieries marocaines, les ceintures de Fès*, Paris, 1920.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","geometric decoration","women","architectural decoration","Talisman","Amulet","costume"],"materials":["Silk brocade woven on a draw-loom."]},"63a232f1-8d19-5d4c-86db-4c09688f3384":{"name":"Garment","short_description":"Talismanic shirt with decorative roundels, escutcheons and a cartouche filled with pious inscriptions in *naskhi* and attenuated *thuluth*, square compartments with the complete text of the Qur´an, and borders with the ninety-nine \"Beautiful Names\" (*al-Asma´ al-Husna*) of God.","type":"Textile, amulet, costume","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira probably 8th century / AD probably 15th century","location":"Kuwait City","provenance":"India","keywords":["Thuluth","Talisman","naskhi script","inscription","Amulet","calligraphy"]},"6c1d66db-90bf-5f82-84ae-0e4c4b5c07c2":{"name":"Talismanic banner","short_description":"The banner combines Qur’anic verses, invocations and religious sayings with numeric magic squares. The main inscription band, written in a script with elements of *thuluth* and *naskhi*, is *sura* *al-Fath* (XLVIII) verses 1–16, in part. It is framed along the edges of the banner by a series of lobed medallions reserved on a silver ground and enclosing magic squares. At the are a large 101x101 magic squareand a 41x41 square. The remaining spaces are filled by calligraphic cartouches, symmetrically arranged along the vertical axis. Their texts include the *shahada*; the *basmala*; Qur’nic verses; some of the *asma’ al-husna* (‘the Names of God’); the names of the Prophet Muhammad and ‘Ali (arranged so as to suggest a human face); and the so-called *nadi ‘Aliyyan* (‘Call upon ‘Ali’) quatrain. The arrangement of the cartouches in the lower half of the banner is reminiscent of a standard top (*‘alam*). Also represented is *dhu’l-faqar*, the bifurcated sword given by the Prophet Muhammad to ‘Ali.","type":"Textile; banner; talismanic banner; magic squares","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD 17th century","location":"London","dimensions":"340 x 277cm","method_for_provenance":"A number of the calligraphic cartouches on the banner have parallels in both Ottoman and Indian art, but the combination seen here, coupled with the colours used and the script of the main inscription, point to a Deccani origin.","provenance":"India, Deccan","bibliography":"Leoni, F., *Power and Protection. Islamic Art and the Supernatural* (exhibition catalogue), Oxford ,2016, pp.66–7.  \nNassar, N., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part Two. \\[In preparation / forthcoming\\].  \nTezcan, H., *Tılsımlı Gömlekler*, Istanbul, 2011: no.54, p.184 (comparative item).","author":"Nahla Nassar","keywords":["Basmala","Mughal","India","Qur’an","textile","cotton","Talisman","inscription","banner","ink","silver","calligraphy"],"materials":["old repairs in green-dyed cotton","black and red ink","coloured pigments and silver on plain cotton"]},"7ff62aeb-95ef-5f6d-aac9-d4a4e44250fe":{"name":"Medallion (bracteate).","description":"This circular sheet of metal mounted as a medallion has a rounded opening in its lower part. Opposite, a succession of three rings, lightly spread apart, has been soldered onto the upper surface. The surface on one side of this medallion remains bare, while the other features ornamentation and an inscription. A double circular fillet encircles the circumference by contouring the opening, and circumscribes the ornamentation, most of which is spread across three bands. The two upper and lower bands enclose interlacing curved lines and straight lines respectively. The central band, which is wider, encloses an inscription in cursive characters featuring the following text: '*A**l mulk lillah wahdahu*' (Sovereignty belongs to God alone).  \nThe rings that are fixed on the upper part of the medallion suggest that this bracteate was used as a central pendant for a necklace.","short_description":"This silver disk is a medallion with a section cut out of the lower half and three separate rings attached to the top half. One of its faces is decorated with concentric circles divided into segments and bands bearing floral and geometric decoration, as well as an inscription in cursive characters.","type":"Jewellery","holder":"National Museum of Cirta","dates":"Hegira 524–668 / AD 1130–1269 or hegira 627–982 / AD 1229–1574.","location":"Constantine","dimensions":"Diameter 2.8 cm, weight 2.11 g.","method_for_datation":"Bourouiba dates this medallion to the Hammadid era without offering justification. The inscription on this medallion was written in *naskhi* characters (cursive), a script particular to the Almohads and the Hafsids, and not the Hammadids, who used *kufic* lettering. Furthermore, it was brought to light along with thousands of Almohad coins and one Hafsid coin. It would thus make sense to date it to the 7th/13th century.","method_for_provenance":"Bourouiba states, in the *Bulletin d'archéologie algérienne* (Vol. III, 1968), that this medallion was discovered 'in the western part of the prayer hall of the mosque of the Qal'a of the Bani Hammad, near the last pillar of the penultimate nave, to the right of the *mihrab*'.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (Bourouiba excavations, September 1967).","bibliography":"Bourouiba, R., *Cités disparues: Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Algiers, 1982.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal'a des Banu Hammad”, *Bulletin d'archéologie algérienne*, Vol. III, Algiers, 1968, pp.353–67.","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Bracteate","jewellery","Necklace","medallion","Hafsid","Almohad"],"materials":["Engraved and cut silver."]},"8a17d7b1-3b8e-5b6d-88b4-25e695aeed52":{"name":"Medallions (bracteates).","description":"Each of these two sheets of metal, circular in shape, features a circle on its upper surface that is ornamented with three lines in relief, and each sheet is only decorated on one side. Medallion 01 is embellished with large, coarsely executed curved lines that belong to a discontinued interweaving pattern. Medallion 02 depicts the same type of discontinued interweaving pattern based on large curved lines, but it has been more finely worked and is better centred. Three perforated triangles also adorn medallion 02.  \nThe rings demonstrate that these bracteates were used as pendants.","short_description":"The two engraved silver disks attached to rings are medallions. They are decorated on one side with curved lines, crudely in one case and more carefully and centred in the other, forming discontinuous interlacing lines. The second medallion is also decorated with three perforated triangles.","type":"Jewellery","holder":"National Museum of Setif","dates":"Hegira 524–668 / AD 1130–1269 or Hegira 627–982 / AD 1229–1574.","location":"Setif","dimensions":"Diameter 2 cm (each), weight 1 g (each).","method_for_datation":"Bourouiba dates these medallions back to the Hammadid era without offering justification. This hypothesis is challenged by an inscription featured on a medallion found alongside these medallions that was written in *naskhi* characters (cursive), a script particular to the Almohads and the Hafsids, and not the Hammadids, who used *kufic* lettering. Furthermore, these medallions were brought to light along with thousands of Almohad coins and one Hafsid coin. It would thus make sense to date it from the 7th / 13th century.","method_for_provenance":"Bourouiba states, in the *Bulletin d'archéologie algérienne* (Vol. III, 1968), that the medallions were discovered 'in the western part of the prayer hall of the mosque of the Qal'a of the Bani Hammad, near the last pillar of the penultimate nave, to the right of the *mihrab*'.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (Bourouiba excavations, September 1967).","bibliography":"Bourouiba, R., *Cités disparues: Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Algiers, 1982.  \nBourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal'a des Banu Hammad”, *Bulletin d'archéologie algérienne*, Vol. III, Algiers, 1968, pp.353–67.","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Bracteate","jewellery","Hafsids","medallion","Almohad"],"materials":["Incised silver."]},"8bd10ee7-7d61-5332-9316-61a61303f68d":{"name":"Heart-shaped amulet with Sura","short_description":"An amulet made of white and red garnet in the shape of a heart. In the centre there is an inscription in *naskhi* epigraphy reading: \"Thunder (Ar-Ra'ad) glorifies and praises Him, and so do the angels because of His Awe\", and is surrounded with *Ayat-al-Kursi* (*The Chair*) in *naskhi*, reading: \"Allah! none has the right to be worshipped but He, the Ever Living, the One who sustains and protects all that exists. Neither slumber nor sleep overtakes Him. To Him belongs whatever is in the heavens and whatever is on the earth. Who is he that intercedes with Him except with His Permission? He knows what happens to them (His creatures) in this world, and what will happen to them in the Hereafter. And they will never compass anything of his Knowledge except that which He wills. His *Kursi* (Chair) extends over the heavens and earth, and He feels no fatigue in guarding and preserving them. And He is the most High, the most Great\". The amulet is framed by two lines.","type":"Amulets","holder":"Kunsthistorisches Museum","dates":"Hegira 11th–12th century / AD 17th–18th century","location":"Vienna","dimensions":"Length: 3.285cm, Width: 3.03cm, Depth: 0.48cm","method_for_datation":"Expertise curatorial staff","method_for_provenance":"Museum inventory","provenance":"Near East","obtention":"Bought AD 1942","bibliography":"Komorzynski, \"Assyrische, babylonische und südarabische Denkmäler im KHM in Wien,\" *Österr. Literaturzeitung*, 1 (1952): 6.  \nLeitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006: 135, Kat.-Nr. 156.","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["epigraphic decoration","jewellery","sura al-baqara","Talisman","ayat al-kursi","inscription","religious objects","naskhi","calligraphy"],"materials":["Light yellow carnelian"]},"8d5a8b6b-9b7a-5d86-a103-56328d85c92a":{"name":"Hand-palm amulet.","description":"A small brass amulet used as a protective charm, and designed in the shape of a hand. Embossed on the back is a six-pointed star with a dot in its centre, and a crescent below it. Above the star, written in Arabic is the word: '*mabruk*' (congratulations). The palm is symmetrical with two thumbs and two index fingers, and one middle finger in the centre. The fingernails are clearly defined. The reverse of the hand is flat with no features. This amulet would have been fixed on to an object, such as clothing, furniture, or a gift.  \n  \nThe palm of the hand, the 'keff', is a common charm used to ward off the 'evil eye', which represents the potential harm evil thoughts and deeds can do. The palm mainly appears in the form of jewellery worn on the person, but also on architectural decoration and other ornaments.  \n  \nThe six-pointed star in the Islamic Middle East is a symbol of the ring or seal of the Prophet Sulayman (the Biblical King Solomon). And, according to Islamic tradition, he was famous for his wisdom and supernatural abilities. His ring, with its six-pointed-star seal, empowered him to command the 'jinn' demons, and speak to animals. The image of the seal in this amulet is used to empower the beholder. The presence of both the crescent and the Arabic congratulations phrase confirm that this amulet is Islamic.","short_description":"The palm of the hand is a common protective shape against potential harm, evil thoughts and deeds. The six-pointed star with a dot in its centre is a symbol of the ring or seal of Prophet Sulayman (the Biblical King Solomon), which is used here to empower the beholder.","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira, late 13th century / AD late 19th century.","location":"Glasgow, Scotland","dimensions":"Length 3 cm, width 2 cm.","method_for_datation":"Stylistic analysis: the use of the six-pointed star by Muslims stopped when European Jewish communities started to use it as a symbol for Judaism in the late 13th / 19th century, indicating that this hand could not have been made in Palestine beyond that date.","provenance":"Palestine.","obtention":"Purchased in 1912.","bibliography":"Bearman, P., et. al., *The Encyclopaedia of Islam*, Leiden, 1965.  \n  \nSinger, I., *Jewish Encyclopaedia*, Pennsylvania, 1906.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["jewellery","Talisman","figurative decoration","religious objects"],"materials":["Moulded brass."]},"98176d85-368c-5bcb-9ca0-e03314e1aa13":{"name":"Amulet band","description":"Acquired by Franks.","type":"Amulet band","holder":"The British Museum","dates":"? ; acquisition date: 1891","location":"London","provenance":"?"},"98b84854-315a-5209-aff7-d359b94d60f4":{"name":"Amulet","short_description":"This gold amulet case is inscribed on both sides with verses from the Qur’an in an early *kufic* script. The magical-religious properties of amulets are accepted in the Islamic world and are reinforced by the use of verses from the Qur’an. In this case verses are from chapter CXII entitled ‘Sincerity’ extolling God’s purity and devotion to the one God.","type":"Amulet, gold","holder":"Benaki Museum","dates":"Hegira 3rd century / AD 9th century","location":"Athens","provenance":"Iraq or Iran","keywords":["Talisman","kufic","Quran","Amulet","gold"],"materials":["Gold"]},"a5b2538f-6e41-5940-b65c-59d0b57a7466":{"name":"Necklace (*lebba*).","description":"This large necklace consists of several pendants alternating with fluted ovoid gold pearls on a silk cord. The pendants consist of different golden drops in the shape of fleurons or roses of Rhodes known as *gharnati*, rosettes, crescent moons and stars that come together to form a long broad necklace covering almost the entire chest. The pendants are decorated on both sides, each studded with ten emeralds and garnets on one side and decorated on the other with green, red and blue champlevé enamel with floral and plant decoration. This type of jewellery was worn by brides from Fez on their wedding day and by upper-middle-class women during festivities. The magic symbols that they bear are intended to protect the women against the evil eye. The fact that there are ten precious stones (twice five, the symbol of the hand that protects from harm) and the crescent-and-moon motif, imitating an eyebrow and an iris (the eye that sees danger) indicate the importance that women placed on amulets.","short_description":"This necklace, consisting of several pendants decorated on both sides, would have been worn by a bride. It includes symbols intended to protect her against bad luck: the two hands represented by the ten precious stones set in medallions, and the eye represented by the crescent and the circle.","type":"Jewellery","holder":"Museum of the Udayas.","dates":"Hegira 13th century / AD 19th century.","location":"Rabat.","dimensions":"Height 13 cm, length without attachments 35 cm, weight 700 g.","method_for_datation":"The work of J. Besancenot has shown that this type of jewellery was no longer produced using this technique from the late 19th century.","method_for_provenance":"Using information provided by jewellers at J. Besancenot.","provenance":"Fez.","obtention":"Purchased.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \nEudel, L., *Dictionnaire des bijoux de l'Afrique du Nord*, Paris, 1906.  \nKhatib-Boujibar, N., *Parures et bijoux du Maroc*, Casablanca, 1974.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","geometric decoration"],"materials":["champlevé enamel.","Gold","precious stones"]},"ac84039d-3144-5f9c-8ce4-fc3ba271ae28":{"name":"Bronze mirror with sphinxes and *kufic* inscription","short_description":"This cast, round mirror is decorated with reliefs and a perforated lug handle in the centre. Carved on the back of the mirror is pair of sphinxes with scorpion tails surrounded by floral ornament. A *kufic* inscription around the rim reads: \"Oh God, I invoke Thy sublime Name! God, the Only and Eternal God – I have sworn to Thee by the truth of these names, the angel who watches over Saturn, … sworn by the Master whose works encompass all names and every name, that Thou shouldn’t send me one of Thine angels into this, my mirror, who shall inform me of everything I ask him about what comes to pass in this world and the next. And, by the Lord of Heaven: Thou hast sent me an essence of Thy mighty and intensive spirituality which comes down to me in this mirror and reveals itself to me. He tells me everything which I ask him and obeys me in everything which I order him to do …. Whosever only sees themselves in their dirty and impure state of being, the blame lies with them – and so be it / peace be with God.\"  \nThe Seljuq period saw an increased production of circular cast-bronze mirrors with fully decorated backs and there are several identical objects in other collections, including the Metropolitan Museum of Art, New York and the British Museum, London. The sphinxes, the most popular iconography of the period, have been a symbol of the sun since ancient times. This specific motif additionally relates the astrological sign, Scorpio. Combined with the inscriptions, these mirrors possibly functioned similarly to magic amulets in holding an apotropaic power to ward off evil.","type":"Mirror","holder":"MKG Museum for Applied Arts","dates":"Hegira 6th-7th / AD 12th-13th century","location":"Hamburg","dimensions":"Diameter: 10.8cm","method_for_datation":"By comparison with similar dated objects, regarding style and inscriptions.","method_for_provenance":"Prepossessor: Staatliche Münzsammlung München.","provenance":"Iran","obtention":"Purchased in 1929.","bibliography":"Allan, James W., *Metalwork of the Islamic World: The Aron Collection*, London: Sotheby’s, 1986.  \nCanby, S. R., Beyazit, D., Rugiadi, M. et al., *The Great Age of the Seljuqs: Court and Cosmos*, New York: The Metropolitan Museum of Art; New Haven: Yale University Press, 2016.  \nChirvani, A., *Islamic Metalwork from the Iranian World*, London: Victoria and Albert Museum, 1982.  \nLa Niece, S., Ward, R., Hook, D., Craddock, P., “Medieval Islamic Copper Alloys,” in P. Jett, B. McCarthy and J. G. Douglas (eds), *Scientific Research on Ancient Asian Metallurgy: Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art*, London: Archetype, 2012.  \nPope, A. U., *Masterpieces of Persian Art*, New York: Asia House, 1954. Porter, V. and Rosser-Owen, M., *Metalwork and Material Culture in the Islamic World: Art, Craft and Text: Essays Present to James W. Allan*, London: I. B. Tauris, 2012.  \nSavage-Smith, E. (ed), *Magic and Divination in early Islam. The Formation of the Classical Islamic World*, Aldershot: Ashgate, 2004.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.  \nZambelli, P., *Astrology and Magic from the Medieval Latin and Islamic World to Renaissance Europe: Theories and Approaches*, Farnham: Ashgate 2012.","copy_editor":"Caitlin Link","keywords":["magic","mirror","metalwork","Sphinx"],"materials":["Cast bronze"]},"b47fbfa4-1cd4-52c9-9672-e4e7728b38d7":{"name":"Amulet with a *hilya*","short_description":"One side of the amulet has the *hilya*– a description of the of the physical characteristics of the Prophet Muhammad. Above it are the names of the *Ashab al-kahf* (‘Companions of the Cave’), mentioned, though not named, in the *sura al-Kahf* (XVIII). The other side is engraved with Qur’anic verses from *sura*s *al-Anbiya'*, XXI, part of verse 87; *al-Saf*, LXI, part of verse 13; *al-Ikhlas*, CXII; and the *Ayat al-kursi* (‘Throne verse’, *sura al-Baqara*, II, verse 255).","type":"Amulet; *hilya*; engraved chalcedony","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"19th century","location":"London","dimensions":"4.3 x 3 x 0.6cm","method_for_datation":"Date and provenance are based on the content of the inscriptions and on stylistic grounds.","provenance":"Turkey","bibliography":"Safwat, N.F., *The Art of the Pen. Calligraphy of the 14th to 20th Centuries*, London: The Nasser D. Khalili Collection of Islamic Art, vol. 5, 1996: cat.24, pp.46–7.","keywords":["Mughal","Chalcedony","Ashab al-kahf","Qur’anic inscriptions","Talisman","naskhi script","Throne verse","ayat al-kursi","Arabic inscription","Hilyah","Prophet Muhammad","Amulet"],"materials":["inscribed in naskhi","Yellow chalcedony","wheel- and point-cut"]},"bb98e522-f646-5d72-a9f4-01e1cce27fbd":{"name":"Brooch (Amulet)","short_description":"Originally a heart-shaped amulet with a longitudinal perforation at the top which allowed it to be strung and hung. It was later set in a gold-and-enamel mount, fitted with a clasp, and served as a brooch. The stone features engraved and gilded Arabic inscriptions in *naskhi* and in *nasta'liq* script; there are also several inscriptions in low relief. The texts along the border reproduce in their entirety four of the last Suras, starting at the top, from right to left, as follows: Sura CIX (*Al Kafirun* / *The Disbelievers*), Sura CXII (*Al Ikhlas* / *Sincerity*), Sura CXIV (*Al Nas* / *Mankind*), and Sura CXIII (*Al Falaq* / *The Daybreak*). Other inscriptions are incorporated into a vegetal design whose large leaves are used as epigraphic cartouches. At the bottom, the invocation ‘*Ya ‘Ali!*’ (‘O ‘Ali!’). The texts are either excerpts from the Qur’an, such as verse 13 from Sura XIII (*Al Ra’d* / *The Thunder*) and verse 13 from Sura LXI (*Al Saff* / *The Ranks*), or formulas exalting the divine power and invocations which include several of the ninety-nine names of Allah. Also inscribed on the stone are the Muslim profession of faith, *shahada* (‘there is no god but Allah, and Muhammad is the messenger of Allah’), and the invocation ‘*Ya Muhammad!*’ (‘O Muhammad!’).","type":"Amulet","holder":"The National Museum of Art of Romania","dates":"Hegira 13th century / AD 19th century","location":"Bucharest","dimensions":"Height: 10.5cm, Width: 8.5cm (with mount); Height: 6.5cm, Width: 7.5cm (stone)","method_for_datation":"Comparison with related objects","method_for_provenance":"Stylistic analysis","provenance":"Probably India","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Dunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 75, cat. no. 47.  \nKalus, L., *Catalogue of Islamic Seals and Talismans*, Oxford: Clarendon Press, 1986.  \nOlariu, E. and Vida, M., *Oglinzile Orientului. Pictură şi grafică din colecţiile Muzeului Naţional de Artă al României, 1850-1950*, Bucharest: National Museum of Art of Romania, 2016: 133, cat. no.132.","author":"Mircea Dunca","keywords":["Amulet"],"materials":["gold mount","Chalcedony","enamel","engraved and gilded"]},"bd425b9a-5df3-53ae-8d59-3df33045cb72":{"name":"Pair of fibulae.","description":"Each of the two fibulae consists of a sliding tongue on an arch and a decorative body finished on the edge opposite the pin with a small ring intended to fix the chain that joined the two fibulae. The body of the fibula is ovoid and its decoration arranged radially. Four bezels in the shape of fleurons known as *gharnati* or roses of Rhodes set with two green fluorite stones and two garnets emanate from an oval medallion studded with a green fluorite stone. Foliate compositions consisting of double grooved palms and three symmetrical palms in the shape of fleurons also emerge from the centre. These are decorated with baroque pearls attached to the surface of the piece with gold wire fixed with a small golden ball. The edges of the fibula are decorated with double palms whose lobes curl in different directions to form a line of festoons.  \nThis valuable, practical piece of jewellery was intended to hold up the bride's *haik* (robe) and includes a prophylactic symbol against the evil eye. In fact, the cruciform arrangement consisting of five stones suggests the five-fingered hand motif as well as the central eye that sees danger and scatters it to the four winds to protect the new bride or wife who wears it from any misfortune that the envious may wish upon her.","short_description":"These fibulae have sliding pin, semi-circular fastenings and were used to fix a bride's dress. These are coupled with a plaque decorated on both sides to complete the piece. One side is enamelled and the other studded with five precious stones, the symbol of the hand.","type":"Jewellery","holder":"Museum of the Udayas.","initial_owner":"Revillaud.","dates":"Hegira 13th century / AD 19th century.","location":"Rabat.","dimensions":"Height 11.5 cm, length 6.3 cm, weight 94 g.","method_for_datation":"The work of J. Besancenot has shown that this type of jewellery was no longer produced using this technique from the late 19th century.","method_for_provenance":"Fez was reputed for the manufacture of such jewellery.","provenance":"Fez.","obtention":"A gift from Revillaud 1930.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \nEudel, P., *Dictionnaire des bijoux de l'Afrique du Nord*, Paris, 1906.  \nKhatib-Boujibar, N., *Parures et bijoux du Maroc*, Casablanca, 1974.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","geometric decoration","jewellery"],"materials":["Openwork cast gold studded with precious stones."]},"c5864634-4eda-5afc-9805-0634535b6407":{"name":"Religious coloured print: Protective hand with eye","short_description":"The raised hand with outspread fingers is universally understood by all people, regardless of language and culture: \"Stop!\" The protective hand and eye are inextricably associated with each other, in particular when it comes to defending against the evil eye, the envy of others. Material barricades, a symbolic eye or a repelling hand, should deflect danger and secure the continued existence of one's own family. A Turkish house blessing of the palm of a hand with an inscribed eye promises well-being and protection against the evil eye: \"*Allahın dediği olur*\"– \"God's will be done.\"","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1983","location":"Vienna","dimensions":"H: 35 cm, W: 50cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Turkey, Istanbul","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1983.\"","bibliography":"Steinmann, Axel, \"Hand and Eye\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 106-109.","materials":["Paper"]},"c644f172-5e30-55ce-9c9e-f557428c4c25":{"name":"Hand of Fatima","short_description":"This object represents the \"Hand of Fatima\" also known as *Khamsa* (the Arabic word for \"Five\"), \"Hand of Venus\" or \"Aphrodite\". Jewish silversmiths in Morocco became known for casting and engraving pieces such as this one, used as a talismanic doorknob or jewellery pendant.  \n  \nCarthaginian excavations traced the open hand to ancient Egypt, whose variations appear across all faiths and time as a representation of God and believed to grant protection against ill will. In Islam, Fatima, the beloved daughter of Prophet Muhammed (PBUH) defends anyone regardless of faith against evil.  \n  \nThe hand appears symmetrical with the five fingers indistinguishable, embodying the secret codes of the number five in Islam. The fingers allude to the five pillars of Islam, five daily prayers and five keys to the unseen. While silver casts additional amuletic power, the phoenix and salamanders symbolize life, rebirth and fertility.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 24cm, Width: 16cm","place_of_production":"Morocco, Tangier","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","provenance":"Morocco","obtention":"Purchase","bibliography":"Hildburgh, W. L., \"Images of the Human Hand as Amulets in Spain\", *Journal of the Warburg and Courtauld Institutes*, 18 : 1/2 (1955): 67–89.  \nKoltuv, B. B., *Amulets, Talismans, and Magical Jewelry: A Way to the Unseen, Everpresent, Almighty God*, Berwick: Nicolas-Hays, Inc., 2005.  \nPomeroy, H., *Intertwining Cultures: Memories of the Andalusi Past. In the Iberian Peninsula and Beyond: A History of Jews and Muslims (15th–17th Centuries),* Newcastle upon Tyne: Cambridge Scholars Publishing, 2015: 246–57.  \nSánchez, A. R., and Mitchell, P., \"THE HAND OF FATIMA: SILENT & TACTILE\", *Artes de México*, 131 (2019): 84–86.  \nSayed, N. A., \"The Hand of Hamsa: Interpretation across the Globe\", *Hand*, 6 : 20 (2016).","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco","Khamsa","Tangier","Talisman","Amulet","metalwork","Hand of Fatima"],"materials":["Silver","Engraving"]},"c69cb729-5a18-54d1-b7ac-2cfc3ae623ed":{"name":"Inscription stone.","description":"A rectangular inscribed stone that has a Qur'anic verse known as 'Ayat al-Kursi' ('the Throne Verse') from Sura 2 (al-Baqara), verse 255:  \n  \n'God! There is no God but he, the living, the self-subsisting: neither slumber nor sleep seizeth him! To him belong what so ever is in heaven, and on earth. Who is he that can intercede with him, but through his good pleasure? He knows that which is past, and that which is it come unto them, and they shall not comprehend anything of his knowledge, but so far as he pleaseth. His throne is extended over heaven and earth, and preservation of both is no burden unto him. He is the high, the mighty.'  \n  \nThe inscription in *kufic* script is deeply incised into the stone. Comprising about ten lines, the letters are long and angular in shape, an indication that this stone inscription is of an early date. The function of the stone was to protect the owner, his family and the house from the 'evil eye'. This custom is still alive very much alive today; in many Jordanian houses one will still see such blessings on ceramic panels, laminated copper panels, embroideries, and for women and children, gold pendants.","short_description":"An inscribed stone from Amman with a Qur’anic verse known as Ayat al-Kursi from Sura 2 (al-Baqara), verse 255. The *kufic* script is typically Umayyad. The function of the stone was to protect the owner, his family and the house from the ‘evil eye’. This custom is still very much alive today.","type":"Inscription, stone","holder":"Jordan Archaeological Museum.","owner":"Now on display at Jordan Museum","dates":"Hegira, first half of the 2nd century / AD 8th century.","location":"Amman","dimensions":"Height 70 cm, width 38 cm.","method_for_datation":"The inscription stone was dated by stylistic analysis of the script and by dating pottery shards that were found in the in the archaeological strata close by.","method_for_provenance":"The provenance of this inscription stone is known because it was found during an archaeological excavation at in the centre of Amman.","provenance":"Amman, Jordan.","obtention":"The inscription stone was found in 1958 in the course of a rescue excavation carried out by the Department of Antiquities of in the centre of Amman.","bibliography":"العابدي. محمود، الآثار الإسلامية في فلسطين و الأردن، عمان، 1973، ص 238.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Qur’an","kufic script","inscription","Shahada."],"materials":["Engraved stone."]},"e1cf8f81-916a-549e-812c-671899736546":{"name":"Prayer rug","description":"The prayer niche is merely suggested here by two diagonals that do not meet. The field of the niche features two hands and above them, a floral motif, which is repeated all over the purple ground of the spandrels. The spandrels and the three narrow borders with a rich decoration of *boteh*s or tiny flowers connected by scrolls are in sharp contrast to the large beige *mihrab* field. Popular belief associates the hand motif with the hand of Fatima, daughter of the Prophet Muhammad, and as such, it is often used to decorate talismans. Sometimes, the hand motif also appears on prayer rugs, mostly on Caucasian and Baluch rugs.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 19th century","location":"Bucharest","dimensions":"H: 123cm, W: 104cm; knot density ver. 33/dm; hor. 42/dm; 1,386/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Iran, Farahan","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 8.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["hand motif","boteh"],"materials":["Cotton warp and weft","knotted","asymmetrical wool knot"]},"e55614b8-f79a-5fa9-af73-256d887343b2":{"name":"Pectoral plate","short_description":"Besides the obvious decorative purposes, jewellery in such heavily tribal societies indicates ethnic identity and social status. Turkoman jewellery is usually gilded; both gold and brass were used. Carnelian is the stone of choice used for inlay. It is believed to protect the wearer from death and sickness besides bringing happiness and peace. Amuletic jewellery, called *tumar*, is worn among all Turkoman tribes. *Tumar*s are classified as pectorals as they are worn around the neck and fall over the chest, although they can reach as far as the waist. This large silver pectoral features a double-headed bird, which since ancient times has been a symbol of power and authority.","type":"Jewellery","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1300-1400 / c. AD 1900-2000","location":"Kuala Lumpur","dimensions":"115cm x 53cm","provenance":"Uzbekistan, Bukhara","bibliography":"Islamic Arts Museum Malaysia, *Jewellery of the Islamic World: An Introduction*, Kuala Lumpur: IAMM Publications, 2009: 32-33, 62-66.","materials":["Gilt-silver"]},"e8cef6f7-62c2-5606-806d-9b7be4aaaae5":{"name":"*Attaswirah* (Amulet)","short_description":"The representation of living things is an ancient tradition expressed in prehistoric cave paintings and rock etchings throughout Oman. In the Islamic era stylised representations of domesticated and wild animals, humans and *jinni* (spirits or demons) figures have continued to find use as integral components of Oman’s artisanal heritage. Abstract representations of the human hand (sometimes referred to as \"the hand of Fatima\") are used as a talismanic motif in Omani silver jewellery and are seen in Bedouin weavings. Other talismanic depictions include tiny engraved figures representing captive female spirits and abstract male and female figures worn as protective amulets by young children.","type":"Silver Jewellery","holder":"National Museum Oman","dates":"14th century AH / 20th century AD","location":"Muscat","dimensions":"Length: 5cm, Width: 2.1cm, Weight: 4.3g","provenance":"Northern Oman","obtention":"Ministry of Heritage and Culture Collection","copy_editor":"Valerie Pulsifer","keywords":["jewellery","Jinnī","Amulet"],"materials":["Stylised copper figure with chased designs"]},"eeb73625-9b7f-5b6e-bac6-70835ba47781":{"name":"Amulet","short_description":"Tear-shaped pendant with a silver openwork border of twisted wire and granulation. It is inscribed on both sides with Arabic repoussé invocations and Qur’anic texts. The invocations in *thuluth* script on the scrolling ground at the centre are surrounded by epigraphic bands with verses in *naskhi* calligraphy: ‘*Ma sha’ Allah!*’ (‘God willing’) is encircled by the verses of Sura CXIII (*Al-Falaq*/ *The Daybreak*) and ‘*Ya Hafiz!*’ (‘O Preserver!’), by the verses of Sura CXIV (*Al-Nas* / *Mankind*). These last two chapters of the Qur’an, very short and intensely evocative, referred to as *al-mu‘awwidhatan* (the two protecting ones), appear quite frequently on amulets.","type":"Amulet","holder":"The National Museum of Art of Romania","dates":"Hegira 12th century / AD 18th century","location":"Bucharest","dimensions":"Length: 6.7cm, Width: 5.6cm","method_for_datation":"Stylistic analysis; Comparison with related objects","method_for_provenance":"Stylistic analysis","provenance":"Ottoman Empire","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Dunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 74, cat. no. 46.  \nOlariu, E. and Vida, M., *Oglinzile Orientului. Pictură şi grafică din colecţiile Muzeului Naţional de Artă al României, 1850-1950*, Bucharest: National Museum of Art of Romania, 2016: 131, cat. no. 126.","author":"Mircea Dunca","keywords":["Amulet"],"materials":["Silver","Gold","granulation","repoussé"]},"f4fdfa35-5e30-5d5a-b283-f6a2e53a4f66":{"name":"Talismanic shirt","short_description":"The front and back of the shirt are covered with Qur’anic verses, prayers and invocations to God, written in a variety of scripts and arranged into variously shaped panels and cartouches. Two cartouches on the front carry depictions of the Masjid al-Haram (‘Holy Sanctuary’) at Mecca and the Masjid al-Nabawi (‘Prophet’s mosque’) at Medina, each within a decorative frame enclosing minute depictions of other holy sites in the surrounding areas.  \n  \nRepresentations of the two holy sanctuaries on talismanic shirts are rare. Among known examples are a shirt with a depiction of the Meccan sanctuary, and a cap with an embroidered depiction of the Prophet’s mosque, in the Topkapi Saray Museum, and views of both on an Indian shirt in the Khalili Collections. All, however, are schematic and unlike the views on this shirt which are more realistically portrayed.","type":"Talismanic shirt; textile; inscribed textile; painted textile; Mecca; Medina","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD late 17th – 18th century  \n  \nThe shirt is not dated. The suggested date is based on comaprisons with similar material in the Topkapı Sarayı, as well as paintings in manuscripts.","location":"London","dimensions":"87 x 101cm (with sleves extended)","method_for_datation":"Provenance and date are based on stylistic grounds and by comparison with similar dated items.","provenance":"Turkey","bibliography":"Tezcan, H., *Tılsımlı Gömlekler*, Istanbul: Timaş Tarih, 2011.","author":"Nahla Nassar","keywords":["hajj","Ottoman textile","Qur'anic inscriptions","pilgrimage","travel","textile","cotton","Ka'ba","Hijaz","religious object","Qur'an","Pilgrimage route","Religion","fabric","ink","Mecca","calligraphy","gold"],"materials":["sewn together","shirt made up of 10 pieces of fabric","cotton","inscribed in coloured inks and gold"]},"f5c3cafb-6809-579d-8000-390c6200afa9":{"name":"Amulet case","short_description":"The *Kufi* inscription – the Muslim profession of faith and a blessing on Hasan ibn Ahmad, who must have owned the amulet case – together with the vegetal elements are its only decoration. The square box has three eyes from which to hang it. One short side is loose, so that an invocation or verse from the Koran can be put inside.","type":"Amulet case, silver","holder":"The David Collection","dates":"Hegira 4th–5th century / AD 10th–11th century","location":"Copenhagen","provenance":"Iran or Afghanistan","keywords":["Qur’an box","Talisman","kufic","Amulet","silver"],"materials":["Silver inlaid with niello"]},"f5d52aac-d406-5fea-b100-03be2aa59694":{"name":"*Tekke Ensi*","description":"This carpet was made by the Turkoman nomad tribe Tekke. The term *ensi* refers to a decorative *yurt* (tent) door hanging, in which many elements of the ornamental design functioned as protective symbols to ward off evil spirits.  \nThe central field is divided into three panels along the vertical axis. The upper and lower panels have the same decoration. The central column divides the panels into quarters. The column is decorated with “curled leaf” motifs separated by vertical bands with *bovrek* (bud) motifs. Each quarter is filled with a *gush* (bird) pattern arranged in horizontal rows. The central horizontal panel is decorated with “curled leaf” motifs separated by horizontal bands with *kochak* (ram's horns) motifs. The upper transverse band is intercepted in the middle by the *mihrab* (prayer niche) arch flanked by straight lattice design of oblongs and triangles. Above this transverse band there is another one with the variation of *kelle* (head) motif. The central border is decorated with variation of the *gapyrga* (ribs) motif. The inner border is decorated with *kochak* motifs. The outer border is decorated with the *sainak* motif. This type of border is a very common outer border on *ensi*s. The minor border is the soldat border or guard stripe, a very common minor border. The base panel carries a small geometrical design.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"19th century","location":"Zagreb","dimensions":"H: 143cm, W: 110cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Turkmenistan","obtention":"Purchased from Nikola Buchsbaum, Zagreb, Croatia","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Turkmenistan","engsi","Tekke"],"materials":["asymmetrical knots","knotted carpet","wool"]},"fd051a6c-6d76-5872-b5f1-48712d9ee72b":{"name":"‘Eye of envy’ amulet.","description":"A blue 'eye of envy' made of a moulded, blue glass disc decorated with a series of diminishing circles of yellow, then white, with a black spot at the centre. Probably a bead from a string of other similar beads, it has a hole though the side for threading. This type of glass 'eye' might also have been sewn on to garments and headdresses.  \n  \nWithin Islamic popular belief blue eyes are thought to be envious eyes; the eye of envy is worn to repel such negative power by reflecting back to the perpetrator their own envy, thereby protecting the wearer from the effects of jealousy, thought to cause illness or disaster.  \n  \nSuch eyes can be crudely made like this bead, or can be drawn with accuracy and quality of craftsmanship, as found in jewellery made of gold or silver; the quality does not affect the protective power. Plain blue beads are also thought to play a similar protective role, and are sometimes used in place of an eye of envy.","short_description":"In popular Middle Eastern Islamic belief blue eyes are thought to be both envious and to have the ability to repel envy. This blue glass eye is worn to protect the bearer from the effects of jealousy, which may cause the loss of what is being envied or illness or disaster.","type":"Ottoman jewellery; glasswork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira, late 13th–early 14th century / AD late 19th–early 20th century.","location":"Glasgow, Scotland","dimensions":"Diameter 2 cm.","method_for_datation":"Stylistic analysis: many similar examples in method of manufacture, size and colour exist, which have been dated to the Ottoman period and attributed in provenance to Hebron in Palestine.","method_for_provenance":"Many similar examples exist attributed in provenance to Hebron in Palestine.","provenance":"Hebron, Palestine.","obtention":"Purchased by the Museum in 1912.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.  \n  \nBudge, Sir, E. A. Wallis, *Amulets and Superstitions*, London, 1930.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["jewellery","Talisman","figurative decoration","religious objects"],"materials":["moulded","coloured glass."]},"fe15bf30-dd6d-5446-86a7-37536d667b14":{"name":"Amulet. An adorned ram's skull","short_description":"In Islamic culture, the ram is the most important sacrificial animal. The transition from human to animal sacrifice is at the centre of the story of Abraham’s willingness to offer up his son Isma’il. Abraham’s sacrifice, according to Muslim tradition took place at Mina, the ram was miraculously provided as a substitute by Gabriel in the name of God. In order to include the Meccan sanctuary, the story portrays the head of Abraham’s ram as having been 'hung by its horns to the gutter of the Ka'ba' (al-Tabari), as tradition held that the Ka'ba is the same Bayt al-Atiq – the most ancient house – built by Abraham and Isma’il. Muslims commemorate this beginning of a new era without human sacrifice every year with the Festival of Sacrifice during the pilgrimage to Mecca, when a lamb, ram or like animal is slaughtered. It is believed that the sacrificed ram will appear on judgement day to carry its owner across the Sirat bridge into Paradise.","type":"Religion","holder":"Weltmuseum Wien","dates":"Ca. 1934","location":"Vienna","dimensions":"L: 46cm, W: 43cm, H: 24cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Turkey, western Anatolia","obtention":"Catalog entry: \"Former loan of curator Otto Koller, 1937.\"","bibliography":"Steinmann, Axel, \"Die Unschuld des Blicks oder Von der Beredtheit der Dinge\", in Christph Steinbrener, *Unternehmen Capricorn. Eine Expedition durch Museen, exhibition catalogue*, Vienna: Triton, 2001: 90-95.  \nSteinmann, Axel, \"Amulet. Adorned ram's skull\", in Anne-Marie Bouttiaux and Anna Seiderer (eds), *Fetisch Modernity, exhibition catalogue*, Tervuren: Royal Museum for Central Africa, 2011: 114."}}

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+{"0ae5bb98-ff82-5c47-b575-e5dded2d383a":{"name":"Aldaba.","description":"Esta aldaba está formada por dos dragones alados afrontados, con las patas delanteras unidas pero las cabezas echadas hacia atrás. Tienen las fauces abiertas como si estuvieran a punto de tragarse sus propias alas. Sus colas están entrelazadas y terminan en forma de cabezas de grifo. Están unidos a una cabeza de león que sujeta la aldaba a la puerta. La superficie de los dragones está grabada. No se conserva ninguna otra pieza como esta, aunque en la Mezquita Mayor (Ulu Cami) de Cizre, en el sur de Anatolia, había una aldaba similar que hoy se conserva en el Museo de Arte Turco e Islámico de Estambul.  \nDesde el principio, las grandes puertas de madera, de hasta cinco metros de altura, suscitaron interés, y aparecen mencionadas con admiración en las crónicas medievales. Un ejemplo es el libro del ingeniero Ismail ibn al-Razzaq al-Yazari, quien escribió acerca de las grandes puertas del palacio de los artuquíes en Diyarbakır.  \nLas representaciones de dragones afrontados y con las fauces abiertas se consideraban fetiches o amuletos contra el mal e ilustran las ideas de la dinastía zangí acerca de la magia y los símbolos sobrenaturales. Este tipo de ideas se dan también en otros lugares y artes, por ejemplo la Puerta Talismán de Bagdad, que data de 617–18 / 1221–22, los relieves de la ciudadela de Konya (Turquía) del mismo año y conservados ahora en el Museo de la Madrasa del Ince Minareli de la ciudad, o las páginas de manuscritos datados en torno al año 1200, como un libro de antídotos escrito en 595 / 1199 y hoy en la Biblioteca Nacional de París, en cuya cubierta aparece una representación simbólica de la luna. Algunos estudios han hecho hincapié en que, representándolos en puertas, estos motivos servían para evitar que cruzaran el umbral visitantes no deseados.","short_description":"Aldaba con dos fieros dragones que parecen tragarse sus propias alas y cuyas colas, entrelazadas, acaban en forma de cabezas de grifos. Están unidos a una cabeza de león que iba fijada a la puerta. Estos dragones eran una especie de amuleto para proteger el edificio del mal.","holder":"Museo de Arte Islámico del Museo Pergamon","dates":"Principios del siglo VII de la Hégira / XII d.C.","location":"Berlín","dimensions":"Alto 27,5 cm; ancho 24 cm.","method_for_datation":"Aldabas similares, como las de la Mezquita Mayor de Cizre y otras, sugieren que la pieza data de principios del siglo VII / XIII.","method_for_provenance":"Adquirida en Tbilisi (Georgia), presenta muchas semejanzas con las de la Mezquita Mayor de Cizre, un pueblo en el sureste de Anatolia (Turquía); comparaciones de estudios modernos contribuyen también a atribuir al sur de Anatolia el origen de la aldaba.","provenance":"Sureste de Anatolia (Turquía).","obtention":"Adquirida a un marchante de arte de Tbilisi (Georgia). A. Francke la donó al museo en 1912.","bibliography":"Hattstein, M., y Delius, P., *Islam: Art and Architecture*, Colonia, 2000, pp.384–85.  \nHillenbrand, R., *Islamic Art and Architecture*, Londres, 1999, pp. 111–137.  \n*Museum für Islamische Kunst Berlin*, catálogo, Berlín, 1979, p. 17, n.º 14.  \n*Museum für Islamische Kunst*, catálogo, Mainz, 2001, p. 66.  \nRoxburgh, D. J. (ed.),*Turks: a Journey of a Thousand Years, 600–1600*, catálogo de exposición, Londres, 2005, pp. 130–31, n.º 87.","author":"Annette Hagedorn","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["simbolismo","dragón","animal imaginário","bronce","aldaba","zangíes"],"materials":["Bronce vaciado y grabado."]},"21979064-bb4f-57a3-8990-b944ae319b20":{"name":"Camisa talismán.","description":"La camisa de cuello redondo, abierto hasta la altura del abdomen. Toda la prenda está decorada con versículos coránicos, oraciones, frases mágicas y amuletos numerológicos. La parte posterior presenta un diseño de flores naturalistas pintadas con pigmentos de colores.  \nLas camisas talismán suelen llevar inscripciones de suras y aleyas del Corán. Además, llevan escritos los nombres y epítetos de Dios (el *Asma al-Husna*), los nombres de diversos profetas y de los cuatro ángeles principales, la rúbrica del profeta Muhammad y poemas de alabanza a él y, en ocasiones, una *hilya* o historia de la vida del Profeta. Algunas veces se encuentran también los nombres de Fátima y sus hijos (Hasan y Husayn), el de los cuatro primeros califas y los signos del zodiaco. Casi todas estas camisas protectoras presentan frases mágicas y amuletos numerológicos a los que se atribuyen significados y poderes mágicos. El museo posee numerosas camisas talismán procedentes de diversas tumbas.","short_description":"Los versículos coránicos, que son palabras de Dios, no sólo se leían durante la oración, sino que también se consideraban talismanes. A veces se llevaban como amuletos en collares y otras veces cubrían prendas enteras conocidas como “camisas talismán”.","holder":"Museo de Arte Turco e Islámico.","dates":"Finales del siglo VIII–principios del IX de la Hégira / XIV–XV d. C.","location":"Estambul","dimensions":"Largo 100 cm, parte delantera (del puño de una manga al puño de la otra) 120 cm.","method_for_datation":"El color amarillo de la prenda, sus inscripciones y la decoración floral naturalista sugieren que fue tejida en los primeros años de la dinastía otomana y utilizada por el sultán Bayezid I “el Rayo”.","provenance":"Bursa (Turquía).","obtention":"El objeto pasó al museo en 1332 / 1914 desde la tumba del sultán Bayezid I en su complejo de Bursa.","bibliography":"Ölçer, N. et al., *Museo de Arte Turco e Islámico*, Estambul, 2002, pp. 248-49.","author":"Alev Özay","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["talismán.","sultán Bayezid I","Camisa"],"materials":["Seda teñida de amarillo."]},"2d7d148e-c180-5cf1-813a-f3b4c6cdb469":{"name":"Libro de rezos.","description":"Este pequeño libro recopila varios textos religiosos que muestran las creencias y costumbres populares. La primera parte del manuscrito está dedicada el Corán y todo su contenido se basa en esta obra. El texto, aunque no reproduce el Corán al completo, comienza con la fatiha, el primer sura y acaba con el último, sura CXIV. Está escrito en estilo muhaqqaq y nashki, probablemente por dos calígrafos diferentes. Ibrahim Babirbarzadeh es uno de ellos, ya que firma más adelante en el manuscrito. El texto de cada página se encierra en un ancho marco dorado delineado en negro y rojo azulado brillante. Los títulos de los suras están iluminados y los versos, señalados con rosetas doradas. Después de la primera parte del manuscrito, hay una selección de suras y versos coránicos. La creencia popular dotaba a las palabras del Corán, de origen divino y de un poder sobrenatural para ayudar en las desgracias, por los que los textos de los márgenes de las páginas serían aclaraciones para el uso de cada cita coránica, indicando que hacer en caso de una enfermedad o de pobreza. En las siguientes páginas del manuscrito aparecen escritos los noventa y nueve hermosos nombres de Alá y los nombres de los profetas, a los que también se dota de poderes protectores. Un elemento muy habitual en este tipo de libro de rezos son las oraciones de bendición, que los creyentes recitan para obtener una bendición. La parte más impresionante del manuscrito es la serie de páginas pintadas con los nombres de Alá y Mahoma escritos en color oro sobre un fondo azul, junto con la huella del pie y la sandalia del Profeta, también se representan las ciudades de La Meca y Medina y composiciones circulares y cuadrangulares con citas, letras y nombres divinos que protegían contra el mal de ojo.  \nLa cubierta del libro es de cuero marrón rojizo, más bien oscuro y en cuyo centro presenta un rectángulo dorado con un diseño romboidal en su interior. El interior de la cubierta está recubierto con papel brillante de color amarillo y decorado con un diseño de grandes hojas.","holder":"Museo de Antigüedades del Mediterráneo y Próximo Oriente (Medelhavsmuseet).","dates":"Siglo XII de la Hégira/ XVIII d.C.","location":"Estocolmo.","dimensions":"Altura 14,7 cm., ancho 9,5 cm.","method_for_datation":"Basándose en aspectos estilísticos de la iluminación. Un ejemplo son los elementos florales que recuerdan a los de los coranes otomanos del XII/ XVIII.","method_for_provenance":"Basándose en aspectos estilísticos de la iluminación. Un ejemplo son los elementos florales que recuerdan a los de los coranes otomanos del XII/ XVIII.","provenance":"Turquía.","obtention":"Adquirido en subasta François de Ricolès en París, 22 de marzo de 1996, lote núm., 33.","bibliography":"*Islamische Kunst aus Privaten Sammlungen in Deutschland*, catálogo de la exposición, Munich, 2000, pp.14–5.  \n*Turkish Miniature Painting and Manuscripts from the Collection of Edwin Binney 3rd*, Metropolitan Museum of Art, Nueva York, 1973, catálogo núm. 40.","author":"Friederike Voigt","translator":"Lucía Arias","translation_copy_editor":"Jackeline Herrera Merlos Kott","keywords":["religión"],"materials":["Papel","cuero","tinta y oro","ilustrado.","iluminado","caligrafía"]},"324db717-f88f-51eb-8d77-e05946d136f3":{"name":"Adorno de tocado.","description":"Este adorno de tocado, hecho con una lámina de plata niquelada, cadenas de metal, monedas otomanas, amuletos y abalorios, se luciría como parte de un traje de novia, sujeto a la parte superior de una capota en bordado y ajustada a la cabeza. Uno de los amuletos es una medalla francesa de san José y el otro, la mano de Fátima. Las monedas son otomanas, de los años 1180-1260 / 1766-1844, excepto una española con una inscripción en que se menciona al rey Felipe V. Las monedas de estos tocados tenían dos funciones: decorar y mostrar la riqueza de la novia, su estatus social y el valor de su dote. Este tocado, por la medalla del santo cristiano que cuelga en la parte frontal del disco, debió de pertenecer a una novia cristiana y es un buen ejemplo de la diversidad cultural del Oriente Próximo otomano, en este caso Palestina, donde se entremezclaban localidades cristianas y musulmanas. Otras monedas europeas populares en la joyería de Oriente Próximo son las que representaban a la emperatriz austriaca María Teresa.  \nLas novias de Ramala (ciudad de predominio cristiano) llevarían un tocado como este el día de su boda. Las mujeres podían añadir más monedas o coger alguna para sus gastos, como por ejemplo arreglos en la casa. Muchos de estos tocados pasaron de generación en generación, y las monedas de plata fueron sustituidas por otras de oro cuando estas se pusieron de moda.","short_description":"La imagen de un santo cristiano en la parte frontal de este tocado indica que perteneció a una novia árabe cristiana de la Palestina del periodo otomano. Formaría parte del traje de novia de una mujer de Ramala. Las monedas de plata son otomanas, datadas entre 1180 y 1260 / 1766-1844.","holder":"Galería de Arte y Museo Kelvingrove, Museos de Glasgow.","dates":"Siglo XII de la Hégira / XIX d. C.","location":"Escocia.","dimensions":"Diámetro de disco 13,5 cm; fondo (concavidad de disco) 3 cm; largo de cadenas cortas 12 cm; largo de cadenas largas 28,5 cm.","method_for_datation":"Análisis estilístico y datación de la monedas otomanas del tocado entre 1180 y 1260 / 1766-1844.","provenance":"Ramala (Palestina).","obtention":"Donado al museo en 1987.","bibliography":"Weir, S., *Palestinian Costume*, Londres, 1989.","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["monedas","indumentaria","joyería","mujeres","numismática"],"materials":["cadenas de metal","monedas","vidrio y abalorios de piedra.","Lámina de plata niquelada"]},"51757aaf-3959-52b5-9501-f542549914de":{"name":"Amuleto con la “mano de Fátima” *(keff)*.","description":"Pequeña “mano de Fátima” o *keff* en vidrio moldeado que colgaría con otros abalorios de una cadena o un collar, aunque también pudo ir cosida a una prenda de vestir o un tocado. Su función principal es proteger a su portadora del mal de ojo que malos pensamientos y acciones pudieran causarle. Está realizada en vidrio coloreado y vaciado en molde. El aro está formado por la parte de la muñeca, que se dobla sobre sí misma hacia la palma de forma que, una vez enhebrada en la cadena, los dedos apuntarían.  \nEl *keff*, preislámico, se incorporó totalmente a la cultura popular islámica; se utilizó como amuleto protector en todo el Oriente Medio y el norte de África. Aunque aparece principalmente en la joyería, también hay ejemplos de talismanes de papel, en telas y bordados, y en arquitectura popular.","short_description":"Estos pequeños amuletos de vidrio tenían una función decorativa y a la vez protectora en la cultura popular islámica de Oriente Medio. La función principal del *keff* era preservar a su portadora del mal de ojo anulando los daños que pudieran causarle malos pensamientos y acciones.","holder":"Galería de Arte y Museo Kelvingrove, Museos de Glasgow.","dates":"Finales del siglo XIII–principios del XIV de la Hégira/ XIX-XX d. C.","location":"Escocia.","dimensions":"Largo 2 cm; ancho 1,5 cm.","method_for_datation":"Análisis estilístico: existen muchas piezas similares del mismo tamaño y el vidrio coloreado datadas en el periodo otomano.","method_for_provenance":"Se cree que esta y otras piezas similares proceden de Hebrón.","provenance":"Hebrón (Palestina).","obtention":"Comprado por el museo en 1912.","bibliography":"Budge, E. A. W., *Amulets and Superstitions*, Londres, 1930.  \nWeir, S., *Palestinian Costume*, Londres, 1989.","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["objetos religiosos","decoración figurativa","joyería"],"materials":["Vidrio moldeado y coloreado."]},"58b8041e-0838-56a2-b0b3-2369a498e868":{"name":"Faja.","description":"Este modelo de faja larga de seda con brocados o *lampas*, tejida en un telar de tiro en los talleres de Fez, apareció a principios de siglo XII/XVIII.  \nLas mujeres de la nobleza y de la burguesía la portaban encima del caftán en varias vueltas alrededor de la cintura; si se doblada en dos, se podía llevar a ambos lados. Esta pieza es estrecha y flexible, como los ejemplares más antiguos. Sobre fondo rojo, destaca un brocado con cinco motivos de diversos colores inspirados en el legado ornamental marroquí-andalusí y engalanado con varios elementos del repertorio decorativo persa y otomano: entrelazo geométrico con intersticios adornados de flores, florones y palmas, motivos ovoides que evocan la fruta del limonero *tronjia*, frisos con arcadas con flores que imitan los dibujos de la pinturas murales. Estos motivos se presentan solos o combinados, en cenefas transversales repetitivas y alternas.  \nLos dos extremos están ornados con varias manos estilizadas y con estrellas de ocho puntas o tijeras de Salomón, consideradas símbolos profilácticos en la tradición esotérica marroquí.  \nLa marca del taller son las tulipas “pies contra cabeza” que adornan una estrecha franja dispuesta entre los grandes motivos que componen la decoración principal de la tela y los dos extremos. Los largos cordones que rematan la faja se ataban por delante para ajustarla a la cintura.","short_description":"Este modelo de faja larga de seda con brocados lo portaban, encima del caftán, las mujeres de los altos mandatarios y de la burguesía Se daba varias vueltas alrededor de la cintura o también podía ponerse a ambos lados.","holder":"Museo de los Udayas.","dates":"Siglos XIII-XIV de la Hégira /XVIII-XIX d. C.","location":"Rabat","dimensions":"Alto 135 cm; ancho 32 cm.","method_for_datation":"Por el tipo de ornamentación, la anchura y la largura de la faja, así como por la delicadeza del tejido.","method_for_provenance":"Los estudios sobre el tema y los escritos de los historiadores concluyen que en Fez se instalaron talleres de tejido de brocados desde la época meriní hasta principios del siglo XX.","provenance":"Fez.","obtention":"Adquisición.","bibliography":"Golvin, L., “Les métiers à la tire des fabricants de brocarts de Fès”, *Hespéris*, 1950, 1er y 2º trim., pp. 37-48.  \nVogel, L., *Soieries marocaines, les ceintures de Fès*, París, 1920.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["Brocado de seda tejido en un telar de tiro."]},"7ff62aeb-95ef-5f6d-aac9-d4a4e44250fe":{"name":"Medallón (bráctea).","description":"Hoja de plata circular, engastada a modo de medallón, que presenta una muesca en la parte inferior. En la parte superior tiene soldadas tres anillas para colgarlo, ligeramente espaciadas. Una de las caras carece de decoración adorno, mientras que la otra presenta ornamentación y una inscripción. Un doble filete circular recorre el perímetro, bordea la muesca y delimita la decoración, que se reparte en tres franjas. La superior y la inferior contienen líneas curvas entrelazadas y líneas rectas. La central, más ancha, lleva una inscripción en caracteres cursivos con el texto siguiente: *Al-mulk lillah wahdahu* (“El reino sólo pertenece a Dios”).  \nLas anillas fijadas en la parte superior del medallón sugieren que esta bráctea era el colgante central de un collar.","short_description":"Lamina circular de plata que forma un medallón con una muesca en la parte inferior y tres anillas de suspensión ligeramente espaciadas en la superior. Una de las caras está ornamentada con una decoración repartida en tres bandas con motivos florales y geométricos, además de una inscripción en caracteres cursivos.","holder":"Museo Nacional de Cirta","dates":"524-668 de la Hégira / 1130-1269 d. C. o 627-982 de la Hégira / 122-1574 d. C.","location":"Constantina","dimensions":"Diámetro 2,8 cm; peso 2,11 g.","method_for_datation":"Bourouiba data este medallón en época hammadí, sin argumentarlo. La inscripción en caracteres *nasji* (cursivos), propios de los almohades y hafsíes, de un medallón encontrado junto a este descarta su hipótesis, ya que los hammadíes utilizaban la escritura cúfica. Además, fue encontrado entre mil monedas de época almohade y una hafsí. Resulta más lógico, pues, datarlo en el siglo VII / XIII.","method_for_provenance":"Bourouiba especifica en el *Bulletin d’archéologie algérienne* (v. Bibliografía) que el medallón fue descubierto “en la parte oeste de la sala de oración de la mezquita de la Qalaa de los Banu Hammad, cerca del último pilar de la penúltima nave, a la derecha del *mihrab*”.","provenance":"Qalaa de los Banu Hammad (Argelia).","obtention":"Depósito arqueológico (excavaciones Bourouiba, septiembre de 1967).","bibliography":"Bourouiba, R., *Cités disparues: Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Argel, 1982.  \nBourouiba, R., *Les Hammadites*, Argel, 1984.  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal’a des Banu Hammad”, *Bulletin d’archéologie algérienne*, t. III, Argel, 1968, pp. 353-367.","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Sakina Missoum","translation_copy_editor":"Rosalía Aller","keywords":["joya","collar","medallón","colgante","almohades","bráctea","hafsíes"],"materials":["Plata grabada y recortada."]},"8a17d7b1-3b8e-5b6d-88b4-25e695aeed52":{"name":"Medallones (brácteas).","description":"Cada una de estas dos piezas circulares de metal lleva soldada en el borde superior una anilla para colgarlas decorada, por una sola cara, con tres trazos en relieve. El medallón de la derecha presenta anchos trazos curvos toscamente ejecutados, que parecen formar una cruz matrimonial construida con dos alianzas entrelazadas. El de la izquierda muestra una decoración similar, pero mejor ejecutada y más centrada; tres triángulos con un círculo en su centro rellenan los espacios entre los brazos de la cruz y el borde.  \nLas anillas revelan que estas brácteas se utilizaban como colgantes.","short_description":"Dos láminas de plata circulares forman dos medallones solados a anillas. Sólo una de sus caras está decorada, en un caso con trazos curvos toscamente ejecutados, y en el otro, con trazos más cuidados y mejor centrados, que parecen formar una cruz matrimonial con dos alianzas entrelazadas. Tres triángulos con un círculo central decoran además el segundo medallón.  \nLas anillas revelan que estas brácteas se utilizaban como colgantes.","holder":"Museo Nacional de Sétif","dates":"524-668 de la Hégira / 1130-1269 d. C. o 627-982 de la Hégira / 1229-1574 d. C.","location":"Sétif","dimensions":"Diámetro 2 cm (cada uno); peso 1 g (cada uno).","method_for_datation":"Bourouiba data estos medallones en época hammadí, sin argumentarlo. La inscripción en caracteres *nasji* (cursivos), propios de los almohades y hafsíes, de un medallón encontrado junto a estos medallones descarta su hipótesis, ya que los hammadíes utilizaban la escritura cúfica. Además, fueron encontrados entre mil monedas de época almohade y una hafsí. Resulta más lógico, pues, datarlos en el siglo VII / XIII.","method_for_provenance":"Bourouiba especifica en el *Bulletin d’archéologie algérienne* (v. Bibliografía) que los medallones fueron descubiertos “en la parte oeste de la sala de oración de la mezquita de la Qalaa de los Banu Hammad, cerca del último pilar de la penúltima nave, a la derecha del *mihrab*”.","provenance":"Qalaa de los Banu Hammad (Argelia).","obtention":"Depósito arqueológico (excavaciones Bourouiba, septiembre de 1967).","bibliography":"Bourouiba, R., *Cités disparues: Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Argel, 1982.  \nBourouiba, R., *Les Hammadites*, Argel, 1984.  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal’a des Banu Hammad”, *Bulletin d’archéologie algérienne*, t. III, Argel, 1968, pp. 353-367.","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Sakina Missoum","translation_copy_editor":"Rosalía Aller","keywords":["joya","brácteas","medallón","colgante","almohades","hafsíes"],"materials":["Plata cincelada."]},"8d5a8b6b-9b7a-5d86-a103-56328d85c92a":{"name":"Amuleto con la “mano de Fátima”.","description":"Pequeño amuleto de latón en forma de mano (la “mano de Fátima”) utilizado como talismán. En el dorso presenta tres elementos repujados: una estrella de seis puntas con un punto en el centro; sobre ella, la palabra árabe *mabruk* (“enhorabuena”); debajo, una media luna. La palma es simétrica con dos pulgares, dos índices y un dedo medio, de uñas bien definidas. El otro lado es liso, sin decoración. Este amuleto se colgaría de algún objeto, como una prenda de vestir, un mueble o un regalo.  \nLa palma de la mano o *keff* es un amuleto muy común utilizado para conjurar el mal de ojo, el daño que malos pensamientos o actos podrían causar. Este motivo aparece en joyas, pero también en otros ornamentos y en la decoración arquitectónica.  \nEn el Medio Oriente islámico, la estrella de seis puntas es el símbolo del anillo o sello del profeta Sulayman (el rey Salomón bíblico), quien, según la tradición islámica, era famoso por su sabiduría y sus aptitudes sobrenaturales; su anillo, con un sello en forma de estrella de seis puntas, le otorgaba el poder de mandar sobre los *yinn *(demonios) y el de hablar con los animales. La imagen de tal sello en este amuleto dotaba de poderes a su portador. La media luna y la expresión árabe de felicitación confirman que se trata de un amuleto islámico.**","short_description":"La “mano de Fátima” es un símbolo protector habitual contra posibles daños y malos pensamientos y acciones. La estrella de seis puntas con un punto central es el símbolo del anillo o sello del profeta Sulayman (el rey Salomón bíblico) y otorga poderes a su portador.","holder":"Galería de Arte y Museo Kelvingrove, Museos de Glasgow.","dates":"Finales del siglo XIII de la Hégira / XIX d. C.","location":"Escocia.","dimensions":"Largo 3 cm; ancho 2 cm.","method_for_datation":"Análisis estilístico: este amuleto no pudo realizarse en Palestina después de finales del XIII / XIX, porque a partir de entonces los musulmanes dejaron de utilizar la estrella de seis puntas debido a que las comunidades judías europeas la empezaron a usar como símbolo del judaísmo.","provenance":"Palestina.","obtention":"Comprado en 1912.","bibliography":"Bearman, P., et al., *The Encyclopaedia of Islam*, Leiden, 1965.  \nSinger, I., *Jewish Encyclopaedia*, Pennsylvania, 1906.","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["objetos religiosos","decoración figurativa","joyería"],"materials":["Latón moldeado."]},"a5b2538f-6e41-5940-b65c-59d0b57a7466":{"name":"Collar (*lebba*).","description":"Este largo collar cuenta con varios colgantes ensartados en un cordón de seda, alternados con perlas de oro ovoides y acanaladas.  \nEstos colgantes se componen de diferentes gotas de oro en forma de florones o rosas de Rodas denominadas *garnati*, de rosetas, de semilunares y de estrellas ensambladas en un diseño que cubre el pecho casi por completo.  \nLas gotas de oro presentan decoración en ambas caras. Cada una está engarzada con diez cabujones de esmeraldas y de granates sobre una cara y exhibe, en la otra, esmaltes burilados verdes, rojos y azules con diseños florales y vegetales.  \nEste tipo de adorno lo lucían las novias de Fez el día de su enlace y las mujeres de la alta burguesía durante las celebraciones. Los símbolos mágicos que se pueden apreciar tienen como misión la protección de la mujer contra el mal de ojo. El empleo del diez en el número de piedras preciosas (el doble de cinco, símbolo de la mano que aleja los maleficios), junto con el semilunar y la luna imitando la imagen de una ceja y un iris (ojo que ve el peligro), revelan la importancia que las mujeres concedían a los amuletos.","short_description":"Este collar compuesto por varios colgantes decorados por ambas caras era un adorno de las novias. Consta de símbolos destinados a proteger a la mujer contra la mala suerte: dos manos, representadas por el número diez de las piedras preciosas engastadas en cada medallón, y un ojo, formado por la media luna y el círculo.","holder":"Museo de los Udayas.","dates":"Siglo XIII de la Hégira /XVIII d. C.","location":"Rabat","dimensions":"Alto 13 cm; largo sin los cierres 35 cm; peso 700 g.","method_for_datation":"Según J. Besancenot (v. Bibliografía).","provenance":"Fez.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \nEudel, L., *Dictionnaire des bijoux de l’Afrique du Nord*, París, 1906.  \nKhatib-Boujibar, N., *Parures et bijoux du Maroc*, Casablanca, 1974.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["esmaltes burilados.","piedras preciosas","Oro"]},"bd425b9a-5df3-53ae-8d59-3df33045cb72":{"name":"Par de fíbulas.","description":"Cada una de las dos fíbulas consta de un alfiler que pasa entre dos arcos de una circunferencia casi completa y por el cuerpo de la alhaja, rematado en el lado opuesto al alfiler con una pequeña anilla para sujetar la cadena de engarce de las dos fíbulas.  \nEl cuerpo de la fíbula es ovalado, y su decoración sigue un diseño radial. Del medallón oval, con un cabujón de raíz de esmeralda engastado, salen cuatro florones denominados *garnati* o rosas de Rodas, que tienen engastados, alternadamente, piedras de raíz de esmeralda y de granate.  \nDel centro surgen asimismo unas composiciones foliadas compuestas por palmas dobles acanaladas, y tres palmas simétricas en forma de florones. En éstos últimos hay engastadas perlas barrocas sujetas a la superficie de la joya por un hilo de oro con una bolita dorada en su extremo.  \nLos bordes de la fíbula están ornados con palmas dobles cuyos lóbulos se enroscan de diferente manera para componer una línea de festones.  \nEsta utilitaria y valiosa joya hecha para sujetar el traje de la novia, es también un símbolo profiláctico contra el mal de ojo. En efecto, esta disposición cruciforme con cinco piedras evoca la figura de la mano de cinco dedos, mientras que el ojo central ve el peligro y lo ahuyenta para proteger, a la recién casada o a la mujer que lo porta, de la mala suerte que le pueden desear los envidiosos.","short_description":"Estas fíbulas o broches, con un alfiler que las atraviesa y asoma en mitad de un círculo, sujetaban el traje de la novia. Están formadas por una lámina doble decorada por ambos lados, uno de ellos esmaltado y el otro con cinco piedras preciosas engastadas, igual que el símbolo de la mano protectora.","holder":"Museo de los Udayas.","dates":"Siglo XIII de la Hégira / XIX d. C.","location":"Rabat","dimensions":"Alto 11,5 cm; ancho 6,3 cm; peso 94 g.","method_for_datation":"Análisis estilístico, confirmado por la obra de J. Besancenot (v. Bibliografía).","method_for_provenance":"La ciudad de Fez era famosa por la fabricación de este tipo de alhajas.","provenance":"Fez.","obtention":"Donación de Revillaud en 1930.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \nEl Khatib-Boujibar, N., *Parures et bijoux du Maroc*, Casablanca, 1974.  \nEudel, P., *Dictionnaire des bijoux de l’Afrique du Nord*, París, 1906.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","keywords":["decoración floral","joya","decoración geométrica."],"materials":["Oro moldeado y calado","cabujones de piedras preciosas engastados."]},"c69cb729-5a18-54d1-b7ac-2cfc3ae623ed":{"name":"Piedra con inscripción","description":"Piedra rectangular grabada con una inscripción perteneciente a la sura 2 (*al-Baqara*), la aleya 255, conocida como aleya del Trono (*ayat al-Kursi’*): “¡Dios! No hay más dios que Él, el vivo, el autosuficiente. Ni el letargo ni el sueño le rinden. Todo cuanto hay en el cielo y en la tierra le pertenece. ¿Quién puede interceder cerca de él si no es con su permiso? Él conoce el pasado y el futuro de todos, y ellos no abarcan de su ciencia más que lo que Él desea. Su trono se extiende sobre los cielos y sobre la tierra, y su custodia no le es ninguna carga. Él es el Altísimo, el Grande».  \nLa inscripción se realizó en escritura cúfica profundamente cincelada en la piedra. Posee unas diez líneas de letras alargadas y angulosas, lo que indica una datación temprana. La función de esta piedra era la de proteger del mal de ojo a su propietario, su familia y su casa. Esta costumbre aún perdura en la actualidad; en muchos hogares jordanos todavía puede verse este tipo de bendiciones en paneles de cerámica o cobre laminado, bordados y colgantes de oro que usan mujeres y niños.","short_description":"Piedra tallada con un versículo coránico, la *ayat al-Kursi* de la sura 2 (*al-Baqara*). La escritura cúfica es típicamente omeya. La piedra, procedente de Ammán, protegía contra el mal de ojo a su dueño, así como a la familia y el hogar de este. Esta costumbre aún perdura.","holder":"Museo Arqueológico de Jordania.","owner":"Ahora expuesto en el ‘Jordan Museum’","dates":"Primera mitad del siglo II de la Hégira / siglo VIII d. C.","location":"Ammán","dimensions":"Alto 70 cm, ancho 38 cm.","method_for_datation":"Datación basada en el análisis estilístico de la escritura y en la cronología de los fragmentos de cerámica encontrados en yacimientos arqueológicos próximos al lugar donde se halló el objeto.","method_for_provenance":"La procedencia de esta inscripción se conoce porque la piedra se halló durante una excavación arqueológica realizada en el centro de Ammán.","provenance":"Ammán (Jordania)","obtention":"El objeto se encontró en 1958 durante una excavación arqueológica llevada a cabo por el Ministerio de Antigüedades de Jordania en el centro de Ammán.","bibliography":"العابدي. محمود، الآثار الإسلامية في فلسطين و الأردن، عمان، 1973، ص 238.","author":"Aida Naghawy","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Shahadah.","Corán","escritura cúfica","inscripción"],"materials":["Piedra grabada."]},"fd051a6c-6d76-5872-b5f1-48712d9ee72b":{"name":"Amuleto “ojo de la envidia”.","description":"Este “ojo de la envidia” está realizado en un disco de vidrio azul moldeado y decorado con círculos concéntricos menguantes de color amarillo y blanco, y un punto negro en el centro. Se trata, probablemente, de una cuenta, ya que en un lado tiene un agujero para ser ensartado. Este tipo de ojos de vidrio se cosía también a prendas de vestir y tocados.  \nSegún una creencia popular islámica, los ojos azules eran “envidiosos”, y estos amuletos se llevaban precisamente para repeler tal poder negativo reflejando contra el envidioso su propia envidia y protegiendo de este modo al portador de las enfermedades y desastres que, se creía, causaban los celos.  \nLa calidad de su elaboración no determinaba su poder protector, por lo que estos ojos podían ser tanto piezas toscas (esta es un ejemplo) como objetos artesanalmente refinados (como los que adornan joyas de oro y plata). A veces se utilizaban cuentas de color azul liso en vez de estos ojos, ya que tenían el mismo poder protector.","short_description":"Según una creencia popular de Oriente Medio, los ojos azules son al mismo tiempo “envidiosos” y protectores contra la envidia. Este ojo azul de vidrio se llevaba para proteger a su portador de los celos, que podían causar la pérdida de aquello por lo que se es envidiado, enfermedades o desastres.","holder":"Galería de Arte y Museo Kelvingrove, Museos de Glasgow.","dates":"Finales del siglo XIII–principios XIV de la Hégira / XIX-XX d. C.","location":"Escocia.","dimensions":"Diámetro 2 cm.","method_for_datation":"Análisis estilístico: muchos otros objetos similares en fabricación, tamaño y color han sido datados en época otomana.","method_for_provenance":"Existen muchos otros objetos similares procedentes de Hebrón.","provenance":"Hebrón (Palestina).","obtention":"Comprado por el museo en 1912.","bibliography":"Budge, E. A. W., *Amulets and Superstitions*, Londres, 1930.  \nWeir, S., *Palestinian Costume*, Londres, 1989.","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["objetos religiosos","decoración figurativa","joyería"],"materials":["Vidrio moldeado y coloreado."]}}

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@@ -0,0 +1 @@
+{"0ae5bb98-ff82-5c47-b575-e5dded2d383a":{"name":"Heurtoir de porte.","description":"Ce heurtoir est composé de deux animaux fabuleux, des dragons dont les pattes se touchent et dont les têtes sont tournées vers l'arrière. Leurs gueules béantes engloutissent leurs ailes, leurs queues se rejoignent et se terminent en têtes de griffons. Entre les dragons se présente une tête de lion munie d'un long tenon et qui servait à la fixation sur une porte. Le corps des dragons, modelé de façon très plastique, offre une surface gravée. On ne connaît pas de réplique à ce heurtoir, à part un exemplaire très similaire qui se trouvait autrefois dans la Grande Mosquée (Ulu Cami) de Cizre dans le sud-est de l'Anatolie et qui est conservé actuellement au Musée d'art turc et islamique d'Istanbul.  \nDès l'époque de leur création, les portes de bois de presque cinq mètres de haut et ornées de précieuses armatures de bronze étaient considérées comme des curiosités. Les sources médiévales les décrivent ainsi, c'est le cas du livre de l'ingénieur Ismaïl b. al-Razzaq al-Djazari qui mentionne à peu près à cette époque les grandes portes du palais des Artukides à Diyarbakir.  \nLa figuration de dragons ailés à la gueule béante passait pour chasser les mauvais esprits. Par sa forme, ce heurtoir s'inscrit dans le vocabulaire magique et symbolique zenguide, que l'on retrouve dans d'autres endroits et appliqués à d'autres arts. On peut citer comme exemples la porte du Talisman à Bagdad, datée de 617-618 H / 1221-1222 J.-C., les reliefs de la citadelle de Konya en Turquie, de la même année (conservés actuellement au musée de la *madrasa* Ince Minareli à Konya) ou des frontispices de manuscrits réalisés autour de 1200 J.-C., tel le *Livre des Antidotes* de 559 H / 1199 J.-C. conservé à la Bibliothèque nationale de France qui présente sur la page de titre le symbole de la lune. La littérature insiste sur le fait que ces motifs étaient fixés aux portes pour dissuader les hôtes indésirables de franchir le seuil.","short_description":"Ce heurtoir est composé de deux redoutables dragons qui semblent dévorer leurs propres ailes, et dont les queues entrelacées se terminent en tête de griffon. Les dragons sont joints par une tête de lion munie d'un long tenon qui servait à la fixation sur une porte. Les dragons de ce genre étaient destinés à protéger un édifice des mauvais esprits.","holder":"Museum für Islamische Kunst","dates":"début du XIIIe siècle J.-C.","location":"Berlin","dimensions":"H. 27,5 cm, l. 24 cm.","method_for_datation":"D'autres heurtoirs de porte similaires dont certains provenant de la Ulu Cami (Grande Mosquée) de Cizre permettent de dater l'objet du VIIe/XIIIe siècle.","method_for_provenance":"Ce heurtoir de porte, acheté à Tiflis en Géorgie, présentant des similitudes avec ceux de la Ulu Cami (Grande Mosquée) de la ville de Cizre au sud de l'Anatolie, la littérature admet son origine dans cette région.","provenance":"Sud-est de l’Anatolie (Turquie).","obtention":"Acheté à Tbilissi. Don de A. Francke en 1912.","bibliography":"Hattstein, M. et Delius, P., *Islam. Art and Architecture,* Cologne, 2000, pp. 384-385 (édition disponible en français : Hattstein, M. et Delius, P., *Arts et civilisations de l'Islam*, Cologne, 2000).  \nHillenbrand, R., *Islamic Art and Architecture,* Londres, 1999, pp. 111-137.  \n*Museum für Islamische Kunst Berlin* (catalogue), Berlin, 1979, n° 14, p. 17.  \n*Museum für Islamische Kunst* (catalogue),Mayence, 2001, p. 66.  \n*Turks. A Journey of a Thousand Years, 600-1600* (catalogue, D. J. Roxburgh éd.), Londres, 2005, pp. 130-131, cat. n° 87.","author":"Annette Hagedorn","translator":"Arlette Camion(de l’allemand).","translation_copy_editor":"Margot Cortez","keywords":["bronze","symbolique","dragon","Zenguide","animal imaginaire","heurtoir"],"materials":["Bronze fondu et gravé."]},"21979064-bb4f-57a3-8990-b944ae319b20":{"name":"Chemise talismanique.","description":"Chemise à col rond s'ouvrant jusqu'à l'abdomen. La totalité de la surface est décorée de versets du Coran, de prières, de formules magiques et de porte-bonheur numérologiques. Le dos est orné d'une composition de fleurs naturalistes, exécutée au pigment de couleur.  \nLes inscriptions sur les chemises talismaniques consistaient essentiellement en chapitres et versets du Coran. Y figuraient également les noms et les qualificatifs de dieu (le *Asma al-Husna*), les noms de divers prophètes et des quatre anges principaux, le sceau du prophète Mahomet, des poèmes à sa louange et parfois la *hilya* (noble description du prophète). On peut aussi y rencontrer le nom de Fatima, de ses fils Hassan et Hussein, ceux des quatre premiers califes et les signes du zodiaque. Presque toutes les chemises de ce type comportent des formules magiques et des porte-bonheur numérologiques composés de lettres et de nombres censés posséder des pouvoirs et des significations magiques. Le musée possède de nombreuses chemises talismaniques provenant de divers tombeaux.","short_description":"Les versets du Coran, qui sont les paroles de Dieu, étaient non seulement lus pour la prière mais également perçus comme symboles talismaniques. Ils étaient parfois portés en collier à titre d’amulettes, et quelquefois ils recouvraient entièrement des vêtements connus sous le nom de “chemises talismaniques”.","holder":"Musée des arts turcs et islamiques.","dates":"Fin du VIIIe siècle-début du IXe siècle de l’Hégire / XIVe-XVe siècle J.-C.","location":"Sultanahmet, Istanbul","dimensions":"100 x 120 cm.","method_for_datation":"La couleur, les inscriptions et la décoration florale naturaliste de cette chemise suggèrent une fabrication datant des premières années de la dynastie ottomane et son utilisation par le sultan Bayézid Ier (la Foudre).","obtention":"Transféré du tombeau du sultan Bayézid Ier (surnommé la Foudre) dans sa mosquée de Brousse au musée en 1332/1914.","bibliography":"ölçer, N., et al., *Museum of Turkish and Islamic Art*, Istanbul, 2002, pp. 248-249.","linkcatalogs":"IAM_TR_FR_001","author":"Alev Özay","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["chemise","talisman","sultan Bayézid Ier"],"materials":["Soie jaune."]},"2d7d148e-c180-5cf1-813a-f3b4c6cdb469":{"name":"Livre de prières.","description":"Ce petit manuscrit est une compilation de divers textes religieux illustrant des croyances et des coutumes populaires. Son contenu repose essentiellement sur le Coran, auquel sa première partie est consacrée. Il débute par la *Fatiha*, la première sourate, et se termine par la dernière (CXIV), sans être pour autant un coran complet. Il a été copié en styles *muhaqqaq* et *naskhi*, peut-être par deux calligraphes différents. L'un d'eux était Ibrahim Babirbarzadeh, dont la signature apparaît vers la fin de l'ouvrage. Chaque page de texte est encadrée d'un large bandeau doré et de filets à l'encre rouge-bleuâtre vif. Les titres des sourates sont enluminés et les versets signalés par des rosettes dorées. La première partie du manuscrit est suivie d'une sélection de sourates et de versets coraniques. Selon une croyance populaire, les mots mêmes du Coran possèdent des pouvoirs surnaturels liés à leur origine divine, et peuvent aider en cas de malheur. Les marges de ces pages sont également occupées par des notes qui peuvent fournir des explications sur l'usage spécifique de ces citations, par exemple contre la maladie ou la pauvreté. Suivent les 99 noms d'Allah et les noms du Prophète, également censés offrir une protection particulière. Un élément commun aux livres de ce type est la présence de prières de bénédiction, dont la récitation vaut récompense. La partie la plus impressionnante est une série de pages illustrées reprenant les noms d'Allah et de Muhammad écrits à l'or sur fond bleu, la représentation de l'empreinte et de la sandale du Prophète, des vues de La Mecque et de Médine, ainsi que des citations et les lettres des noms de Dieu disposées en cercles et carrés pour protéger contre le mauvais sort.  \nLa reliure est en cuir brun-rouge foncé ornementé d'un rectangle central doré comprenant un motif en losange. L'intérieur de la couverture est doublé d'un papier jaune poli à décor de grandes feuilles.","short_description":"Petit ouvrage, compilation de divers textes religieux censés porter bonheur. En dehors de citations principalement tirées du Coran, il contient des prières de bénédictions. Ses remarquables pages illustrées représentent ici l'empreinte et la sandale du Prophète ou des vues de La Mecque et de Médine.","holder":"Musée des antiquités méditerranéennes et proche-orientales (Medelhavsmuseet)","dates":"XIIe siècle de l'Hégire (XVIIIe siècle J.-C.)","location":"Stockholm","dimensions":"H. 14,7 cm, l. 9,5 cm.","method_for_datation":"Analyse du style des enluminures. Leurs éléments floraux, par exemple, sont proches de ceux de corans ottomans du XIIe siècle H (XVIIIe siècle J.-C.).","method_for_provenance":"Analyse du style des enluminures. Leurs éléments floraux, par exemple, sont proches de ceux de corans ottomans du XIIe siècle H (XVIIIe siècle J.-C.).","provenance":"Turquie.","obtention":"Acheté en salle des ventes auprès de Me François de Ricqlès, 22 mars 1996, lot n° 33.","bibliography":"*Islamische Kunst aus Privaten Sammlungen in Deutschland*, Exhibition catalogue, Munich, 2000, pp. 14-15.  \n*Turkish Miniature Painting and Manuscripts from the Collection of Edwin Binney 3rd*, Metropolitan Museum of Art, New York, 1973, cat. n° 40.","author":"Friederike Voigt","copy_editor":"Monica Allen","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["religion","prières","Coran"],"materials":["enluminures","illustrations.","calligraphie","Papier","Encre","cuir","Or"]},"324db717-f88f-51eb-8d77-e05946d136f3":{"name":"Ornement de coiffure.","description":"Composé d'un disque de maillechort, de chaînettes métalliques, de pièces de monnaie ottomanes, de porte-bonheur et de grains divers, cet ornement de coiffure de mariage se fixait au sommet d'un bonnet en tissu brodé adapté à la forme de la tête. L'un des porte-bonheur est une médaille de saint Joseph d'origine française, l'autre une “main de Fatma.” Les pièces de monnaie – sauf une au nom du roi d'Espagne Philippe V – sont ottomanes et datées d'entre 1180 et 1260 H / 1766-1844 J.-C. Elles remplissaient deux fonctions, l'une purement décorative, l'autre d'indication de la richesse de la mariée, de son statut social et de l'importance de sa dot. La présence d'une médaille chrétienne au centre du disque fait penser que cet ornement a pu être destiné à une mariée chrétienne. Cet ornement est un bon exemple de la diversité culturelle du Moyen-Orient ottoman, en particulier en Palestine, où les villages pouvaient être chrétiens ou musulmans. Parmi les autres pièces de monnaie européennes populaires dans les bijoux moyen-orientaux figurent celles à l'effigie de l'impératrice Marie-Thérèse d'Autriche.  \nLes jeunes mariées de Ramallah (ville à dominante chrétienne) portaient ce type d'ornement de coiffure pour leurs noces. La femme était libre de l'enrichir de pièces ou, au contraire, d'en prélever pour son usage personnel, par exemple pour l'aménagement de sa maison. Un grand nombre de ces coiffes passaient de génération en génération et lorsque les pièces d'or devinrent à la mode, elles remplacèrent souvent celles d'argent.","short_description":"La médaille d’un saint chrétien accrochée sur le devant de cet ornement révèle qu’il appartenait à une jeune mariée arabe chrétienne de la période ottomane en Palestine. Il s’agit sans doute d’un accessoire de parure de mariée portée par une femme de Ramallah. Les pièces d’argent sont ottomanes et datées d’entre 1180 et 1260 H (1766-1844 J.-C.).","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"XIIIe siècle de l’Hégire (XIXe siècle J.-C.).","location":"Glasgow, Écosse","dimensions":"Ø (du disque) 13,5 cm ; épaisseur (du disque convexe) 3 cm ; L. des chaînettes courtes 12 cm ; L. des chaînettes longues 28,5 cm.","method_for_datation":"Analyse stylistique et datation des pièces de monnaie ottomanes utilisées sur cet objet entre 1180 et 1260/1766-1844.","provenance":"Ramallah, Palestine.","obtention":"Donné au muséeen 1987.","bibliography":"Weir, S., *Palestinian Costume*, Londres, 1989.","linkcatalogs":"IAM_PA_FR_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["costume","pièces de monnaie","joaillerie","femmes","bijouterie","numismatique"],"materials":["grains de verre et de pierre.","Maillechort","chaînes et pièces de monnaie métalliques"]},"51757aaf-3959-52b5-9501-f542549914de":{"name":"Amulette “main de Fatma” ou “keff”.","description":"Petite main *keff* en verre moulé, qui devait faire partie d'une chaîne ou d'un collier ou être cousue sur un vêtement ou une coiffure. Sa principale fonction est de protéger celui ou celle qui la porte du “mauvais œil,” ces pensées et actions mauvaises qui pourraient lui apporter des déconvenues. Elle est en verre de couleur fondu dans un moule. La boucle est obtenue par la torsion de la base de la main (la zone du poignet) sur elle-même. La boucle avant correspond à la paume ; une fois celle-ci passée dans un fil, les doigts pointent vers le bas.  \nLa main, *keff,* est antérieure à l'islam. Intégrée dans la culture populaire islamique, elle reste largement utilisée comme porte-bonheur au Moyen-Orient et en Afrique du Nord. Particulièrement présente dans les bijoux, elle apparaît aussi sur des talismans et des porte-bonheur en papier, des tissus, des broderies, et dans l'architecture vernaculaire.","short_description":"Dans les cultures populaires islamiques du Moyen-Orient, de petites amulettes de verre comme celle-ci étaient utilisées comme décoration et comme protection. La fonction principale du *keff* est de protéger celui qui la porte du “mauvais œil” en empêchant les méfaits que les mauvaises pensées et actions peuvent occasionner.","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Fin XIIIe-début XIVe siècle de l’Hégire (fin XIXe-début XXe siècle J.-C.).","location":"Glasgow, Écosse","dimensions":"L. 2 cm, l. 1,5 cm.","method_for_datation":"Analyse stylistique. De nombreux exemples similaires, tant pour la méthode de fabrication que pour la taille et la couleur, ont été datés de la période ottomane et attribués à des ateliers d'Hébron en Palestine.","method_for_provenance":"De nombreux exemples similaires sont attribués à des ateliers d'Hébron, en Palestine.","provenance":"Hébron, Palestine.","obtention":"Acheté par le muséeen 1912.","bibliography":"Budge, Sir, E. A. Wallis, *Amulets and Superstitions*, Londres, 1930.  \nWeir, S., *Palestinian Costume*, Londres, 1989.","linkcatalogs":"IAM_PA_FR_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["bijoux","objets religieux","décoration figurative"],"materials":["Verre de couleur moulé."]},"58b8041e-0838-56a2-b0b3-2369a498e868":{"name":"Ceinture.","description":"Ce type de longue ceinture en soie brochée ou *lampas,* tissée sur un métier à la tire dans les ateliers de Fès, est apparu au début du XIIe siècle H (XVIIIe siècle J.-C.). Portée au-dessus de leur caftan par les femmes de l'aristocratie et de la bourgeoisie, elle faisait plusieurs fois le tour de la taille ; pliée en deux, elle pouvait être portée sur deux côtés. Celle-ci est étroite et souple comme les plus anciens exemplaires. Sur un fond rouge, un décor broché composé de cinq motifs de différentes couleurs inspirés du répertoire décoratif maroco-andalou est enrichi de quelques éléments empruntés à l'art persan et ottoman : entrelacs géométrique aux interstices garnis de fleurs, fleurons et palmes, motifs ovoïdes rappelant le fruit du citronnier *tronjia*, frises d'arcades munies de fleurs, semblables aux dessins des tentures murales. Ces motifs sont présentés seuls ou combinés, en bandes transversales répétitives et alternées.  \n  \nLes deux extrémités de la ceinture sont ornées de plusieurs mains stylisées et d'étoiles à huit branches ou sceaux de Salomon, considérés dans la tradition ésotérique marocaine comme symboles prophylactiques. Entre les grands motifs qui composent la décoration principale de l'étoffe et les deux extrémités de la ceinture, une étroite bande rehaussée de petites tulipes placées tête bêche représente la marque de l'atelier.  \n  \nLes longs cordonnets qui terminent la ceinture se nouaient sur le devant pour la maintenir autour de la taille.","short_description":"Cette sorte de longue ceinture en soie brochée était portée au-dessus du caftan par les femmes des hauts dignitaires et celles de la bourgeoisie. Elle faisait plusieurs fois le tour de la taille et pouvait être portée sur deux côtés.","holder":"Musée des Oudayas.","dates":"XIIIe-XIVe siècle de l’Hégire (XVIIIe-XIXe siècle J.-C.).","location":"Rabat.","dimensions":"H. 135 cm, l. 32 cm.","method_for_datation":"Par le type de décoration, la largeur et la longueur de la ceinture, ainsi que par la souplesse du tissu.","method_for_provenance":"D'après les études faites sur le sujet et les écrits des historiens, c'est à Fès qu'étaient installés les ateliers de tissage de brocarts, depuis l'époque mérinide jusqu'au début du XXe siècle.","provenance":"Fès.","obtention":"Achat.","bibliography":"Golvin, L., “Les métiers à la tire des fabricants de brocarts de Fès”, *Hespéris,* 1950*,* 1er et 2e trim., pp. 37-48.  \n  \nVogel, L., *Soieries marocaines, les ceintures de Fès*, Paris, 1920.","linkcatalogs":"IAM_MA_FR_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique","décoration architecturale"],"materials":["Brocard de soie tissé sur le métier à la tire."]},"7ff62aeb-95ef-5f6d-aac9-d4a4e44250fe":{"name":"Médaillon (bractéate).","description":"Cette feuille de métal circulaire montée en médaillon présente une échancrure arrondie dans sa partie inférieure. Sur le côté supérieur opposé sont soudés une succession de trois anneaux légèrement espacés. L'une des faces de ce médaillon est nue, l'autre comporte une ornementation et une inscription. Un double filet circulaire parcourt la circonférence en contournant l'échancrure et circonscrit l'ornementation, dont l'essentiel se répartit sur trois bandeaux. Les deux bandeaux supérieur et inférieur contiennent respectivement des lignes courbes entrelacées et des lignes droites. Le bandeau central, plus large, porte une inscription en caractères cursifs contenant le texte suivant : *“El moulk lillah wahdahou”* (La royauté appartient à Dieu seul).  \n  \nLes anneaux fixés dans la partie supérieure du médaillon suggèrent que cette bractéate était un pendentif central de collier.","short_description":"Feuille d'argent circulaire formant un médaillon dont la partie inférieure comporte un évidement et la partie supérieure trois anneaux distants. L'une des faces est ornée de cercles concentriques divisés en segments et bandeaux portant des ornements floraux et géométriques ainsi qu'une inscription en caractères cursifs.","holder":"Musée national de Cirta","dates":"524-668 de l’Hégire / 1130-1269 ou 627-982 H / 1229-1574.","location":"Constantine","dimensions":"Ø 2,8 cm, poids 2,11 g.","method_for_datation":"Bourouiba fait remonter ce médaillon à l'époque hammadide sans aucun argument. L'inscription en caractères *naskhi* (cursifs), propres aux Almohades et aux Hafsides, sur un médaillon trouvé avec celui-ci éloigne de cette hypothèse, car les Hammadides employaient l'écriture coufique. De plus, ce médaillon fut mis au jour parmi mille pièces de monnaie almohades et une pièce hafside. Il est donc logique de le situer au VIIe/XIIIe siècle.","method_for_provenance":"Bourouiba précise dans le *Bulletin d'archéologie algérienne* (t. III, 1968) que le médaillon a été découvert “dans la partie ouest de la salle de prière de la mosquée de la Qal'a des Beni Hammad, à proximité du dernier pilier de l'avant-dernière nef, à droite du *mihrab*”.","provenance":"Qalaa des Beni Hammad.","obtention":"Dépôt archéologique (fouilles Bourouiba, septembre 1967).","bibliography":"Bourouiba, R., *Cités disparues : Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Alger, 1982.  \n  \nBourouiba, R., *Les H'ammadites*, Alger, 1984.  \n  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal'a des Banu Hammad”, *Bulletin d'archéologie algérienne*, t. III, Alger, 1968, pp. 353-367.","author":"Houria Cherid","copy_editor":"Margot Cortez","keywords":["bijou","bractéate","Almohades","Hafsides","médaillon","pendentif","collier"],"materials":["Argent gravé et découpé."]},"8a17d7b1-3b8e-5b6d-88b4-25e695aeed52":{"name":"Médaillons (bractéates).","description":"Chacune de ces deux feuilles de métal en forme de cercle porte sur sa partie supérieure un anneau orné de trois traits en relief et n'est décorée que sur une face. Le médaillon (01) est garni de larges traits courbes grossièrement exécutés, qui s'apparentent à un entrelacs discontinu. Le médaillon (02) présente le même genre d'entrelacs discontinu à base de larges traits courbes, mais mieux travaillés et mieux centrés. Trois triangles perforés décorent également ce dernier.  \n  \nLes anneaux montrent que ces bractéates étaient utilisées comme pendentifs.","short_description":"Deux feuilles circulaires d'argent ciselé forment deux médaillons accrochés à des anneaux. Ils sont ornés sur une face de traits courbes grossièrement exécutés dans un cas et dans l'autre, plus soignés et centrés, formant des entrelacs discontinus. Trois triangles perforés décorent également le second médaillon.","holder":"Musée national de Sétif","dates":"524-668 de l’Hégire / 1130-1269 ou 627-982 H / 1229-1574.","location":"Sétif","dimensions":"Ø 2 cm (chacun), poids : 1 g (chacun).","method_for_datation":"Bourouiba fait remonter ces médaillons à l'époque hammadide sans aucun argument. L'inscription en caractères *naskhi* (cursifs), propres aux Almohades et aux Hafsides, sur un autre médaillon trouvé avec ceux-ci éloigne de cette hypothèse, car les Hammadides employaient l'écriture coufique. De plus, les médaillons ont été mis au jour parmi mille pièces de monnaie almohades et une pièce hafside. Il est donc logique de les situer au VIIe/XIIIe siècle.","method_for_provenance":"Bourouiba précise dans le *Bulletin d'archéologie algérienne* (t. III, 1968) que les médaillons furent découverts “dans la partie ouest de la salle de prière de la mosquée de la Qal'a des Beni Hammad, à proximité du dernier pilier de l'avant-dernière nef, à droite du *mihrab*”.","provenance":"Qalaa des Beni Hammad.","obtention":"Dépôt archéologique (fouilles Bourouiba, septembre 1967).","bibliography":"Bourouiba, R., *Cités disparues : Tahert, Sédrata, Achir, Kalaâ des Beni Hammad*, Alger, 1982.  \n  \nBourouiba, R., *Les H'ammadites*, Alger, 1984.  \n  \nBourouiba, R., “Note sur des bijoux trouvés à la Qal'a des Banu Hammad”, *Bulletin d'archéologie algérienne*, t. III, Alger, 1968, pp. 353-367.","author":"Houria Cherid","copy_editor":"Margot Cortez","keywords":["bijou","bractéate","Almohades","Hafsides","médaillon","pendentif"],"materials":["Argent ciselé."]},"8d5a8b6b-9b7a-5d86-a103-56328d85c92a":{"name":"Amulette “main de Fatma.”","description":"Petite amulette de cuivre en forme de main, utilisée comme porte-bonheur. Au dos est estampée une étoile à six branches à point central surmontant un croissant. Au-dessus de l'étoile est inscrit le terme arabe de *mabrouk* (congratulations). Curieusement symétrique, cette main compte deux pouces, deux index et un majeur. Les ongles sont clairement marqués. Le revers est plat et sans décor. Cette amulette pouvait être fixée à un objet, un vêtement, un meuble ou un présent.  \nLa paume de la main, *keff*, est un porte-bonheur couramment porté pour écarter le “mauvais œil,” qui représente le mal potentiel qu'entraînent les mauvaises pensées ou actions. La main est essentiellement un bijou à porter, mais se retrouve également en décoration architecturale et dans d'autres ornements.  \nL'étoile à six branches utilisée dans le Moyen-Orient islamique est le symbole de l'anneau ou du sceau du prophète Soliman (le roi Salomon de la Bible). Selon la tradition islamique, il était célèbre pour sa sagesse et ses pouvoirs surnaturels. Son anneau, portant le sceau à étoile à six branches, lui donnait le pouvoir de commander aux djinns et de parler aux animaux. L'image du sceau sur cette amulette est censée conférer certains pouvoirs à celui qui la porte. La présence à la fois du croissant et du mot *mabrouk* confirme que cette amulette est d'origine islamique.","short_description":"La main de Fatma est une forme de porte-bonheur répandue contre le mal potentiel, les mauvaises pensées ou actions. L’étoile à six branches avec un point en son centre est un symbole de l’anneau ou du sceau du prophète Soliman (le roi Salomon de la Bible), qui est employé ici pour donner du pouvoir à celui qui le porte.","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Fin XIIIe siècle de l’Hégire (fin XIXe siècle J.-C.).","location":"Glasgow, Écosse","dimensions":"L. 3 cm, l. 2 cm.","method_for_datation":"Analyse stylistique. L'utilisation de l'étoile à six branches par les musulmans cessa lorsque les communautés juives d'Europe commencèrent à s'en servir comme symbole du judaïsme à la fin du XIIIe/XIXe siècle, ce qui indique que cette main n'a pu être fabriquée en Palestine au-delà de cette date.","provenance":"Palestine.","obtention":"Acheté en 1912.","bibliography":"Bearman, P., *et al*., *The Encyclopaedia of Islam*, Leyde, 1965.  \nSinger, I., *Jewish Encyclopaedia*, Pennsylvania, 1906.","linkcatalogs":"IAM_PA_FR_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["bijoux","objets religieux","décoration figurative"],"materials":["Cuivre moulé."]},"a5b2538f-6e41-5940-b65c-59d0b57a7466":{"name":"Parure pectorale (lebba).","description":"Ce large collier est formé de plusieurs pendentifs enfilés sur un cordonnet de soie, alternés de perles d'or ovoïdes et cannelées. Ces pendentifs sont constitués de différentes pendeloques d'or en forme de fleurons ou roses de Rhodes appelées *gharnati*, de rosaces, de croissants et d'étoiles qui s'assemblent pour composer un long et large pectoral recouvrant presque toute la poitrine. Les pendeloques sont décorées sur les deux faces. Chacune d'elles est sertie de dix cabochons d'émeraudes et de grenats sur une face et rehaussée, sur l'autre, d'émaux champlevés verts, rouges et bleus aux décors floraux et végétaux. Ce type de parure était arboré par les mariées de Fès le jour de leurs noces et par les femmes de la haute bourgeoisie à l'occasion de festivités. Les symboles magiques qu'on peut y observer sont destinés à protéger la femme contre le mauvais œil. L'utilisation du chiffre dix dans le nombre de pierreries (double de cinq, symbole de la main qui éloigne les méfaits) et le motif croissant et lune, imitant l'image d'un sourcil et d'un iris (œil qui voit le danger) sont révélateurs de l'importance accordée par la femme aux amulettes.","short_description":"Ce collier formé de plusieurs pendants décorés sur les deux faces était porté par les mariées. Il comporte des symboles destinés à protéger la femme contre le mauvais sort : les deux mains représentées par le nombre dix des pierres précieuses serties sur chaque médaillon, et l'œil par le motif du croissant et du cercle.","holder":"Musée des Oudayas.","dates":"XIIIe siècle de l’Hégire (XIXe siècle J.-C.).","location":"Rabat.","dimensions":"H. 13 cm, L. sans les attaches 35 cm, poids 700 g.","method_for_datation":"Les travaux de J. Besancenot ont montré que ce bijou n'était plus fabriqué avec ce type de technique à partir de la fin du XIXe siècle.","method_for_provenance":"D'après les renseignements fournis par les bijoutiers à J. Besancenot.","provenance":"Fès.","obtention":"Achat.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \n  \nEudel, L., *Dictionnaire des bijoux de l'Afrique du Nord*, Paris, 1906.  \n  \nKhatib-Boujibar, N., *Parures et bijoux du Maroc*, Casablanca, 1974.","linkcatalogs":"IAM_MA_FR_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique"],"materials":["pierres précieuses","émaux champlevés.","Or"]},"bd425b9a-5df3-53ae-8d59-3df33045cb72":{"name":"Paires de fibules.","description":"Chacune des deux fibules se compose d'un ardillon coulissant sur un arc de cercle et d'un corps formant bijou, terminé sur le côté opposé de l'épingle par un petit anneau destiné à accueillir une chaîne réunissant les deux fibules. Le corps de la fibule est de forme ovoïde, son décor se distribue selon un schéma rayonnant. Quatre chatons en forme de fleurons appelés *gharnati* ou roses de Rhodes, sertis deux par deux de racines d'émeraude et de grenat, partent d'un médaillon ovale serti d'un cabochon de racine d'émeraude. De ce même centre jaillissent des compositions foliées constituées de doubles palmes rainurées, et de trois palmes symétriques en forme de fleurons. Ces derniers reçoivent des perles baroques retenues à la surface du bijou par un fil d'or fermé par une petite boule dorée. Les bords de la fibule sont décorés de doubles palmes dont les lobes s'enroulent différemment pour dessiner une ligne de festons.  \n  \nBijou utilitaire et de valeur destiné à retenir le drapé de la mariée, il porte également un symbole prophylactique contre le mauvais œil. En effet, cette disposition cruciforme comportant cinq pierres rappelle le symbole de la main aux cinq doigts, ainsi que l'œil central qui voit le danger et le disperse aux quatre vents pour protéger la nouvelle mariée ou la femme qui le porte du mauvais sort que pourraient lui jeter les envieux.","short_description":"Ces fibules ou épingles coulissant sur un arc de cercle servaient à retenir le drapé de la mariée. Elles se doublent d'une plaque décorée sur les deux faces formant bijou : l'une émaillée, l'autre sertie de pierres précieuses au nombre de cinq, à l'image du symbole de la main.","holder":"Musée des Oudayas.","owner":"Revillaud.","dates":"XIIIe siècle de l’Hégire (XIXe siècle J.-C.).","location":"Rabat.","dimensions":"H 11, 5 cm, l. 6, 3 cm, poids 94 g.","method_for_datation":"Les travaux de J. Besancenot ont montré que ce bijou n'était plus fabriqué avec ce type de technique à partir de la fin du XIXe siècle.","method_for_provenance":"Fès était réputée pour la fabrication de tels bijoux.","provenance":"Fès.","obtention":"Don Revillaud 1930.","bibliography":"Besancenot, J., *Bijoux arabes et berbères du Maroc*, Casablanca, 1957.  \n  \nEudel, P., *Dictionnaire des bijoux de l'Afrique du Nord*, Paris, 1906.  \n  \nKhatib-Boujibar, N., *Parures et bijoux du Maroc,* Casablanca, 1974.","linkcatalogs":"IAM_MA_FR_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique","parure"],"materials":["Or moulé ajouré serti de cabochons de pierres précieuses."]},"c69cb729-5a18-54d1-b7ac-2cfc3ae623ed":{"name":"Pierre votive gravée.","description":"Pierre rectangulaire gravée d'une inscription du verset 255 (“*Ayat al-Kursi”,* Le verset du trône*)* de la deuxième sourate du Coran (“*al-Baqara*”, La vache de Moïse) :  \n“Allah ! Point de divinité à part Lui, le Vivant, Celui qui subsiste par lui-même,'al-Qayyu'. Ni somnolence ni sommeil ne Le saisissent. à lui appartient tout ce qui est dans les cieux et sur la terre. Qui peut intercéder auprès de Lui sans Sa permission? Il connaît leur passé et leur futur. Et, de Sa science, ils n'embrassent que ce qu'Il veut. Son Trône, 'Kursi', déborde les cieux et la terre, dont la garde ne Lui coûte aucune peine. Et Il est le Très Haut, le Très Grand” (trad. Kasimirski**)**.  \nL'inscription en coufique de dix lignes environ est gravée en profondeur dans la pierre. Les lettres hautes de forme anguleuse suggèrent un travail très ancien. La fonction de cette pierre était de protéger son propriétaire, sa famille et sa maison du mauvais œil. Cette coutume est restée très vivante de nos jours. Dans de nombreuses maisons jordaniennes, on trouve encore ce type de bénédiction reproduite sur des panneaux de céramique ou de cuivre, des broderies, ou sur des pendentifs en or pour les femmes et les enfants.","short_description":"Pierre gravée d’Amman portant un verset du Coran connu comme *Ayat al-Kursi* issu de la première sourate, *al-Baqara*, verset 255. L'inscription en coufique est de style omeyyade typique. La fonction de cette pierre était de protéger son propriétaire, sa famille et sa maison du mauvais œil. Cette coutume est restée très usitée de nos jours.","holder":"Musée archéologique de Jordanie.","owner":"Maintenant exposé au ‘Jordan Museum’","dates":"Première moitié du IIe siècle de l’Hégire (VIIIe siècle J.-C.).","location":"Amman.","dimensions":"H. 70 cm, l. 38 cm.","method_for_datation":"Analyse stylistique de l'écriture et datation des fragments de poterie trouvés dans les strates archéologiques proches du lieu de découverte.","method_for_provenance":"Pièce découverte lors de fouilles archéologiques au centre d'Amman.","provenance":"Amman, Jordanie.","obtention":"Cette pierre a été trouvée en 1958 lors d'une fouille de sauvetage conduite par le Département des antiquités de Jordanie au centre d'Amman.","bibliography":"العابدي. محمود، الآثار الإسلامية في فلسطين و الأردن، عمان، 1973، ص 238.","linkcatalogs":"IAM_JO_FR_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["écriture coufique","inscriptions","Coran","pierre votive","chahadah"],"materials":["Pierre gravée."]},"fd051a6c-6d76-5872-b5f1-48712d9ee72b":{"name":"Amulette apotropaïque contre le mauvais œil (“œil bleu”).","description":"“Œil bleu” fait d'un disque de verre moulé bleu auquel se superposent deux disques de verre jaune et blanc de diamètres plus petits, le tout surmonté d'un point noir central. Il s'agit probablement d'une pièce appartenant à un collier composé d'éléments similaires puisqu'il présente un trou latéral pour le passage d'un fil. Ce type d'œil de verre pouvait également être cousu sur des vêtements ou des coiffures.  \nSelon la croyance islamique populaire, les yeux bleus sont des yeux envieux. L'œil de l'envie ou œil bleu se porte pour se protéger de ce sentiment négatif en renvoyant à l'autre sa propre envie, et en protégeant ainsi le porteur des effets de la jalousie, qui pourrait provoquer l'arrivée d'une maladie ou d'un événement funeste.  \nCes “yeux” peuvent être de fabrication grossière, comme ce modèle, mais aussi dessinés avec précision et réalisés avec art comme dans certaines pièces de joaillerie en or ou argent. Leur pouvoir de protection n'est pas lié à la qualité de la fabrication. On trouve également des disques entièrement bleus qui devaient jouer un rôle similaire et pouvaient parfois remplacer l'œil de l'envie.","short_description":"Dans la croyance islamique populaire du Moyen-Orient, les yeux bleus sont censés être à la fois envieux et avoir la capacité de repousser l’envie. Cet œil de verre bleu est porté pour protéger des effets de la jalousie, qui peut provoquer la perte de ce qui est envié, la maladie ou un évènement funeste.","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Fin XIIIe-début XIVe siècle de l’Hégire (fin XIXe-début XXe siècle J.-C.).","location":"Glasgow, Écosse","dimensions":"Ø 2 cm.","method_for_datation":"Analyse stylistique. De nombreux exemples similaires, tant pour la méthode de fabrication que pour la taille et la couleur, ont été datés de la période ottomane et attribués à des ateliers d'Hébron en Palestine.","method_for_provenance":"De nombreux exemples similaires ont vu leur provenanceattribuée à des ateliers d'Hébron, en Palestine.","provenance":"Hébron, Palestine.","obtention":"Acheté par le muséeen 1912.","bibliography":"Weir, S., *Palestinian Costume*, Londres, 1989.  \nBudge, Sir, E. A. Wallis, *Amulets and Superstitions*, Londres, 1930.","linkcatalogs":"IAM_PA_FR_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["bijoux","objets religieux","décoration figurative"],"materials":["Verre de couleur moulé."]}}

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@@ -0,0 +1 @@
+{"21979064-bb4f-57a3-8990-b944ae319b20":{"name":"Tılsımlı Gömlek.","description":"Yuvarlak yakalı olan gömleğin önü göbek hizasına kadar açıktır. Gömleğin tüm yüzeyi Kur'an ayetleri, dualar, vefk ve cifrlerle bezelidir. Gömleğin ense-sırt kısmına gelen bölümünde renkli boya ile yapılmış natüralist çiçeklerden oluşan bir süsleme bulunmaktadır.  \n  \nTılsımlı gömleklerin üzerine en çok Kur'an sure ve ayetleri yazılmıştır. Bunların yanı sıra Allah'ın güzel ad ve sıfatları (Esma-ül Hüsna), bazı peygamberlerin adları, dört büyük meleğin adları, Hz. Muhammed'in mührü ve onu yücelten şiirler, bazen de Hilye-i Resul yazılır. Gömleklerin üzerinde bazen Hz. Fatma'nın, oğulları Hasan ve Hüseyin'in, dört halifenin isimlerine ve burçların adlarına rastlanmaktadır. Tılsımlı gömleklerin hemen hepsinde sihirli güç ve anlamları olduğuna inanılan sayı ve harflerden oluşan vefk ve cifrler bulunmaktadır. Müze koleksiyonunda çeşitli türbelerden gelen birçok tılsımlı gömlek bulunmaktadır.","short_description":"Tanrının buyruğu olan Kur'an ayetleri, ibadet amacıyla okunmasının yanı sıra koruyucu güç sembolü olarak da algılanmıştır. Bazen bir muska küçüklüğünde boyunlarda taşınmış, bazen bir giysinin tüm yüzeyini kaplamış ve ''Tılsımlı Gömlek'' olarak adlandırılmıştır.","holder":"Türk ve İslam Eserleri Müzesi.","initial_owner":"Olasılıkla Yıldırım Bayezid (791-804 / 1389-1402).","dates":"H. 8. / M. 14. yüzyılın sonu – H. 9. / M. 15. yüzyılın başı.","location":"Sultanahmet, İstanbul","dimensions":"100 x 120 cm.","method_for_datation":"Tılsımlı gömleğin rengi, yazıları, ve üzerindeki natüralist çiçek bezemesi dolayısıyla, Osmanlıların ilk kuruluş yıllarında yapıldığı ve Yıldırım Bayezid tarafından da kullanıldığı düşünülmektedir.","provenance":"Bursa.","obtention":"1914 yılında Bursa Yıldırım Külliyesindeki Yıldırım Bayezid Türbesinden getirilmiştir.","bibliography":"ölçer, N., vd, *Türk ve İslam Eserleri Müzesi*, Akbank Yayınları, İstanbul, 2002, s.248-249.","linkcatalogs":"IAM_TR_TR_001","author":"Alev Özay","keywords":["Gömlek","I. Bayezid","Tılsım"],"materials":["Koyu sarı ipektir."]}}