@museumwnf/amulets-data 1.0.21 → 1.0.23

package/translations/items.el.json

@@ -1 +1 @@
-{"501785a0-9d3d-5517-9bcf-01c3e0ae7519":{"name":"Κούπα","short_description":"Η κούπα έχει κεντρικό ομφαλό και τοιχώματα με αυλακώσεις. Το σχήμα αυτού του σκεύους πάει πίσω στις αρχαίες φιάλες σπονδής και χρησιμοποιείται στον ισλαμικό κόσμο ως κούπα για το χαμάμ ή μαγικό μπολ. Οι μαγικές θεραπευτικές ιδιότητες του συγκεκριμένου μπολ φανερώνονται από τα κρυπτογραφημένα σύμβολα στο χείλος. Κορανικοί στίχοι κοσμούν τη ζώνη κάτω από το χείλος και γύρω από τον ομφαλό, η πλατειά έδρα του οποίου φέρει εξακόρυφο άστρο και το όνομα του Αλλάχ.","holder":"Μουσείο Μπενάκη","dates":"16ος-17ος αιώνας","location":"Αθήνα","dimensions":"Διάμετρος 18 εκ.","provenance":"Τουρκία","dynasty":"Οθωμανική περίοδος","materials":["Χαλκός Επικασσιτερομένος"]},"98b84854-315a-5209-aff7-d359b94d60f4":{"name":"Φυλαχτό","short_description":"Το ενεπίγραφο χρυσό φυλακτό φέρει κορανικούς στίχους σε πρώιμη κουφική γραφή και στις δύο πλευρές. Πρόκειται για το κεφάλαιο CXII με τίτλο «Ειλικρίνεια»  στο οποίο υμνείται η αγνότητα του θεού και η πίστη στον ένα θεό. Οι μαγικοθεραπευτικές ιδιότητες των φυλακτών είναι αποδεκτές  στον ισλαμικό κόσμο και ενδυναμώνονται με τη χρήση κορανικών αποσπασμάτων.","holder":"Μουσείο Μπενάκη","dates":"9ος αιώνας","location":"Αθήνα","dimensions":"Ύψος 2 εκ.","provenance":"Ιράκ ή Ιράν","dynasty":"Αββασιδική περίοδος","materials":["Χρυσός"]}}
+{"501785a0-9d3d-5517-9bcf-01c3e0ae7519":{"name":"Κούπα","short_description":"Η κούπα έχει κεντρικό ομφαλό και τοιχώματα με αυλακώσεις. Το σχήμα αυτού του σκεύους πάει πίσω στις αρχαίες φιάλες σπονδής και χρησιμοποιείται στον ισλαμικό κόσμο ως κούπα για το χαμάμ ή μαγικό μπολ. Οι μαγικές θεραπευτικές ιδιότητες του συγκεκριμένου μπολ φανερώνονται από τα κρυπτογραφημένα σύμβολα στο χείλος. Κορανικοί στίχοι κοσμούν τη ζώνη κάτω από το χείλος και γύρω από τον ομφαλό, η πλατειά έδρα του οποίου φέρει εξακόρυφο άστρο και το όνομα του Αλλάχ.","holder":"Μουσείο Μπενάκη","dates":"16ος-17ος αιώνας","location":"Αθήνα","dimensions":"Διάμετρος 18 εκ.","provenance":"Τουρκία","dynasty":"Οθωμανική περίοδος","materials":["Χαλκός  \nΕπικασσιτερομένος"]},"98b84854-315a-5209-aff7-d359b94d60f4":{"name":"Φυλαχτό","short_description":"Το ενεπίγραφο χρυσό φυλακτό φέρει κορανικούς στίχους σε πρώιμη κουφική γραφή και στις δύο πλευρές. Πρόκειται για το κεφάλαιο CXII με τίτλο «Ειλικρίνεια»  στο οποίο υμνείται η αγνότητα του θεού και η πίστη στον ένα θεό. Οι μαγικοθεραπευτικές ιδιότητες των φυλακτών είναι αποδεκτές  στον ισλαμικό κόσμο και ενδυναμώνονται με τη χρήση κορανικών αποσπασμάτων.","holder":"Μουσείο Μπενάκη","dates":"9ος αιώνας","location":"Αθήνα","dimensions":"Ύψος 2 εκ.","provenance":"Ιράκ ή Ιράν","dynasty":"Αββασιδική περίοδος","materials":["Χρυσός"]}}

package/translations/items.en.json

@@ -1 +1 @@
-{"00dfb034-7745-571e-9003-aff48bf346d0":{"name":"Talismanic necklace","short_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","dimensions":"Length 79 cm, triangle lib 4.5 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Talisman","triangular","silver","pendant","Ottoman coins","heal of Gazalle","coin","coinage","currency","numismatics"],"materials":["Silver; casting, welding"]},"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["calligraphy","epigraphic decoration","inscription","jewellery","naskhi","religious objects","Talisman"],"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.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Talisman, magic"],"materials":["cardboard, leather and silk binding","Gouache, black and red ink, colloidal gold on polished paper"]},"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.","dynasty":"Zangid","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["bronze","doorknocker","dragon","imaginary animal","symbolism","zangids","zoomorphic imagery"],"materials":["Bronze, cast, engraved."]},"0dda7d39-b57f-5849-bcea-6897a0d0d4be":{"name":"Amulet","short_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","dimensions":"4,4 x 3,5 cm","provenance":"Gostivar","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Reliquary","talisman","metalwork"],"materials":["Silver, hammering"]},"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["calligraphy","epigraphic decoration","inscription","jewellery","naskhi","religious objects","Talisman"],"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":["Ostrich eggs, silk, wool, cotton, silver thread, pigment"]},"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.","dynasty":"Early Ottoman period","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Amulet","calligraphy","costume","shirt","Sultan Bayezid I","Talisman"],"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["ayat al-kursi","calligraphy","epigraphic decoration","inscription","jewellery","naskhi","religious objects","sura al-baqara","Talisman"],"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.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["prayer","Qur’an","Religion","religious manuscript"],"materials":["calligraphy, illuminated, illustrated.","Leather, paper, ink, gold"]},"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","dynasty":"Al-Busaid","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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Coin","Coinage","costume","Daily life","jewellery","marriage","numismatics","Traditional costume","women"],"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":["Kilim","Pirot","Şarköy","weave","wool"],"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","dynasty":"Ottoman","keywords":["Amulet","calligraphy","costume","shirt","Talisman"]},"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.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Amulet","caftan","Clothing","magic","Ottoman","Talisman","Turkey"],"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","dynasty":"Ottoman","keywords":["Magical bowl","Ottoman bath culture","Quranic inscriptions"],"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","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["figurative decoration","jewellery","religious objects","Talisman"],"materials":["Moulded, coloured glass."]},"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0":{"name":"Veil","short_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","dimensions":"Height 173 cm, width 118 cm","provenance":"Palestine, Ashdod and Hebron villages","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Linen fabric","natural cotton","embroidered patterns"],"materials":["Linen, silk; hand weaving, hand embroidered, natural dyes"]},"52bc1f5c-19f1-5c15-8794-630ecd367289":{"name":"Amulet","short_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","keywords":["Talisman","crescent","tusks","wild boar","heal of Gazalle"],"materials":["Silver, enamel"]},"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.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Amulet","architectural decoration","costume","floral decoration","geometric decoration","Talisman","women"],"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","dynasty":"Sultanate","keywords":["Amulet","calligraphy","inscription","naskhi script","Talisman","Thuluth"]},"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).","dynasty":"India, Deccan; Mughal","author":"Nahla Nassar","keywords":["banner","Basmala","calligraphy","cotton","India","ink","inscription","Mughal","Qur’an","silver","Talisman","textile"],"materials":["Black and red ink, coloured pigments and silver on plain cotton","old repairs in green-dyed 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.","dynasty":"Almohad or Hafsid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Almohad","Bracteate","Hafsid","jewellery","medallion","Necklace"],"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.","dynasty":"Almohad or Hafsid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Almohad","Bracteate","Hafsids","jewellery","medallion"],"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["ayat al-kursi","calligraphy","epigraphic decoration","inscription","jewellery","naskhi","religious objects","sura al-baqara","Talisman"],"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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["figurative decoration","jewellery","religious objects","Talisman"],"materials":["Moulded brass."]},"98176d85-368c-5bcb-9ca0-e03314e1aa13":{"name":"Amulet band","short_description":"Acquired by Franks.","type":"Amulet band","holder":"The British Museum","dates":"? ; acquisition date: 1891","location":"London","provenance":"?","keywords":["Franks","collection","collector","museums","amulet","talisman","inscription"]},"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","dynasty":"Abbasid","keywords":["Amulet","gold","kufic","Quran","Talisman"],"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.","dynasty":"Alawid","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":["Gold, precious stones, champlevé enamel."]},"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.","dynasty":"Seljuq","copy_editor":"Caitlin Link","keywords":["magic","metalwork","mirror","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.","dynasty":"Ottoman","keywords":["Amulet","Arabic inscription","Ashab al-kahf","ayat al-kursi","Chalcedony","Hilyah","Mughal","naskhi script","Prophet Muhammad","Qur’anic inscriptions","Talisman","Throne verse"],"materials":["inscribed in naskhi","wheel- and point-cut","Yellow chalcedony"]},"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.","dynasty":"Mughal","author":"Mircea Dunca","keywords":["Amulet"],"materials":["Chalcedony, engraved and gilded","gold mount, enamel"]},"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.","dynasty":"'Alawid","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."]},"c25e83e8-79d8-5ca2-95b2-2a9dca7ab11e":{"name":"Mekleb bridal ornament","description":"Dating to approximately 1900, this exquisite Mekleb ornament worn on the back of the bride serves as both a significant ceremonial adornment and a powerful protective token. The piece is richly embellished with an array of historical coins, traditional amulets, and vibrant glass beads. Notably, the prominent blue-colored elements integrated into the ornament function as protective amulets, culturally intended to shield the bride from the evil eye and envy.","type":"Accessory","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"AH ca. 1318 / AD ca. 1900","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","dynasty":"Ottoman","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Bridal","ceremony","Ornament","Protection","wedding"],"materials":["Coins, Silver"]},"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).","dynasty":"Alawid","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Amulet","Hand of Fatima","Khamsa","metalwork","Morocco","Talisman","Tangier"],"materials":["Engraving","silver"]},"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["inscription","kufic script","Qur’an","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.","dynasty":"Qajar","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["boteh","hand motif"],"materials":["asymmetrical wool knot","Cotton warp and weft","knotted"]},"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","dynasty":"Al-Busaid","copy_editor":"Valerie Pulsifer","keywords":["Amulet","jewellery","Jinnī"],"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.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Amulet"],"materials":["gold, silver","repoussé, granulation"]},"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.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","cotton","fabric","gold","hajj","Hijaz","ink","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Qur'an","Qur'anic inscriptions","Religion","religious object","textile","travel"],"materials":["Cotton, inscribed in coloured inks and gold","shirt made up of 10 pieces of fabric, sewn together"]},"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","dynasty":"Samanid","keywords":["Amulet","kufic","Qur’an box","silver","Talisman"],"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":["engsi","Tekke","Turkmenistan"],"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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["figurative decoration","jewellery","religious objects","Talisman"],"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."}}
+{"00dfb034-7745-571e-9003-aff48bf346d0":{"name":"Talismanic necklace","short_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","dimensions":"Length 79 cm, triangle lib 4.5 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Talisman; triangular; silver; pendant; Ottoman coins; heal of Gazalle; coin; coinage; currency; numismatics"],"materials":["Silver; casting, welding"]},"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["Talisman; religious objects; jewellery; epigraphic decoration; inscription; 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.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Talisman, magic"],"materials":["Gouache, black and red ink, colloidal gold on polished paper; cardboard, 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.","dynasty":"Zangid","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Zangids; doorknocker; bronze; dragon; symbolism; imaginary animal; zoomorphic imagery"],"materials":["Bronze, cast, engraved."]},"0dda7d39-b57f-5849-bcea-6897a0d0d4be":{"name":"Amulet","short_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","dimensions":"4,4 x 3,5 cm","provenance":"Gostivar","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Reliquary; talisman; metalwork"],"materials":["Silver, hammering"]},"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["Talisman; religious objects; jewellery; epigraphic decoration; inscription; 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":["Ostrich eggs, silk, wool, cotton, silver thread, pigment"]},"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.","dynasty":"Early Ottoman period","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Shirt; Sultan Bayezid I; talisman; calligraphy; costume; amulet"],"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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["Talisman; religious objects; jewellery; epigraphic decoration; inscription; naskhi; calligraphy; ayat al-kursi; sura al-baqara"],"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.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Religion; Qur’an; prayer; religious manuscript"],"materials":["Leather, paper, ink, gold; calligraphy, illuminated, illustrated."]},"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","dynasty":"Al-Busaid","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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Women; coinage; coin; numismatics; Jewellery; costume; traditional costume; marriage; daily life"],"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":["Pirot; Şarköy; kilim; wool; weave"],"materials":["Wool; weaving"]},"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","dynasty":"Ottoman","keywords":["Costume; talisman; calligraphy; shirt; amulet"]},"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.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Turkey; Ottoman; Talisman; Magic; Amulet; Caftan; Clothing"],"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","dynasty":"Ottoman","keywords":["Ottoman bath culture; Quranic inscriptions; 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","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Jewellery; Religious objects; figurative decoration; talisman"],"materials":["Moulded, coloured glass."]},"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0":{"name":"Veil","short_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","dimensions":"Height 173 cm, width 118 cm","provenance":"Palestine, Ashdod and Hebron villages","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Linen fabric; natural cotton; embroidered patterns"],"materials":["Linen, silk; hand weaving, hand embroidered, natural dyes"]},"52bc1f5c-19f1-5c15-8794-630ecd367289":{"name":"Amulet","short_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","keywords":["Talisman; crescent; tusks; wild boar; heal of Gazalle"],"materials":["Silver, enamel"]},"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.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["geometric decoration; floral decoration; architectural decoration; women; costume; amulet; talisman"],"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","dynasty":"Sultanate","keywords":["Calligraphy; naskhi script; thuluth; inscription; talisman; amulet"]},"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).","dynasty":"India, Deccan; Mughal","author":"Nahla Nassar","keywords":["India; Mughal; banner; textile; talisman; cotton; silver; ink; basmala; inscription; Qur’an; calligraphy"],"materials":["Black and red ink, coloured pigments and silver on plain cotton; old repairs in green-dyed 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.","dynasty":"Almohad or Hafsid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Bracteate; medallion; necklace; jewellery; 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.","dynasty":"Almohad or Hafsid","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Bracteate; medallion; jewellery; Hafsids; 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.","dynasty":"Ottoman","author":"Mohamed Abbas, Cairo","copy_editor":"Liz Cooper","keywords":["Talisman; religious objects; jewellery; epigraphic decoration; inscription; naskhi; calligraphy; ayat al-kursi; sura al-baqara"],"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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Jewellery; Religious objects; figurative decoration; talisman"],"materials":["Moulded brass."]},"98176d85-368c-5bcb-9ca0-e03314e1aa13":{"name":"Amulet band","short_description":"Acquired by Franks.","type":"Amulet band","holder":"The British Museum","dates":"? ; acquisition date: 1891","location":"London","provenance":"?","keywords":["Franks; collection; collector; museums; amulet; talisman; inscription"]},"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","dynasty":"Abbasid","keywords":["Amulet; Kufic; Quran; Gold; talisman"],"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.","dynasty":"Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["geometric decoration; floral decoration"],"materials":["Gold, precious stones, champlevé enamel."]},"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.","dynasty":"Seljuq","copy_editor":"Caitlin Link","keywords":["Sphinx; mirror; metalwork; magic"],"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.","dynasty":"Ottoman","keywords":["Amulet; Arabic inscription; Ashab al-kahf; Hilyah; Ayat al-kursi; Chalcedony; Mughal; Naskhi script; Prophet Muhammad; Qur’anic inscriptions; Talisman; Throne verse"],"materials":["Yellow chalcedony; wheel- and point-cut; inscribed in *naskhi*"]},"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.","dynasty":"Mughal","author":"Mircea Dunca","keywords":["Amulet"],"materials":["Chalcedony, engraved and gilded; gold mount, enamel"]},"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.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["jewellery; floral decoration; geometric decoration"],"materials":["Openwork cast gold studded with precious stones."]},"c25e83e8-79d8-5ca2-95b2-2a9dca7ab11e":{"name":"Mekleb bridal ornament","description":"Dating to approximately 1900, this exquisite Mekleb ornament worn on the back of the bride serves as both a significant ceremonial adornment and a powerful protective token. The piece is richly embellished with an array of historical coins, traditional amulets, and vibrant glass beads. Notably, the prominent blue-colored elements integrated into the ornament function as protective amulets, culturally intended to shield the bride from the evil eye and envy.","type":"Accessory","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"AH ca. 1318 / AD ca. 1900","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","dynasty":"Ottoman","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Bridal; Wedding; Ornament; Ceremony; Protection"],"materials":["Coins, Silver"]},"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).","dynasty":"Alawid","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco; Tangier; Hand of Fatima; Khamsa; Amulet; Talisman; Metalwork"],"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Inscription; kufic script; Qur’an; 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.","dynasty":"Qajar","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","dynasty":"Al-Busaid","copy_editor":"Valerie Pulsifer","keywords":["Amulet; Jewellery; Jinnī"],"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.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Amulet"],"materials":["Gold, silver; repoussé, granulation"]},"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.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["Calligraphy; Cotton; Fabric; Gold; Hajj; Hijaz; ink; ka'ba; Ottoman textile; Pilgrimage; Pilgrimage route; Qur'an; Qur'anic inscriptions;  Religion; Religious object; Textile; Travel; Mecca"],"materials":["Cotton, inscribed in coloured inks and gold; shirt made up of 10 pieces of fabric, sewn together"]},"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","dynasty":"Samanid","keywords":["Amulet; Kufic; Silver; talisman; Qur’an box"],"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; Tekke; engsi"],"materials":["Wool; knotted carpet; asymmetrical knots"]},"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.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Jewellery; religious objects; figurative decoration; talisman"],"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."}}