@museumwnf/islamicart-geometric-data 1.0.1 → 1.0.2

package/translations/items.en.json

@@ -1 +1 @@
-{"0733c67d-ccf5-56da-96ce-bd2ec24a4c83":{"name":"Qur’an.","description":"Written on delicate finished (*aharlı*) paper with black ink in *naskhi* script. The opening pages of the Qur'an feature a double-page illumination with chapter headings in decorated frames, and rose motifs in the margins to mark the verses. The floral compositions in the illumination are noteworthy for how they recall AH 9th / AD 15th century Turcoman and Timurid designs.  \n  \nThe outside of the leather binding is black, while its interior is brown and has cut-out decoration pasted on it. The symmetrical designs on the exterior and interior covers consist of oval medallions with palmette pendants and corner-pieces with half-pendants. The surface of the medallion is decorated with floral compositions of flowers, leaves and spiralling tendrils in a Chinese-inspired style. The tooled leather binding shows the influence of Mamluk art.  \n  \nThe period of Sultan Mehmed II ('The Conqueror', r. AH 848–50 and 855–86 / AD 1444–6 and 1451–81) was one of expansive conquest for the Ottoman Empire. At the same time, 'The Conqueror' had many manuscripts written and illustrated for his Treasury in the atelier he founded at the Topkapı Palace. The sultan, who was a great patron of the arts, gathered together many artists at the palace atelier in Istanbul that he had brought back from the lands he conquered. This is why the binding of this Qur'an shows the influence of Mamluk art, the illumination reflects Turcoman and Timurid art, and the calligraphy was written by a scribe from Kirman (). Although the manuscript has no colophon, its striking quality implies that it was made for Sultan Mehmed II's Treasury.","short_description":"Sultan Mehmed the Conqueror established a palace atelier for the *naqqash* (painters) in the Topkapı Palace and pioneered the development of book arts. This Qur'an of the late AH 9th / AD 15th century is an important work displaying the book arts of the Conqueror's period.","type":"Manuscript, paper, ink, leather binding","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The original owner of this Qur’an is unknown, although it may have been made for the Treasury of Sultan Mehmed II (‘the Conqueror’). The work bears the donation (waqf) seals of Sultan Mahmud I and his Inspector of Pious Foundations, Derviş Mustafa. Although we cannot tell from these seals to which building this Qur’an belonged, it is inferred that it was donated to be read at a mosque or a tomb.","dates":"Hegira 9th / 15th century (c. AH 874 / AD 1470).","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 41 cm, width 29 cm.","method_for_datation":"Although there is no colophon, the style of the script, binding and illumination all reflect the style of the 9th / 15th century and suggest a date in that period.","method_for_provenance":"The quality of the calligraphy, binding and illumination suggest that the work may have been produced in the palace atelier in Istanbul. Sultan Mehmed II ('the Conqueror') was an important patron of the arts, he employed artists in the palace atelier from all over the various lands he conquered, and they produced many manuscripts for the library there.","provenance":"Istanbul, Turkey.","obtention":"Transferred to the Museum from the Library of Sultan Mahmud I at Ayasofya, Istanbul, in 1914.","bibliography":"Artan, T., Denny, W. B., and çağman, F., *Palace of Gold and Light: Treasures from the Topkapı, Istanbul,* Washington D.C., 2000, cat. no. A39.  \n  \nÖlçer, N. *et al*, *In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.42, plates 16A–C; 45–7.  \n  \nRaby, J. and Tanındı, Z., *Turkish Bookbinding in the 15th Century*, London, 1993, pp.50–51.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600,* London, 2005, pp.290–91; p.439, cat. no. 247.","artist":"Calligrapher: Asadullah Kirmani.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Delicate finished (aharlı) paper, written using ink, watercolour, gilding; tooled leather (binding)."],"keywords":["Paper; gilding; ink; watercolour; leather (binding); tooling; painting; religious manuscript"],"author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"085d1bb8-7770-5c15-929d-7644cdd9063f":{"name":"Headdress.","description":"The Palestinians of Hebron and the surrounding villages call this type of cap an *araqiyeh*. It is circular with a pointed centre and elaborately embroidered with red and black cross-stitched geometric decoration. Attached to the back of the cap are silver Ottoman coins. The two multicoloured hair-bands (*laffayef*), together with the thin black ribbons fixed to either side of the cap, are modern replacements. This type of headdress has been worn in the Hebron area from the late AH 13th century / AD late 19th century to the present day. During the British mandate in Palestine, the hair-bands (which were used for tying up the hair into a round bun that rested on the back of the neck) were much longer and were made of plaited woollen thread. This headdress was made for everyday use.","short_description":"The Palestinian women of Hebron and the surrounding villages call this type of headdress an *araqiyeh*. They use the multicoloured hair-bands (*laffayef*) to tie up the hair into a round bun that rests on the back of the neck. The Ottoman coins are for decoration and a symbol of affluence.","type":"Ottoman Headgear, gems, textile","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira late 13th century / AD late 19th century (before 1940).","location":"Glasgow","province":"Scotland","dimensions":"(All sizes approximate) hair-bands: length 70 cm, width 10; cap: diameter 20 cm; ribbons: length 30 cm.","method_for_datation":"Artistic analysis: the cross-stitched pattern is typically Palestinian. The shape of the cap is of the type worn by Hebron women; the Ottoman coins confirm that the cap was made and first used in the early AH 14th / late 19th century.","provenance":"Hebron, Palestine.","obtention":"Donation to Glasgow Museums in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman, or under the British Mandate","linkcatalogs":"IAM_PA_EN_001","materials":["Embroidered cloth with ribbons and coins."],"keywords":["Traditional costumes; embroidery; geometric decoration; coinage; coin; numismatics; jewellery; women; daily life"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"0b92d7bf-5e20-5bb2-8dc2-0844969d6fc4":{"name":"Carpet with dragon and phoenix.","description":"This fragmented carpet is one of the most important animal-carpets of the early Ottoman period that have become known to the present day. Two highly stylised animals, a dragon and a phoenix, are depicted fighting, against a yellow background and within two octagonal spaces. The phoenix is swooping down onto the dragon from above. The image is clearer in the lower octagonal casing than in the upper. The outer border is composed of semi-palmette tendrils, which are framed on both sides by an edging of little rosettes. The original border appears to be missing on both the left and right sides. It is possible that the carpet was originally wider in shape, featuring a greater number of octagonal compartments. This would make it more akin to the animal-carpets that were reproduced in paintings. The dragon and phoenix motif, which originated in China – where yellow was considered to be the colour of the sovereign – was introduced into Islamic art in the AH 7th / AD 13th century with the arrival of the Mongols, as is demonstrated by its ubiquitous presence on a number of works of art, made in a variety of materials.  \nAnimal-carpets often appear in the paintings of Italian artists, but only a few of the actual pieces survived. The painter Domenico di Bartolo depicted a similar dragon-phoenix carpet in his fresco ‘The Wedding of the Foundlings’, which he painted in the Spedale della Scala in Siena in 1440–4. An animal-carpet featuring stylised birds on trees was found in a church in Sweden. The wide distribution of animal-carpets in Europe demonstrates that they were among the early types of carpets to be exported to Europe from the Ottoman Empire. This carpet allegedly comes from a church in central Italy and, from the results of Carbon-14 analysis, is dated to be from the AH mid-9th / AD mid-15th century.","short_description":"This Ottoman carpet with the pattern of a dragon being attacked from above by a phoenix is one of the most famous carpet designs. Introduced from the Far East, carpets with animal designs already occurred in numerous paintings from the European masters in the 13th and 14th centuries.","type":"Carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Museum of Arts and Crafts, Berlin.","dates":"Hegira mid-9th / mid-15th century.","location":"Berlin","dimensions":"Length 172 cm, width 90 cm.","method_for_datation":"Carbon-14 analysis has dated the carpet to the mid-9th / mid-15th century.","method_for_provenance":"The carpet’s Turkish knot and its unique motifs and colours place it within the Ottoman era.","provenance":"Turkey .","obtention":"Acquired in Rome by Wilhelm von Bode in 1886 and bought by the Museum of Arts and Crafts, Berlin. Given on loan to the Museum of Islamic Art in 1906, after which it was included in the Museum’s inventory.","bibliography":"Bode, W. v., *Vorderasiatische Knüpfteppiche aus älterer Zeit*, Leipzig, 1901, p.109.  \nEnderlein, V., *Wilhelm von Bode und die Berliner Teppichsammlung*, Berlin, 1995, p.23, no. 9, p.29, pl. 9.  \nErdmann, K., *Die Geschichte des Frühen Türkischen Teppichs*, London, 1977, pp.56–7, ill. 52.  \nRageth, J., “Dating the Dragon & Phoenix Fragments”, *Halı* 134, 2004, pp.106–109.  \n*The Eastern Carpet in the Western World from the 15th to the 17th century*, London, 1983, p.49, cat. no. 1, p.34, fig. 1.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool, knotted."],"keywords":["knot-carpet; Ottoman carpet; animal decoration; imaginary animal; zoomorphic imagery; phoenix"],"author":"Jens Kröger","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"0ba3cb5d-c156-521a-bf55-a6d0e2384ede":{"name":"Qur’anic manuscript No. 7.","description":"A *mashaf* bound with an embossed decorative cover that dates to the Ottoman period. Both sides of the binding are decorated with medallions that are connected at the top and bottom by a hanging ornament. The front of the *mashaf* is composed of scroll 3b–4a. These two pages contain identical illuminated panels, some parts of which have been lost as a result of age and usage over a long period of time. Restoration of the *mashaf* took place in AH 1117 / AD 1705, directed by the Ottoman governor in Jerusalem, Qura Mustafa Pasha, who ruled for just one year. Scroll 4b–5a consists of a two-page spread embellished with the Opening Chapter (Surat al-Fatiha) and the beginning of “Surat al-Baqara” (“Chapter of the Cow”,). The decorative bands specific to these two pages are lost and all that remains of their ornamentation is half a border, which lies above “Surat al-Baqara”. The chapter number, the verse number and the surrounding area are all placed within a rectangular frame with a blue background. Similar information with regard to the other chapters appears in the same form but unframed.  \nThe beautiful Mamluk *thuluth* script is written in black ink. A Farsi (Persian) translation of the Arabic text is written underneath each verse. The vowel marks of the *mashaf* are written in blue and the diacritical marks in red. The pause markers assume the shape of golden flowers. The symbols for the division of every five parts in the text assume the form of a pyramid-shaped blossom, whose place is indicated in the margin by a suspended ornament, and in the middle of which is a blue circle. Written in the centre of it is the word “one fifth” in illuminated *kufic* script against a red background. The markers of every one-tenth of the text take the form of a blue flower with four leaves. Its place is indicated in the margin by a circular-shaped ornament with the word “one tenth” written in it, in illuminated *kufic* script.","short_description":"This is a Qur’anic manuscript written in Mamluk *thuluth* script and translated into Farsi. The Farsi text appears below each line. Its opens with beautiful decorative panels that reflect the elements of Mamluk decorative art. Chapter names are illuminated against a dark blue background and the letters are written in blue. Diacritical markers are in red.","type":"Manuscript, Qur'an, leather, paper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The original owner of the *mashaf* is not known, but it was present at al-Aqsa Mosque and was likely to have been part of an endowment (*waqf*) which is now lost.","dates":"Hegira 7th century / AD 13th century; restored AH 1117 / AD 1705.","location":"Jerusalem","dimensions":"Length 41 cm, width 33 cm, depth 10 cm.","method_for_datation":"The Qur'an was dated by analysis of the Mamluk *thuluth* script employed in its production. Accurate dating was also achieved by analysis of the Mamluk decorative form used, which was widespread in the period to which the *mashaf* belongs.","method_for_provenance":"Egypt was narrowed down as the place of production because the type of *thuluth* script in which the manuscript is written was widespread in Egypt. It is possible to compare it with other similar works that were produced in Egypt.","provenance":"Egypt.","obtention":"The *mashaf* was an endowment (*waqf*) to al-Aqsa Mosque; it is not known when it was transferred from there to the Museum.","bibliography":"Salameh, K., *Al-Makhtutat al-Qur'aniya fi al-Muthaf al-Islami fi al-Haram al-Sharif, al-Quds \\[Qur'anic Manuscripts in the Islamic Museum in al-Haram al-Sharif, Jerusalem\\],* Paris, 2003.","dynasty":"Mamluk; restored in the Ottoman period","linkcatalogs":"IAM_EG_EN_001","materials":["Ink on paper; leather binding with embossed decoration."],"keywords":["Leather; embossed leather; thuluth; Qur'an; mashaf; paper; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"0c7ae2f5-8281-57f4-81e0-6e63bc4e6a10":{"name":"Qur’an binding.","description":"From its large size, this binding of a one-volume Qur’an, covered in geometric ornamentation, must have been associated with the court. It cannot yet be related to a specific Qur’an manuscript. It is thought that this Qur’an was a gift from the Mamluk Sultan al-Ashraf Sha‘ban II (AH 764–78 / AD 1363–76) to one of his pious foundations. Several handwritten Qur’ans commissioned by this same patron are now kept in the National Library in Cairo.  \nThe central area of the binding is framed by a thin border, which encapsulates the ‘Throne verse’, Sura 2 verse 255. The inscriptions sit in long cartouches that alternate with quatrefoil motifs. The inner area’s geometric ornamentation is composed of five stars, each with 12 rays. The design was first embossed with precise stamps and then coloured with gilt and blue pigment. White borders tracing the edges of the stars highlight the geometric design. The large size of this binding probably required the collaboration of a calligrapher and a painter.  \nSpecial Qur’an stands (*kursi*) made from expensive materials were designed to support handwritten Qur’ans of this size; they were placed open on the stand for reading out.","short_description":"Appropriately for a leather bookbinding of a Qur’an, an inscription from Sura 2 v.255 was chosen for the border. The middle field shows part of a repetitive geometrical pattern of 12-pointed stars typical of Mamluk works of art and architecture. Its large size indicates court associations.","type":"Binding, Quran, leather","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira late 8th century / AD late 14th century.","location":"Berlin","dimensions":"Height 95 cm, width 67 cm.","method_for_datation":"This book cover has been dated to the Mamluk period through comparisons with other Mamluk book covers that were donated by the Mamluk Sultan al-Ashraf Sha‘ban, and which are now housed in the National Library of Cairo.","method_for_provenance":"The Qur’an’s binding was acquired in Cairo and is directly comparable to other similar Egyptian book covers, so it is very probable that it is from Egypt.","provenance":"Egypt.","obtention":"Probably through B. Moritz in Cairo, 1904.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*,Washington, 1981, pp.2–27, no. 5–6.  \nBosch, G., Carswell, J. and Petherbridge, G., *Islamic Bindings and Bookmaking*, Chicago, 1981, pp.112–13, no. 19.  \n*Islamic Art in Egypt*, Catalogue, Cairo, 1969, p.313, no. 299, plate 55.  \n*Museum für Islamische Kunst*, Catalogue, Mainz, 2001, pp.86–7, ill. 87.  \nSarre, F., *Islamische Bucheinbände*,Berlin, 1928, pp.12–13, ill. 2.","dynasty":"Mamluk (Bahri)","linkcatalogs":"IAM_EG_EN_001","materials":["Embossed, gilded and painted leather."],"keywords":["Qur’an binding; gilding; geometric decoration; geometric patterns"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"13951807-1976-5889-bda1-2525eb1918f4":{"name":"Qasr al-Hayr al-Gharbi.","description":"Qasr al-Hayr al-Gharbi is an Umayyad desert palace complex composed of a dam, underground water canal, garden, lake, mill, *khan*, *hammam* and the palace residence. The Umayyad caliphs, particularly Hisham bin 'Abd al-Malik prided themselves on their capacity to transform deserts into lush pleasure gardens for courtly pursuits, such as hunting game.  \nThe dam, known as Kharbaqa Dam, lies 16 km southwest of the palace. Its waters are distributed via an underground canal connected to the palace and the rest of the facilities on site. The garden is an enclosed rectangle, measuring 1,050 m x 442 m, and includes remains of the canal, alongside traces of the custodian's dwelling. The *khan*, known as Khan al-Milh, is located 10 km northwest of the palace residence and takes the shape of a slanted square, with sides about 55 m long. It has mud-brick walls over a masonry base, and it includes a central courtyard. The *hammam* is also located to the northwest and consists of two sections: the *frigidarium* with four rooms, one featuring a *mihrab*; and the *calidarium* located above the furnace and consisting of three chambers.  \nThe palace proper has an exterior façade reminiscent of a fort, but any defensive features are purely decorative. The palace is square, with sides approximately 70 m long, made of hewn limestone to a height of about 2 m, after which it is completed with unfired bricks. Three of its exterior corners are embellished by circular towers; the northwestern corner is a square Byzantine tower dating to the AD 6th century. Between each corner is a pair of semi-circular towers. On the eastern wall, the pair of towers is more closely spaced to flank the main entrance and it features extensive stucco decoration of carved geometric, floral and architectonic motifs, with large merlons along the top and narrow windows that resemble arrow loops. In the 1940s this monumental entry façade was carefully transported to become the entrance of the National Museum in Damascus.  \nThrough the palace entrance, a corridor leads to a roofed portico that surrounds a large, square central courtyard. There are two storeys, which were probably identical in layout, and evidence of two staircases. Both storeys are divided into six independently functioning sections each including several rooms, a hall, and a lavatory. Above the entrances to each of these sections are arched windows decorated with pierced stucco that provide the palace with air and light. Splendid paintings, carvings, and statues covered the interior; many of these artefacts now belong to the collection at the National Museum of Damascus.  \nDespite the palace's grand decoration and clever utilisation of the environment, the paucity of ceramic and glass fragments found on the site indicates the brevity of its Umayyad occupation. During the Ayyubid and Mamluk periods, the site was used for military purposes; it was finally abandoned during the Mongol invasion of the AH 7th / AD 13th century.","short_description":"The quantity of paintings and sculpted stucco that was discovered at this Umayyad palatial complex reveals some of the best examples of early Islamic syncretism of pre-Islamic art, particularly in a courtly context. It was built by Hisham ibn 'Abd al-Malik with large enclosures decorated by semi-circular towers, except for the northwestern corner where a rectangular Byzantine watch-tower stands. The complex is dated to AH 109 / AD 727 by an inscription found in the door lintel of the nearby *khan* (travellers' lodgings).","dates":"Hegira 109 / AD 727.","location":"Syrian Desert.","method_for_datation":"The palace complex is dated by means of an inscription found on the lintel of the *khan*, now located in the National Museum of Damascus, which indicates that the *khan* was built in the year 109 (727). It is assumed that the rest of the palace complex was also built around that time.","bibliography":"Elisseeff, N., “Kasr al-Hayr al-Gharbi”, *Encyclopaedia of Islam,* CD-ROM edition, Leiden, 1999.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi,* Paris, 1986.","patrons":"Hisham ibn 'Abd al-Malik (r. AH 105–25 / AD 723–42).","architects":"Thabit ibn Thabit, who oversaw construction of the Khan al-Milh.","dynasty":"Umayyad.","linkcatalogs":"IAM_JO_EN_001","materials":[],"keywords":["Umayyad; desert palaces; Hisham ibn Abd al-Malik; early Islamic architecture; Byzantine tower; Sassanian influence; Graeco-Roman influence; khan; garden; hammam; dam; canal; stucco decoration; pierced windows; floor painting"],"author":"Dina Bakkour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"202097f0-f5d2-5953-889d-9ac02af60426":{"name":"Giralda.","description":"The most important of the peninsula's surviving religious buildings from the Almohad era is undoubtedly the minaret of the old Great Mosque of Seville, known as 'La Giralda'.  \nWork on the Seville mosque was started during the reign of Abu Ya'qub Yusuf, who had lived in Seville as a governor before acceding to the throne, and once he had become the caliph, he made the city the residence of the Almohad caliphs in the peninsula. The size and grandiosity of the new mosque demanded the addition of a great minaret, and the work was entrusted to the master builder Ahmad ibn Baso, who dug the foundations of the tower in AH 580 / AD 1184. The death of the sovereign that same year caused work to be suspended until his son and successor Abu Yusuf Ya'qub al-Mansur arrived in Seville in AH 584 / AD 1188–9, ordering the work to be recommenced under the direction of Ali de Gomara. The minaret was finished on 30 Rabi al-Thaany AH 594 / 10 March AD 1198, on which date the Caliph, surrounded by his court and the people of Seville, attended the placement of the *yamur*, three golden balls on top of the tower that were commissioned to commemorate the battle of Alarcos.  \nThe minaret, attached to the eastern wall of the mosque and protruding from its outer perimeter, consists of two square-plan volumes, one inside the other, supported on a central base from which seven vaulted chambers rise. The ramp providing access to the upper part runs in between the two volumes. The height from floor to terrace is 50.85 m.  \nPractically all of the exterior decoration on the four sides of the minaret has survived. The lower part is smooth, interrupted only by the lighting apertures, with horseshoe and lobed arches framed with *alfiz* panels. Around the middle of the tower, the decoration on each of the sides splits into three. The middle section, like the lower part, contains lighting apertures, in this case made up of twin windows beneath a large blind arch framed with an *alfiz* panel. The side sections are covered with a network of carved and cut bricks on a smooth base formed by the extension and crossing of two blind arches on columns. The upper part of the tower is decorated with another ten arches with blind fronts that, like the previous ones, rest on marble columns with Umayyad capitals and shafts. As with other monuments of this type, the minaret is topped with stepped battlements, some of which have survived on the parapet of the existing bell tower.  \nIn 1355, an earthquake destroyed the *yamur*, and in 1560, in Christian times, work was started on the new structure, which was finished with an enormous weather vane known popularly as 'giralda', hence the name of the tower.","short_description":"The minaret of the great Almohad mosque that dominates Seville is the city’s most important monument. The name Giralda is derived from the weathervane-like statue that crowns the building. It has survived in full, with the exception of the very top which was replaced in the AH 10th / AD 16th century with a Christian bell tower.  \nIt is made of brick and has ramps connecting the seven superposed rooms. The decorative networks of rhombuses that spring from the Cordoban capitals and columns salvaged by the Almohads from the ruins of Madinat al-Zahra are also made of brick.","dates":"Hegira 580–94 / AD 1184–98.","location":"Seville","method_for_datation":"According to the chronicles of Ibn Said al-Sala, work on the mosque started in AH 568 / AD 1172. In AH 580 / AD 1184 the foundations of the minaret were dug. The official inauguration took place in AH 594 / AD 1198.","bibliography":"Casamar, M., “Almorávides y Almohades: Introducción”, in *Al-Andalus: Las Artes Islámicas en España*, Madrid, 1992, pp.75–83.  \nJiménez Martín, A., “Las Mezquitas”, in *Sevilla Almohade*, Seville-Rabat, 1999.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, Ars Hispaniae,Vol. IV, Madrid, 1949, pp.23–9.","patrons":"Abu Ya’qub Yusuf (r. AH 558–80 / AD 1163–84); Abu Yusuf Ya’qub al-Mansur (r. AH 580–96 / AD 1184–99).","architects":"Master builders Ahmad ibn Baso and Ali de Gomara.","dynasty":"Almohad.","linkcatalogs":"IAM_MA_EN_001","materials":[],"keywords":["Giralda; Seville, Almohads; minaret; mosque; yamur; religious architecture"],"author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"2681aa7c-6872-5aaf-afc2-c1e0626603b4":{"name":"Fragment of a frieze.","description":"Fragment of frieze made of *timchent* (local plaster), sculpted with epigraphic, geometric and floral decoration composed of two registers separated into three frames. The first frame consists of repeated, perforated circles, while the other two consist of plaster fillets separated by a milled edge composed of alternating small squares and voids. The epigraphic decoration that adorns the first register consists of an inscription of the word '*baraka*' (benediction) in *kufic* characters, repeated three times, the third instance of which is incomplete. Right from the beginning of the Hegiran era, the word *baraka* was used as an inscription for ceramic plates, jars, copper utensils, architectural elements, etc.  \nThe second register consists of a pattern of lozenges. Below, a small fragment of foiled and stylised leaf can be seen, which probably belonged to a third register of floral decoration.  \nThe sculpture was executed with the aid of a iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThe geometric ornamentation of this panel is reminiscent of what the Romans and the Byzantines from North Africa engraved onto reliquaries, architectural elements, altars, etc.  \nThis fragment formed part of one of the long friezes that ran along the top of the wall right across the room in order to delineate the ceiling from the decoration that adorned the rest of the wall.","short_description":"Frieze fragment with epigraphic, geometric and floral decoration split into three sections set apart by three frames. The first has a *kufic* inscription, '*baraka'* (benediction), repeated three times. The second is decorated with lozenges and the third, almost completely lost, was decorated with floral motifs.","type":"Frieze, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 28 cm, length 50 cm, thickness 5.5 cm.","method_for_datation":"From study of the epigraphic decoration that features *kufic* characters, which, according to G. Marçais, could date back to the '11th century \\[AH 5th century\\] and resemble those in Kairouan'.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus,* Vol. XX, 1955, pp.407–452.  \nMarçais, G*., L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres,* 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","materials":["Sculpted local plaster (*timchent*)."],"keywords":["Wall-cladding; plaster; timchent; sculpture; palatial architecture; epigraphic decoration; Rustamid."],"author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen"},"359c5242-9309-5cb3-a026-926ac7a00def":{"name":"Album of Ahmed Karahisari.","description":"The Album of Ahmed Karahisari is in two sections and contains the sixth *sura* of the Qur'an (al-An'am), a series of *hadith*s, and a section of the *Qasidat al-Burdah* ('Poem of the Mantle') by the AH 7th- / AD 13th-century poet al-Busiri. The album that contains samples of Ahmed Karahisari's writing including *kufic*, *naskhi*, *thuluth*, and *muhaqqaq* scripts and which expands the boundaries of the art of calligraphy, is carefully pasted together in 15 leaves. The leather binding is not original. This shows that these samples, which were originally written in scroll format, may have been cut down later and brought together in this album.  \n  \nThe album opens with a page featuring the words 'Praise be to God' in square *kufic* script at the top, the *basmala* in the centre, and *sura* 92 in square-*kufic* script at the bottom, all written in black ink and gold. On the other pages, the page layout shows different characteristics according to the style and dimensions of the writing.  \n  \nIn the colophon on the last page Ahmed Karahisari describes himself as a student of his teacher Asadullah Kirmani with whom he studied, rather than with the school of Sheikh Hamdullah, in order to learn to write in the style of the great calligrapher Yaqut al-Musta'simi (AH 7th / AD 13th century). Karahisari breathed new life into 16th-century Ottoman calligraphy and left his mark on it. The school he founded was continued by his student Hasan çelebi (d. AH 1002 / AD 1594) but was abandoned at the end of the 10th / 16th century.  \n  \nThese writings are models of Ottoman calligraphy, and in addition to showing the peak that was achieved in the art of writing their beauty inspires a great many artists even today.","short_description":"Calligrapher Ahmed Karahisari left his mark on Ottoman calligraphy of the AH 10th / AD 16th century through the school he founded. This album contains samples of his works which expand the boundaries of calligraphy in the 'layering' of letters.","type":"Paper, ink, leather binding, manuscript","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The original owner is unknown. The work bears a seal of Sultan Mahmud I (AH 1143–68 / AD 1730–54), as it was given by him as a pious endowment (*waqf*) to the library he founded in his own name.","dates":"Hegira 10th century / AD 16th century.","location":"Sultanahmet","province":"Istanbul","dimensions":"Height 50 cm, width 34 cm.","method_for_datation":"Although the colophon does not include a date, the dates of the calligrapher Ahmed Karahisari (AH 875–963 / AD 1470–1556) are known with certainty, and so the work can be dated to the period of his life.","method_for_provenance":"The calligrapher Ahmed Karahisari is known to have lived in Istanbul and thus the work is thought to have been made there.","provenance":"Istanbul, Turkey.","obtention":"The album was transferred to the Museum in 1914 from the Library of Sultan Mahmud I at Ayasofya Museum.","bibliography":"Aksoy, Ş., “Türk ve İslam Eserleri Müzesinden Bir Osmanlı Hat Sanatı Klasiği: Karahisari Albümü”, *P, Sanat, Kültür, Antika Dergisi*, 21 (Spring 2001), pp.66–75.  \n  \nAlparslan, A., *Osmanlı Hat Sanatı Tarihi*, Istanbul, 1999, p.56.  \n  \nÖlçer, N., *et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.42, plate 18A-B, pp.50-1.  \n  \nÖlçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.264–5.","artist":"The calligrapher was Ahmed Karahisari (AH 875–963 / AD 1470–1556).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Finished (*aharlı*) paper, ink, gilding, leather (binding)."],"keywords":["Gilding; ink; leather (binding); painting; paper; tooling; watercolour; calligraphy; hadith"],"author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"3ea5c496-cc96-57ae-a6e7-f47f064d36cb":{"name":"Teak Panel.","description":"A wooden panel of dark-brown teak wood. The surface is carved with an abstract design, known as the 'bevelled' style, a pattern of repeated curved shapes with bevelled edges, usually moulded rather than carved, probably derived from stylised vegetal forms. This type of design is typical of the Abbasid period and can also be found on stucco wall panels. This piece would have been part of a larger panel of carved wood used for furniture or doors. It is close in style to wood panels and stucco found at Samarra, capital of the Abbasid dynasty (AH 177–655 / AD 749–1258). Wood, particularly teak, was highly valued in Iraq and was probably imported from South East Asia.","short_description":"A teak panel, carved with an abstract design in the technique known as the ‘bevelled style’. This stylised design was typical of the Abbasid period and was employed on stucco wall panels as well as on carved wood on walls and ceilings.","type":"Woodwork, architectural decoration","holder":"The British Museum.","dates":"Hegira 3rd / AD 9th century.","location":"London","province":"England","dimensions":"Height 13 cm width 73 cm.","method_for_datation":"Through stylistic analysis: the 'bevelled' style was found on AH 3rd- / AD 9th-century architectural decoration from Samarra that was built in AH 221 / AD 836, and which was the Abbasid capital for only 37 years before the caliphate returned to Baghdad.","method_for_provenance":"The style of the carving resembles architectural decoration found at Samarra in Iraq.","provenance":"Samarra, Iraq.","obtention":"Acquired by the British Museum in 1944, from the Collection of Sir Sydney Bernard Burney, through the National Art Collections fund.","bibliography":"Ettinghausen, R. and Graber, O., The Art and Architecture of Islam: 650–1250, 1987, pp.102–9.  \n  \nNorthedge, A., 'Samarra', in Encyclopedia of Islam, 1995, pp.1039–41.","dynasty":"Abbasid","materials":["Carved teak wood."],"keywords":["Vegetal decoration; bevelled style; Abbasid furnishing design; furnishing; carving"],"author":"Emily Shovelton","copy_editor":"Mandi Gomez"},"42f89df0-5a8b-5150-b126-94c092d264a5":{"name":"Tile.","description":"This moulded square tile of a hard yellowish paste shows a geometrical polychrome decoration of pinkish white interlacing bands forming green or pale blue glazed stars and dark brown or tan polygons in *cuenca o arista* technique. The central motif of the tile is a green eight-pointed star set in the middle of a cross composed of four opaque brown polygons. The latter divides the surface of the tile into four square compartments representing stellar and polygonal shapes. As the four green half-stars and brown half-polygons on the edges show, this tile was part of a repetitive design used in wall decorations.  \nThe *cuenca o arista* technique imitates tile mosaic. While the pattern of tile mosaic is made by cutting and assembling polychrome glazed tiles, the design of tiles worked in *cuenca o arista* technique is made by filling small pattern fields formed by thin strips of clay with different glazes. Where the glaze flowed over the frame, the design does not stand out clearly.  \nThe star and cross motif is one of the most common Islamic geometric decorative patterns continued in Mudéjar art.","short_description":"Moulded square tile with a geometrical polychrome decoration. Interlacing bands form green and pale blue glazed stars and brown polygons. Coloured glazes fill small pattern fields formed by thin strips of clay. This technique is called *cuenca o arista* and imitates tile mosaic.","type":"Tile, ceramic","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira end of 9th–beginning of 10th century / AD end of 15th–beginning of 16th century.","location":"Stockholm","dimensions":"Height 15.0 cm, width 15.0 cm, depth approx. 1.9 cm.","method_for_datation":"Tiles similar in technique and design have been documented in buildings in Toledo dating from the end of the 9th / 15th century and the beginning of the 10th / 16th century, for example, in the monastery of San Clemente.","method_for_provenance":"Tiles similar in technique and design have been documented in buildings in Toledo, for example, in the monastery of San Clemente.","provenance":"Spain, possibly Toledo.","obtention":"The tile was purchased by the Museum of Cultural History in Lund, Sweden, from the Forrer collection in Frankfurt am Main, Germany, in 1922.","bibliography":"Martínez Caviró, B., *Cerámica Hispanomusulmana Andalusi y Mudéjar*, Madrid, 1991, 305–25.  \nRay, A., *Spanish Pottery, 1248–1898*, London, 2000.  \nTerrasse, H., *L'Art Hispano-Mauresque*, Paris, 1932.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","materials":["Ceramic, polychrome glaze; *Cuenca o arista*."],"keywords":["Tile; geometric decoration; cuenca o arista"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"461e1b34-d976-5ed9-8d53-d69810250d6c":{"name":"Tomb cover.","description":"A woven silk tomb cover that has a repeat design of zigzag bands set against a dark-green ground. Each zigzag band is contained within narrow borders that hold repetitions of the *shahada*, the Islamic profession of faith, rendered in white with red outlines and set against a dark-green ground: ‘La Ilah Ila Illah wa Muhammad rasul Illah’ (‘There is no God but God and Muhammad is the Messenger of God’). The narrow borders above contain prayers for the Prophet, while those below contain prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet. In between the bands the superposed words ‘Allah’ and ‘Muhammad’ are repeated.  \nIn Ottoman Turkey the cenotaphs of important personages were often draped with various types of textiles, much like this one, with its zigzag patterns of calligraphic prayers. It has been suggested that these textiles may have been intended to recall the ceremonial drapery or *kiswa* covering the Holy Ka’ba in Mecca. The earliest textiles of this type have been dated to the AH 11th / AD 17th century, and the latest to the AH 13th / AD 19th century.","short_description":"In Ottoman Turkey the cenotaphs of important individuals were often draped with religious textiles showing a distinctive design of zigzag panels containing Qur’anic prayers. This custom may have been intended to recall the ceremonial draping of the Holy Ka’ba in Mecca with the so-called *kiswa* cover.","type":"Ottoman carpet, woven silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira 11th century / AD 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 231 cm, width 78 cm.","method_for_datation":"A stylistically related funerary textile is in the V&A, London (inv. no. 780-1892), and there is another in the Topkapı Palace Museum (inv. no. 13/1690), both have been dated to the 11th / 17th century (see Atasoy *et. al*, 2000; *Türkische Kunst*, 1985).","method_for_provenance":"Funerary textiles of this type are ascribed to Ottoman Turkey (see Atasoy *et. al*, 2000; *Türkische Kunst*, 1985).","provenance":"Turkey.","obtention":"Purchased from Lisbet Holmes Ltd., London in 1981.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, P.297, fig. 284; p.205, figs. D I, D ii.  \nBlair, S. S., and Bloom, J. M., *Images of Paradise in Islamic Art*, Hanover N.H., 1991 (for a similar later piece and a discussion of the symbolism).  \nScarce, J., *Domestic Culture in the Middle East: an Exploration of the Household Interior*, Edinburgh, 1996, p.106 (where item is illustrated).  \n*Türkische Kunst und Kultur aus osmanischer Zeit*, exhibition catalogue, Recklinghausen, 1985, p.265, cat. no. 5/18.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Woven silk rendered in red, green and gold."],"keywords":["Shahada; kiswa; funerary object"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"4a195ed6-f6a1-5d77-b47a-6fcc6207735d":{"name":"Zisa","description":"The east-facing rectangular palace is built on three floors (total height 25.70 m) and has two towers set midway along its shorter sides. The elaborate top edge of the building includes friezes and an attic cornice that bears an epigraph in Arabic. This bold line of the top edge was subsequently interrupted by the inclusion of crenellations.  \nThe ground floor consists of a central fountain room with smaller rooms to the side. The same layout is evident on the second floor with the central room, probably originally an open courtyard given the presence of a central impluvium. The height of the fountain room and the entrance hall means that the first floor consists of just two lateral wings linked on the west side by a long corridor.  \nThe fountain room on the ground floor is square with one side open to the hall through a large pointed arch and the other three sides lined with large niches with *muqarnas* vaults. This was the most important part of the building and was used for feasts, concerts and banquets. Wall mosaics and column capitals decorated with iconographic motifs inspired by nature and hunting suggest that this room was intended as an extension of the garden within the palace. The water emerges through a singular nymphaeum in the west niche opposite the entrance and runs into the fishpond via an incline cut with zigzag channels. There are still some traces of this pond and of the small pavilion that rose from its waters.  \nA mosaic inscription in *naskhi* script around the entrance arch exalts the Norman sovereign who commissioned the work.","short_description":"The palace, which was used for recreation, was erected in the large Norman hunting ground around Palermo, a lush verdant setting complete with streams and ponds. It is an excellent example of the combination of Islamic (the interior includes exquisite *muqarnas* decoration) and Byzantine cultures (cycles of wall mosaics). It was completed during the reign of Guglielmo (William) II.","dates":"1165-1180.","location":"Palermo","province":"Sicily","method_for_datation":"From the mosaic inscription celebrating King Guglielmo II on the entrance archway; from historical sources (account by Romualdo Salernitano).","bibliography":"Bellafiore, G., *La Zisa di Palermo*, Palermo, 1994.  \nRudolph Meier, H., “I Palazzi Residenziali di Palermo”, in *I Normanni, Popolo d’Europa 1030–1200*, (ed. M. D’Onofrio), Rome, 1994, pp.221–7.  \nStaacke, U., *Un Palazzo Normanno a Palermo: La Zisa, la Cultura Musulmana negli Edifici dei Re*, Palermo, 1991.  \n*Siculo-Norman Art: Islamic Culture in Medieval Sicily*, pp.73–8.","history":"The palace stood in the middle of a large Norman hunting ground and was only used for brief stays. It served as a solatium, or place of pleasure, with its natural backdrop of lush fruit trees and palm groves, streams and ponds.  \nBuilding work (1165–80) was started during the reign of Guglielmo I and completed during the reign of Guglielmo II.  \nIt is currently used as a museum of Islamic art.","patrons":"King Guglielmo (William) II.","dynasty":"Norman","linkcatalogs":"IAM_IT_EN_001","materials":[],"keywords":["residential architecture"],"author":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"4a45199e-3af5-504d-9932-a1e4ed67dc93":{"name":"Printed cotton textile fragment.","description":"This cotton textile fragment is decorated with a printed design distributed along two bands. The upper band is narrow and consists of a repeated inscription in Mamluk *thuluth* script which reads: 'Al-sabr ni'm al-nasir li kul shay'in akhir' ('Patience is blessed with success and everything has an end'). The inscription is executed in a style where the letters are interwoven and the bases are raised in such a manner that equidistant spaces are created between them. These spaces are adorned by decorative units consisting of plaited lines in the form of braids.  \nThe lower band is wider than the upper and decorated with ornamentation distributed along four rows, consisting of two repeating and alternating decorative units: an eight-pointed star and a circular form within which are two concentric circles. The stars and circles in each row are organised so that the arrangement in the preceding row is opposite to that which follows. Each star is decorated with stylised floral designs, whereas the outer circle of the roundel is ornamented with a braided pattern, followed on the inside by a series of consecutive dots, which are followed in turn by the decorative form called '*Dawama'* (vortex). This is a decorative form that was widespread in Mamluk art especially in ornamental metal objects.  \nEgypt was famed for printed cotton textiles during the Mamluk period which was greatly influenced by trade with India, from where Egypt imported printed cotton clothing as well as raw cotton. The Mamluk craftsmen knew many different printing techniques, amongst which was wood-block printing with raised and sunken designs, and wax-resist wood-block printing. This textile fragment might have been part of a dress, curtain or perhaps more likely to have come from the cover of a counterpane, as it is comparable to a similar one housed in the Museum of Islamic Art in Cairo.","short_description":"The weaving industry in Mamluk Cairo included cotton and silk textiles. Some textiles were embroidered with silk while others, like this cotton piece, were block-printed. It bears a well-known expression indicating that patience is the best policy.","type":"Printing, textile, cotton","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Length 41 cm, width 36 cm.","method_for_datation":"This textile fragment was dated based on the style of the inscription, written in the Mamluk *thuluth* script. The similarities of the decorative components on this piece to other designs, especially on dated metal objects, also helped to narrow the time frame of its manufacture, especially the decorative motif known as '*Dawama'*. Furthermore, the word 'Nasir' which appears in the inscription, might be an reference to Sultan al-Nasir Muhammad ibn Qalawun who ruled in the latter half of the 7th / 13th century and throughout the first four decades – with the exception of almost one year – of the 8th / 14th century.","method_for_provenance":"The type of decorative motif found on this textile fragment was used frequently by Mamluk craftsmen. Furthermore Egypt was famed for its printed cotton textiles.","provenance":"Egypt.","obtention":"The textile was purchased in 1928 from a dealer in antiquities, Albert Abimayo.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nBaker, P., *Islamic Textiles,* London, 1995.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt\\],* Cairo, 1969.  \nMaher, S., *Al-Nasij al-Islami \\[Islamic textiles\\]*, Cairo, 1977.  \nPfister, R., *Les toiles imprimées de Fostat et l'Hindoustan*, Paris, 1938.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Cotton plain-woven and decorated with monochrome stamped block-printing."],"keywords":["Thuluth; vortex; printing; cotton; printed cotton; textile."],"author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"4bffe991-e046-55a1-a46a-44e1e0ee5baf":{"name":"Djama’a Sidi Bel-Hasan (mosque).","description":"Built in AH 696 / AD 1296 on the west side of Khemisti Square, the Sidi Bel-Hasan Mosque derives its name from Abu al-Hasan Ibn Yakhlaf Ettenessi, sage and lawyer of the mosque.  \nThe building has had various uses. Since the beginning of the colonial era, it has served as a shop selling animal fodder, a school and, finally, a museum; it is probably from this period that 'the creation of two large windows and the tiling of friezes using modern earthenware', as mentioned by G. Marçais, are dated. Over the last few years, the museum has been transferred into part of the old *madrasa* in Tlemcen's 20th August Street, and the building has been restored.  \nThe prayer hall occupies an area of about one hundred square metres. Six onyx columns support two horseshoe galleries, and thus demarcate three *balatat* (naves), perpendicular to the *qibla* wall, and five bays. Each *balata* is covered by a double sloping roof of pantiles on a cedarwood structure. The galleries and walls were once decorated with plaster arabesques enhanced with polychrome paint, some traces of which, along with a few small actual original sections, can still be seen on the north-facing walls, at the level of the arches. The *mihrab*, which has been designed on a hexagonal layout, features a semi-circular arch that rests on two columns and two capitals made of onyx. The framework that emphasises the *mihrab* rests on two horizontal bands that bear inscriptions. 'Above rises the archway that is made up of off-centre arches and of radiating keystones that are circumscribed by three tangential borders, and which are cantoned by cornerstones featuring floral tracery' (G. Marçais). A dome decorated with *muqarnas* (stalactite work) covers the *mihrab*. The quadrangular minaret is low in height (barely 14 metres). All of its four sides are decorated with rectangular panels that feature a diamond-shaped pattern, which has been made using bricks ornamented with earthenware mosaic. It is topped by a lantern decorated with *zellij* (enamelled tiles).","short_description":"Despite being modified, this mosque retains a prayer room divided into three naves by two horseshoe arches supported by six onyx columns. The cedarwood ceilings are covered with tiled roofs, and the arcades and walls were once painted with arabesques. The *mihrab*, covered by a cupola, includes a horseshoe arch resting on two onyx columns. The squat, quadrangular minaret is decorated with diamond-pattern brickwork and earthenware mosaics and is topped by a lantern decorated with *zellij* (enamelled tiles).","dates":"Hegira 696 / AD 1296.","location":"Tlemcen","method_for_datation":"From an inscription inside the mosque.","bibliography":"Bourouiba, A., *Apports de l'Algérie à l'architecture arabo-islamique*, Algiers, 1986.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nMarçais, G., *Tlemcen, 'Les villes d'art célèbres'* (collection), Paris, 1950; Blida, 2004.","patrons":"Sultan ‘Uthman I.","dynasty":"'Abd al-Wadid.","materials":[],"keywords":["religious architecture; floral decoration; geometric decoration"],"author":"Ali Lafer","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen"},"4ca47641-f0ff-50a2-a7c3-b3adf3abb210":{"name":"*Kufic* Qur’an manuscript.","description":"A manuscript comprising the second half of the Holy Qur'an that was placed for recitation in the Dome of the Rock for a number of centuries. A number of pages were lost as a result of its long use.  \nThe binding comprises two covers: the back and the front, fastened with a bolt-like clasp. The format is landscape, common for Qur'ans belonging to the first three centuries of the Islamic era. The binding is embellished by an embossed border of four lines, the inner part of which is gilded and outlined with braided silk thread. In the centre of each of the covers is a medallion with a spiral circumference. Within each medallion are intertwining vegetal decorations composed of five-leaf flowers. The inside of the binding is sheathed with light-red leather. The cover is not original and not earlier than the 12th / 18th century.  \nThe first and last two pages contain three rectangular panels framed by straight and circular bands which intertwine with each other. The inside of the bands are ornamented with red and blue dots. The spaces that result from the intersection of the bands are adorned with geometric lines interspersed with a number of dots in green.  \nThe Qur'an was written in *kufic* script in black ink. Vowels are stipulated in red, diacritical points in black; the pauses between verses are indicated by three slanted lines. The lines are numbered to enumerate the number of verses in each chapter. The names of the chapters *(suras)* are written in gilded *kufic* script, within rectangles framed in red. The chapter headings are not written in any one style and some are more decorative than others. The placing of the headings is unpredictable; sometimes within the upper section of the page, sometimes at the bottom within the lower band, and sometimes in the middle band. Sometimes the headings are illuminated within the decorative bands which contain simple and extremely beautiful decorations and whose design, size and form differ from one band to the next.  \nThis section is divided into seven of seven parts. The spreads that begin each of the one-seventh sections are distinguishable; the one under discussion by the presence of two frames that surround the content of each page. Both frames are decorated with different coloured dots. The number of the seventh part, the chapter title that it falls under, together with the corresponding verses from the beginning of the section to which it relates, are written in the upper section of the frame.","short_description":"The manuscript is the second half of the Qur’an. Its format is landscape and it is bound between two decorated leather covers. It is written in *kufic* script in black ink on gazelle parchment. Decorative motifs are distributed throughout and especially at the beginning of chapters. It is considered to be one of the earliest Qur’anic manuscripts extant.","type":"Qur'an, parchment, manuscript","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock.","dates":"Hegira 3rd century / AD 9th century.","location":"Jerusalem","dimensions":"Length 24 cm, width 31.5 cm, depth 8 cm.","method_for_datation":"An inscription within the manuscript dates it to 984 / 1547), and indicates that the Qur'an was linked to Hasan bin al-Husayn. The style of *kufic* script also supports this date as does the style of decoration which was widespread in this period.","method_for_provenance":"Iraq was narrowed down as the place of production in view of the fact that most of the family of the Prophet was in Iraq at that time. The *kufic* script, together with the style of decoration used in this manuscript, coincide with the use of the same style which predominated in Iraq at that time.","provenance":"Possibly Iraq.","obtention":"The manuscript was transferred from the Dome of the Rock to the Islamic Museum.","bibliography":"Al-'Asli, K., *Turath al-Filistin fi Kitabat Abd Allah Mukhlis \\[The Heritage of Palestine in the writings of Abd Allah Mukhlis\\],* Amman, 1986.  \nDeroche, F., *The Abbasid Tradition,* London, 1992.  \nAl-Munjid, Salah al-Din, *Dirasat fi Tarkikh al-Khat al-'Arabi \\[Studies in the History of Arabic Calligraphy\\],* Beirut, 1971.  \nSalameh, K., *Al-Makhtutat al-Qur'aniya fi al-Mathaf al-Islami in al-Haram al-Sharif' al-Quds \\[Qur'anic Manuscripts in the Islamic Museum at al-Haram al-Sharif, Jerusalem\\],* Paris, 2003.","dynasty":"Abbasid","materials":["Gazelle or goat parchment with ink and gold watercolour; the binding embossed leather."],"keywords":["Hasan bin al-Husayn; kufic script; parchment; Qur’an; Qur’an manuscript; kufic Qur’an manuscript; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"4ce02a11-07e9-50f5-a7d7-3651d7dd3510":{"name":"Textile fragment with cockerel medallions.","description":"A plain-woven silk textile fragment thought to come from a shirt. The weave has a pattern inlaid with extra wefts of silver and gold strips in the manner of brocading. The colour scheme is predominantly red, with detailing in blue and yellow. The design consists of lozenge-shaped cartouches formed from individual flowers, these enclose octagons with red, yellow and blue outlines and a central cockerel, facing left. The spaces in between the lozenges are filled with decorative bands formed from an alternating pattern of large stars and small octagons with central star motifs.","short_description":"The Muslim world was famous for its textile production, which built on Sassanid and Byzantine traditions and soon excelled these in sophistication and complexity. Court-sponsored workshops in Iraq, Iran, Egypt and later Spain competed to produce the most splendid silks as symbols of power and wealth.","type":"Woven silk textile","holder":"National Museums of Scotland (NMS).","dates":"Hegira 4th–5th century / AD 11th–12th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 35.5 cm, width 22.8 cm.","method_for_datation":"This textile has been dated tentatively to the 4th–5th / AD 11th–12th century on the basis of its clear stylistic relationship with post-Sasanian and early Islamic textiles.","method_for_provenance":"This textile has been associated with Abbasid Iraq on the basis of its clear stylistic relationship with post-Sassanid and early Islamic textiles from the region.","provenance":"Possibly Baghdad, Iraq.","obtention":"Purchased from Maurice Nahman, Paris, in 1934.","dynasty":"Abbasid","materials":["Woven silk with silver and gold threads."],"keywords":["Baghdad; silk; geometric decoration"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"4cff674a-5737-5495-a700-496faacc7750":{"name":"Prayer rug with multiple prayer niches (fragment).","description":"This carpet fragment is the preserved part of a considerably larger prayer rug featuring multiple prayer niches. The carpet features a row of six red niches of various widths that are closed at the top by dark-blue arches. The sixth niche on the left-hand side is only a half-niche as the carpet was cut at this point and the border repaired. The niches are separated using fine green lines that run down to the bottom and which could be interpreted as substitute columns. The carpet’s narrow border consists of a double-edged, reciprocal pattern of alternating light-blue and yellow crenellations. The wider, less complete, border has a single row of crenellations, yellow alternating with blue.  \nThe particular clarity of the carpet’s design and its use of colour demonstrate the Ottoman understanding of the decorative arts and their practice. Unlike most of the other known multiple prayer-niche carpets, this one is very simple, in that nowhere is it overly decorated; however even in its simplicity, it still follows a systematic composition of ordered patterns covering the surface, as can be seen repeatedly within Ottoman art from as early as the AH 9th / AD 15th century. Its simplicity, vibrant colours and the combined overall impact it creates would definitely have appealed to middle European tastes. Followers of the Islamic faith would have prayed on multiple prayer-niche carpets placed parallel to the *qibla* wall in the mosque. Admittedly, the rows of niches on this carpet merely refer to its function or use, because, essentially, each clean surface acts as a pad on which to pray. The narrowness of each niche on the carpet hints that a believer would have required more space in which to pray than that afforded by the narrow niches on the carpet.","short_description":"This carpet with its pattern of multiple niches is part of a once much larger rug. It was probably made for use in a mosque. It is unique because the design does not include the usual complicated patterns but instead makes a strong impact through its plain vibrant colours.","type":"Ottoman textile, carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"O. Bernheimer Collection, Munich","dates":"Hegira 11th century / AD 17th century.","location":"Berlin","dimensions":"Length 128 cm, width 329 cm.","method_for_datation":"The carpet has been dated on the grounds of its pattern, colours and knot-technique to be from the 11th / 17th century.","method_for_provenance":"The carpet belongs to a group of Ottoman carpets that are referred to as the Ushak Group.","provenance":"Ushak region, western Turkey.","obtention":"Obtained in 1961 from the O. Bernheimer Collection, Munich.","bibliography":"Arseven, C. E., *Les Arts Décoratifs Turcs*, Istanbul, 1952.  \nErdmann, K., *Siebenhundert Jahre Orientteppich*, Herford, 1966, p.108, plate 9.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, no. 4.  \nSpuhler, F., *Die Orientteppiche im Museum für Islamische Kunst Berlin*,Berlin, 1987, no. 18, plate 18.  \n*Weltkulturen und Moderne Kunst*, Catalogue,München, 1972, pp.99–100, no. 291.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool, maroon and white, knotted."],"keywords":["Ottoman; knot carpet; prayer rug"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"5319542a-7b08-534a-801f-e2b18cb78aef":{"name":"Hemispherical plate.","description":"A fragment corresponding to a section of the body including part of the rim and the complete base. The rim has a lip semi-circular in cross-section and the base has a high foot-ring. It is made from pinkish beige paste. Both surfaces are coated in white enamel with a slight sheen. The interior surface has a motif of intersecting lines, painted green, creating eight equidistant spokes radiating from the centre. The quality and fine grain of the paste of this flattened hemispherical plate reflects the sophistication of domestic articles used in Silves in this period.","short_description":"Hemispherical bowl from the Almohad period. It is decorated with a star painted in green consisting of eight evenly spaced spokes radiating from the centre. The quality and finesse of this piece suggest a refined environment and probable domestic use in the town on Silves during that time.","type":"Plate, ceramic","holder":"Silves Municipal Archaeology Museum.","dates":"Hegira 6th–7th  century / AD 12th–13th century.","location":"Silves.","province":"Faro.","dimensions":"Height 6.4 cm, diameter (of rim) 22.6 cm, diameter (of foot) 7.6 cm.","method_for_datation":"From its archaeological context, stratigraphy and style.","method_for_provenance":"Excavation carried out in the castle at Silves directed by Rosa Varela Gomes. Inventory number: Cast. Q 110/C3-3.","provenance":"Castelo de Silves.","obtention":"It has been housed in the museum since the excavation carried out in the 1980s.","bibliography":"Gomes, R. V., *Palácio Almóada da Alcáçova de Silves*, Lisbon, 2001, p.62.  \nGomes, R. V., *Silves (Xelb): Uma Cidade do Gharb Al-Andalus, Arqueologia e História (Séculos VIII–XIII),* Lisbon, 1999.  \nGomes, R. V., 'Silves (Xelb): Uma Cidade do Gharb Al-Andalus: A Alcáçova', *Cadernos do Instituto Portuguès de Arqueologia*, Lisbon, 2004, p.402.","dynasty":"Almohad","linkcatalogs":"IAM_PT_EN_001","materials":["Enamelled and glazed ceramic with decoration of intersecting lines in a star."],"keywords":["trade"],"author":"Maria da Conceição Amaral","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"},"54e60e87-a0d4-5416-b5e8-03ace6751eca":{"name":"Qur’an leaf.","description":"The single large leaf comes from a Qur'an manuscript. It shows 11 lines per page written in a fine *muhaqqaq* script in black ink on thick, well-polished, pale pink paper. The right edge of the leaf is cut. The text runs from *sura al-takwir* (LXXXI), verse 13, on the recto to sura *al-tatfif* (LXXXIII), verse 4, on the verso, which is presented now. Gold rosettes, irregularly decorated with blue dots, indicate the verses. One circular and two ovoid illuminated ornaments in the margin probably contain the words *khamsa* and *'ashra* to mark every fifth and tenth verse. Both recto and verso pages possess a sura heading written in a white *kufic* script. The headings are set in illuminated rectangular panels, which have in the main field a blue ground decorated with gold arabesques. Each of the panels possesses an ovoid gilded medallion extending into the margin. In the upper part of the recto the word *waqf* is written in a cursive script, suggesting that the Qur'an from which the leaf comes was dedicated to a religious organisation.  \nThe *muhaqqaq* script style was used for Mamluk Qur'an manuscripts of the AH 8th and 9th / AD 14th and 15th centuries. This large script has several notable features such as flat, stretched sublinear curves, letters with endings which terminate in sharp points andbreaks between the vertical and horizontal parts of some of the letters. The *muhaqqaq* is a style of script suitable for large format books. The use of coloured paper, especially pink, was popular among Mamluk scriptoriums.","short_description":"On this leaf from a Qur’an the text runs from sura *al-takvir* (LXXXI) to sura *al-tatfif* (LXXXIII). Both sides have a sura heading. Gold rosettes indicate the verses, with illuminated ornaments in the margin. The Qur’an from which the leaf comes probably belonged to a religious organisation.","type":"Qur'an, leaf, paper, manuscript","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Hegira 8th–9th centuries / AD 14th–15th centuries.","location":"Stockholm","dimensions":"Height 44.8 cm, width 33.5 cm.","method_for_datation":"From the style of script and the kind of illumination.","method_for_provenance":"From the style of script and the kind of illumination.","provenance":"Probably Egypt.","obtention":"Bequest from the Békésy collection.","bibliography":"James, D., *Qur'ans and Bindings from the Chester Beatty Library: A Facsimile Exhibition*, Dublin, 1980.  \nJames, D., *Qur'ans of the Mamluks*, London, 1988.  \nJames, D., *The Master Scribes: Qur'ans of the 11th to 14th centuries AD.* The Nasser D. Khalili Collection of Islamic Art, Vol. II, London, 1992.  \nLings, M. and Safadi, Y. H., *The Qur'an*, London, 1976.  \nSafwat, N. F., *The Art of the Pen: Calligraphy of the 14th to 20th Centuries.* The Nasser D. Khalili Collection of Islamic Art, Vol. V, London, 1996.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Paper, ink; calligraphy."],"keywords":["Qur'an; manuscript; calligraphy; religious manuscript"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"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","materials":["Silk brocade woven on a draw-loom."],"keywords":["geometric decoration; floral decoration; architectural decoration; women; costume; amulet; talisman"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"5a976782-2e17-535a-a5f4-a976eb8efe6f":{"name":"Great Mosque and Hospital of Divriği.","description":"The Divriği Great Mosque (Ulu Cami), together with the Turan Melik Darüşşifa, the hospital adjoining it to the south, covers a rectangular area of approximately 32 m x 64 m.  \nThe mosque with its basilical layout is accessed via two portals, one to the north and the other to the west. At the south end of the eastern façade is an opening which today functions as a window, but which originally provided access to the royal loge. A massive buttress built in the Ottoman period supports the cylindrical minaret rising on the northwest corner.  \nThe prayer hall comprises five aisles formed by four rows of arches extending perpendicular to the *mihrab* wall. Four piers in each row are also connected with each other and to the walls in the east to west direction. Twenty-five bays formed by 16 piers (later thickened to strengthen them) are covered by domes or vaults. The bay before the *mihrab* is surmounted with a 12-foil dome. The central bay, covered with an oval dome, has a snow basin. Most of the eight vaults over the bays of the two eastern aisles are star-vaults. The bays of the western aisles, though, have oval domes. The superstructure along with the western façade collapsed in an earthquake in the early AH 10th / AD 16th century. It is thought, therefore, that the present oval domes replaced the original vaulting. The *mihrab* niche is formed with rich convex and concave profiles.  \nThe walls, portals, minaret and the superstructure were built with dressed-stone blocks of various sizes while the *minbar* and window-shutters are of wood.  \nFlamboyant decoration adorns the portals, *mihrab, minbar* and the piers. The north portal, also called the 'Baroque Portal', is noteworthy for the rosettes, arabesques, and various leaf motifs in the wide decorative band, while the west portal, also called the 'Textile Portal', has vegetal decoration as well as geometric motifs and bird figures. The east portal, later converted to a window, is renowned for its geometric and vegetal decoration. The north portal of the mosque and the portal of the hospital have particularly imposing and extensively decorated disks. The wooden *minbar* has vegetal, geometric and calligraphic decoration in techniques including pseudo-*kündekari*, deep carving with rounded surfaces and openwork.  \nThe Turan Melik Darüşşifa (24 m x 32 m) was built to the same width and at the same time as the mosque and adjoins it on the south side. Accessed from the west, the hospital has an Anatolian *madrasa* layout with three *iwan*s and a covered courtyard. The structure is partly two-storied. Its portal with vegetal and geometric decoration in high relief and deep mouldings recalls Gothic features.  \nThe Great Mosque and Hospital of Divriği is a rare monument whose decoration departs from traditional Anatolian Seljuq style and design. Christian masters and architects probably worked together with Muslim masters on its construction. The structure is on the UNESCO list of World Heritage Sites.","short_description":"Included on the UNESCO list of World Heritage Sites, the complex is considered a 'miracle'. The mosque was commissioned by Ahmed Shah, son of Süleyman Shah, the Mengüjekid emir, and the hospital adjoining it by Melike Turan. Its carved decorations project out markedly to give the structure Baroque qualities. The basilical mosque and the hospital with the layout of a *madrasa* with three *iwans* and a covered courtyard are both covered with a variety of domes and vaults. The architects of the complex were from Ahlat in eastern Anatolia while the master of the wooden *minbar* was from Tblisi, Georgia.","dates":"Hegira 626/ AD 1228–9.","location":"Divriği","province":"Sivas","method_for_datation":"According to the construction inscriptions on the north and west portals, the mosque was built by Ahmed Shah, son of Süleyman Shah Mengücekli, in 626 / 1229. The inscription on the balustrade of the *minbar* tells that Ahmed Shah ordered the construction of the *minbar* in 638 / 1241. The inscription inside the star motif in the middle of the left (east) side of the *minbar* gives the name the master as Ahmed of Tbilisi, son of Ibrahim. According to the inscription on its portal, the hospital was built by Turan Melik in 626/ 1229.","bibliography":"Arel, H., “Divriği Ulu Camii Kuzey Portalinin Mimari Kuruluşu \\[The Architectural Structure of the North Portal of Divriği Great Mosque\\]”, *Vakıflar Dergisi,* 5 (1962), pp.99–111.  \nCantay, G., *Anadolu Selçuklu ve Osmanlı Darüşşifaları \\[Anatolian Seljuq and Ottoman Hospitals\\],* Ankara, 1992.  \nKuban, D., *Divriği Mucizesi, Selçuklular çağında İslam Bezeme Sanatı üzerine Bir Deneme \\[The Divriği Miracle, an Essay on Islamic Decorative Art in the Seljuq Period\\],* Istanbul, 1999.  \nönge, Y., Ateş, İ. and Bayram, S., *Divriği Ulu Camii ve Darüşşifası \\[The Great Mosque and Hospital of Divriği\\],* Ankara, 1978.  \nülgen, A. S., “Divriği Ulu Camii ve Darüşşifası \\[The Great Mosque and Hospital of Divriği\\]”, *Vakıflar Dergisi,* 5 (1962), pp.93–98.","patrons":"Ahmet Shah bin Süleyman Shah.","architects":"Architect: Ahmed Naqqash Hılatî; Architect both at the mosque and the hospital: Hürrem Shah bin Muğis al-Hılatî; Woodwork master: Ahmed bin Ibrahim at-Tiblisî; Calligrapher: Muhammad; Calligrapher and artist/naqqash: Ahmed bin Muhammad (AH 10th / AD 16th century).","dynasty":"Mengücekli Emirate.","materials":[],"keywords":["Divriği; Darüşşifa; hospital; architecture of Mengücekli Emirate; Ahmet Shah"],"author":"Sedat Bayrakal","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"77e732d5-caee-5472-847f-63e657f1353d":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall design of eight-pointed stars in staggered rows. Each star contains a central motif, consisting of eight tulip heads issuing from a central rosette. Tri-lobed arabesque extensions enhance the stars at the top and bottom. This type of pattern is also found in Ottoman velvets.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The silk brocadecostumes were designed to emphasise the imperial status of the sultan and his family, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 73.7 cm, width 63.7 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp21–3, pp.268–9, fig. 201 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Silk, cotton and silver brocade (*kemha*)."],"keywords":["Kemha; costume; Ottoman costume; textile"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"7a629444-465b-59ac-aecb-8d6757883d84":{"name":"Khanqah and Madrasa of Sultan Faraj ibn Barquq.","description":"This building is considered one of the largest multi-purpose complexes to be erected in the cemeteries of Egypt, for it consists of a mosque, a *khanqah* for *sufi* residents, a *madrasa* for religious learning, two mausoleums, two *sabils* (water dispensaries) and on top of each *sabil*, a *kuttab*, a Qur'anic school for children.  \nThe principle façade of the building is on the northwestern side. And on each end of it there is an entrance to the complex which is crowned by a tri-lobed arch. The western portal is used at the present time. Likewise, at each end of this façade, there is a *sabil* above which are the two *kuttab*s. The façade is topped by two slender minarets, which in terms of both their intricate detailing and beauty of proportion, are considered to be among the most prominent examples of Mamluk minarets.  \nThe floor-plan of the complex is almost square, approximately 85 m x 85 m. It consists of a large open courtyard measuring 37 m x 40 m, surrounded by four *iwan*s. The largest and deepest of these *iwan*s is the *qibla iwan*, measuring 34 m x 17 m. The *qibla iwan* is composed of three aisles of arches running parallel to the *qibla* wall, and perpendicular to the other arches. The *qibla iwan* is covered by 21 shallow domes made out of brick, whose transition zones are formed of spherical pendentives, thus resembling the domes in the colonnades of the Fatimid Mosque, al-Aqmar. The *mihrab* is crowned by a dome that is higher than the rest of the domes of the *iwan*, and whose area of transition is set with corner *muqarnas*. The *iwan* facing the *qibla* is composed of three colonnades covered with small domes, whose zones of transition are composed of spherical pendentives. Each of the side *iwan*s is made up of a single aisle of arches, covered with small domes. Behind these two *iwan*s are *sufi* cells.  \nOn both sides of the *qibla iwan* are two mausoleums. Each of them is a square room which can be entered from one of the two sides of the *qibla iwan* by means of a doorway that is adorned with an interlaced and interlocked wooden screen, ornamented with geometric designs. An elevated stone dome with a diameter of 14 m covers each of the mausoleums; each has a transition zone made up of a number of *muqarnas* tiers. The domes' exterior surfaces are decorated with carved geometric decoration composed of zigzag patterns, forming a pattern reminiscent of a linked chain in the shape of the letter V. These domes are considered to be amongst the most innovative of decorative domes, their intricate detailing representing the pinnacle of the genre. The domes are among the oldest of these large stone constructions erected in Cairo, and represent Mamluk engineering at its zenith.  \nSultan al-Zahir Barquq was buried in the northeastern mausoleum. Some historical sources state that Sultan Barquq asked his son Faraj to bury him in the mausoleum of this complex, and not in the building that houses the *madrasa* and *khanqah* that was constructed by Sultan Barquq in AH 788 / AD 1386, in al-Muizz li Din Allah Street in Cairo. Also buried in this mausoleum are the sons of Sultan Barquq. In the southwestern mausoleum, the wife of al-Zahir Barquq, *Khawand* Shaqra, and the daughter of al-Nasir Faraj, were buried. In as far as both complexes comprise two mausoleums, this one resembles the Madrasa of 'Umm Sultan Sha'ban (built in AH 790 / AD 1369).  \nA distinguishing feature of this complex lies in the successful combination of two styles: the manner of *madrasas* with *iwan*s, and the mode of mosques with hypostyle rows of columns. This building is further distinguished by the symmetry of its architectural components in the northwestern façade, clearly manifest in the positioning of the two *sabil*s at both sides of the façade; in the symmetry of the two portals of the complex and in the two minarets, each of which is placed beside one of the entrances. This symmetry also appears in the northeastern façade of the building, where the two identical domes of the mausoleums are placed at the two ends of the façade.","short_description":"This complex, the largest in its area, comprises a mosque, a *khanqah* (hostel for Sufis), a *madrasa*, two *sabils* (water dispensaries), two *kuttabs* (Qur'anic school for children), two mausoleums and two minarets. It lies in the Mamluk (Northern) Cemetery of Cairo, historically one of the most important cemeteries. Sultans and amirs since the end of the AH 8th / AD 14th century built mosques, *madrasas* and *khanqahs* there and annexed to them their tombs and mausoleums. By the late AH 9th / AD 15th century the Cemetery contained many superb monuments that represented the magnificence of Mamluk architecture.","dates":"Hegira 813 / AD 1411.","location":"Cairo","method_for_datation":"The building was dated based on a high-relief inscription on the two sides of the entrance, which includes the name of the sponsor and the date when construction was completed.","bibliography":"Behrens Abou-Seif, D., *The Minarets of Cairo,* Cairo, 1985.  \nBehrens-Abouseif, D., *Islamic Architecture in Cairo,* Leiden, 1989.  \nPrisse d'Avennes, é., *L'Art arabe d'après les monuments du Caire depuis le VIIe siècle jusqu'à la fin du XVIIIe*, Paris, 1877.  \nHamza, H., *The Northern Cemetery of Cairo,* Cairo, 2001.  \nRizq, A., *Khanqahwat al-Sufiya fi Masr fi al-'asr al-Ayyubi wa al-Mamluki \\[Sufi Khanqahs in the Ayyubid and Mamluk periods\\],* Cairo, 1997.  \nRoberts, D., *Egypt Nubia,* London, 1896.  \nSameh, Kamal al-Din, *Al-'imara al-Islamiya fi Masr \\[Islamic Architecture in Egypt\\]*, Cairo, 1991.  \n*Mamluk Art. The Splendour and Magic of the Sultans*, pp. 103-106.","patrons":"Sultan al-Nasir Faraj ibn Barquq who ruled twice in AH 801–8 / AD 1399–1405 and in AH 808–15 / AD1405–12. The intervening period between his two reigns saw the short reign of Sultan al-Mansur 'Abd al-Aziz.","dynasty":"Mamluk.","linkcatalogs":"IAM_EG_EN_001","materials":[],"keywords":["Khanqah; geometric decoration; mausoleum; funerary architecture; religious architecture; civil architecture; Qur’an school."],"author":"Tarek Torky","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic)."},"7f3ad75b-9c30-59f5-bd90-9efafe607dc8":{"name":"Bowl.","description":"A shallow, stone-paste (fritware) footed bowl with a flat top rim: it is decorated with six rectangular rotating bands with heavy black outlines, which form a hexagon in the centre; the rim is decorated with pseudo-Arabic in *kufic* script. Organic decoration fills the background between the bands and in the centre of the hexagon.  \n  \nRaqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. In Raqqa there were a number of pottery workshops that produced a range of ceramics including lustre-painted, relief-moulded, and underglaze-painted vessels. The pottery ceased production when the Mongols razed the city to the ground in AH 657 / AD 1259.  \n  \nSyrian wares of this type were also found widely throughout Egypt, due to Fustat in Egypt being both a busy international port and due to the fact that Syrian potters settled in Fustat, establishing their own pottery workshops.","short_description":"Raqqa, where this bowl was made, was one of two major pottery-production centres during the Ayyubid period in Syria. The style and decoration of this dish, and the composition of the glaze and how it has deteriorated, are typical features of Raqqa pottery.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"Height 11.4 cm, diameter (of rim) 20.9 cm.","method_for_datation":"Stylistic analysis, together with analysis of the material composition of the vessel's body which is distinctively that of Raqqa. Furthermore, the nature and extent of the deterioration of the glaze is also typical of Raqqa ceramics.","method_for_provenance":"The vessel is typical of Raqqa ceramics in both its material composition and in the nature of the deterioration of the glaze.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \nGrube, E. J., *Cobalt and Lustre: The First Centuries of Islamic Pottery*, the Nasser D. Khalili Collection of Islamic Art, Vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Stone-paste (fritware), painted, black decoration under a transparent green glaze."],"keywords":["Domestic vessels; geometric decoration; calligraphic decoration"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"80cabe22-0796-50d8-b4b1-b4e1801d847c":{"name":"Bowl.","description":"A stone-paste (fritware) bowl of flaring shape with straight sides, decorated with black painted stripes on the sides and a roundel of highly stylised calligraphy in the centre of the well, which may read: 'al-'izz … Muhammad' ('the glory... Muhammad'). The decoration is typical for this type of bowl where the body of the unglazed vessel is painted with black pigment, and a transparent glaze (in this case turquoise) is then subsequently applied overall. Raqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. There were a number of pottery workshops şn Raqqa that produced a range of ceramics including lustre-painted, relief-moulded, and underglaze-painted vessels. The pottery ceased production when the Mongols razed the city to the ground in AH 657 / AD 1259.","short_description":"The centre decoration of this bowl has a calligraphic inscription which may read 'al-'izz … Muhammad' ('the glory... Muhammad'), painted in black pigment under a transparent blue glaze. The popular use of good wishes inscriptions and blessings on Middle Eastern ceramics goes back to the earliest part of the Islamic period.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"15.8 cm, diameter (of base) 6.5 cm.","method_for_datation":"Stylistic analysis, together with analysis of the material composition of the vessel's body which is distinctively that of Raqqa. Furthermore, the nature and extent of the deterioration of the glaze is also typical of Raqqa ceramics.","method_for_provenance":"The vessel is typical of Raqqa ceramics in both its material composition and in the nature of the deterioration of the glaze.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \n  \nGrube, E. J., *Cobalt and Lustre: The First Centuries of Islamic Pottery*, the Nasser D. Khalili Collection of Islamic Art, Vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Stone-paste (fritware) painted, black decoration under a transparent blue glaze."],"keywords":["Domestic vessels; calligraphic decoration"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"81fcd4e9-7384-5569-aa53-bc862c54ad3f":{"name":"Jug.","description":"A fine, pear-shaped pottery jug with two handles, in a characteristic cream colour, decorated using various techniques such as incising, perforations and knife scraping. The decorative scheme is composed of a combination of geometric and floral patterns which were common in Islamic art.","short_description":"Pear-shaped, two-handled pottery jug from Tall Hisban, decorated using various techniques such as incising, perforations and knife scraping. The decorative scheme is composed of a combination of geometric and floral patterns.","type":"Jug, ceramic","holder":"Jordan Archaeological Museum.","dates":"Hegira, late 2nd–early 3rd century / AD second half of the 8th century.","location":"Amman","dimensions":"Height 28 cm, diameter (of mouth) 8 cm.","method_for_datation":"The jug was dated by stratigraphic context and comparison with similar jugs; Abbasid pottery is characteristically cream in colour.","method_for_provenance":"The jug was found at Tall Hisban during an archaeological excavation in 1973.","provenance":"Tall Hisban, Jordan.","obtention":"The jug was found during the course of an archaeological excavation at Tall Hisban in 1973.","bibliography":"Horn, S. H., 'The 1973 Season of Excavations at Tell Hesban', *Annual of the Department of Antiquities of Jordan*, XIX, 1974, pp.151–6, plate LXXV, 2.  \n  \nHorn, R. S., and Horn, S. H., *Heshbon 1973*, Andrews University Seminary Studies, Miami, 1975.","dynasty":"Abbasid","materials":["Wheel-thrown ceramic."],"keywords":["Floral decoration; geometric decoration"],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"8acf2eac-8e23-5efc-a927-dea5fc1c4c75":{"name":"Bowl with radial decoration.","description":"This piece, the shape of which is taken from contemporary Chinese porcelain from the T’ang period (AD 618–906), is decorated with blue cobalt paint with a large motif in the shape of stylised petals. In the background there is a star-shaped polygon, the points of which are hatched. In the centre there is a motif known as ‘Solomon’s Seal’, an extremely common decorative element in Islamic art.  \nThe bowl, decorated in a simple but pleasing style, could be considered typical of Mesopotamian pieces painted in blue cobalt only on a creamy white base. This type is of particular interest as it represents one of the oldest examples in the Islamic world of an imitation of the much-valued Chinese porcelain that was sent in significant quantities to Egypt and Iraq by sea and to Persia by land via the Silk Route.  \nThe imitation porcelain was produced using a heavy lead-oxide glaze to which was added tin oxide as an opacifier. The result is a consistent creamy white layer decorated with blue cobalt in an Islamic style.","short_description":"This piece is particularly noteworthy for its decoration inspired by Chinese porcelain from the T’ang period, evidence of contact and trade between China and countries such as Egypt, Persia and Iraq along the Silk Route.","type":"Bowl, ceramic","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira second half of 3rd century / AD second half of 9th century.","location":"Rome","dimensions":"Height 6 cm, diameter 19.8 cm.","method_for_datation":"Dating has been suggested on the basis of type (see description for analysis).","method_for_provenance":"It should be seen as a typical example of Mesopotamian pieces painted only in cobalt blue on a creamy white base.","provenance":"Iraq.","obtention":"Private deposit.","bibliography":"Fèhervari, G., *La Ceramica Islamica*, Milano, 1985. Folsach, K. von, *Islamic Art: The David Collection*, Copenhagen, 1990. Grube, E.J., *Cobalt and Lustre. The First Centuries of Islamic Pottery. The Nasser D. Khalili Collection of Islamic Art*, Vol. IX, London, 1994. Lane, A., *Early Islamic Pottery*, London, 1953. Scerrato, U., “Ceramica Irachena del IX–X Secolo”, *Serie Schede Museo Nazionale d’Arte Orientale* 2, Rome, 1968.","dynasty":"Abbasid","materials":["Glazed ceramic."],"keywords":["Ceramic; glazed; floral decoration"],"author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"8d173c69-e270-52ea-8792-452101a75d8b":{"name":"Hospital (*Bimaristan*) Nur al-Din.","alternate_name":"Maristan al-Nuri.","description":"The Bimaristan Nur al-Din, a hospital dating from the AH 6th / AD 12th century, is one of the most famous buildings in Damascus. At the time of its construction, it was considered remarkably new and refined, a sentiment recorded by the memoirs of the Valencian voyager from al-Andalus, Ibn Jubayr. It functioned as a therapeutic refuge for the sick as well as a medical school for aspiring physicians. The Mamluk Sultan Qalawun is said to have been saved from a lethal illness at this *bimaristan* – an experience which inspired him to build his famous institution in Cairo, The Complex of Sultan Qalawun. The Bimaristan Nur al-Din currently functions as a Museum of Arabic Medicine and Science. Located in a side road off the Suq al-Hamidiyyeh, it is easily discernable by its Mesopotamian-style red brick *muqarnas* dome rhythmically dotted with bulbs of dark glass. It is also famous for the eclecticism of its entrance façade, the woodcarving of its door, and the perfect balance of its axial symmetric four-*iwan* plan.  \nThe entrance block to the Bimaristan Nur al-Din protrudes at a right-angle to the building and it is accentuated by a portal featuring an unusually tall and shallow *muqarnas* façade, including a row of lobed arches at its base, and resting on top of a classically styled lintel. The door is an important example of fine wood carving and inlaid wood of the period. The identity of the door's designer is recorded in history as Abu al-Fadl Muhammad bin 'Abd al-Karim al-Harithi, known as al-Muhandis, or “the Geometer”. As both a medical doctor at the *bimaristan* and a creative craftsman of its gate, Abu al-Fadl demonstrates the multiplicity of expertise that scholars of this period usually enjoyed.  \nThe entrance leads into a square vestibule capped with a brick *muqarnas* dome; the adaptation of the *muqarnas* to the medium of stone was yet to take place in history. Once inside, the overhead *muqarnas* is a mesmerising vision of gradually receding cells pierced by beams of light.  \nPassage through the vestibule leads to the grand rectangular courtyard and its central square basin with bracketed inner corners. Surrounding the courtyard are four arch-vaulted *iwan*s: the west *iwan* which leads to the entrance, the south and north *iwan*s on either side of the courtyard, and the main, east *iwan* which is larger than the others and faces the entrance. This main *iwan* represents the grand hall of the *bimaristan*, a place where students attended lectures by renowned physicians and had access to medical manuscripts for study. A marble dado rail with a *naskhi* inscription quotes passages from the Qur'an pertaining to medicine and healing. This serves as an allegory to the building's function as well as a holy blessing.  \nOverlooking the southwest corner of the courtyard is an original arched window of perforated stucco, comprising a grid of octagonal stars with interlacing floral scrolls.","short_description":"A charming survival of a medieval Syrian hospital, the *bimaristan* was built by Nur al-Din Mahmud bin Zangi in AH 549 / AD 1154. It had a strong architectural and institutional impact, inspiring the construction of Bimaristan al-Qaymari, also in Damascus, and the Sultan Qalawun complex in Cairo. The undulating *muqarnas* and classical-style lintel that accentuate its facade, the red-brick *muqarnas* dome and the perfect axial symmetry of the interior *iwans* around the courtyard, are examples of local adaptations to Eastern influences brought in by Nur al-Din. This *bimaristan* was a renowned medical centre in its timel.","dates":"Hegira 549 / AD 1154.","location":"Damascus","method_for_datation":"The monument is dated by the foundation text which is inscribed in four lineson a horseshoe-shaped marble sacramental table that is embedded in the eastern *iwan.*","bibliography":"Allen, T., “Ayyubid Architecture”, *Occidental* (electronic publication 7th edition), 2003.  \nBogard, F., *Composition et decors dans l'Architecture Damascaine aux XII et XIII siecles: La Formation d'une Esthetique dans la Damas Medievale*, PhD thesis, University de Provence, Aix-Marseille I, 2004.  \nHerzfeld, E., “Damascus: Studies in Architecture”, Part I, *Ars Islamica,* Vol. IX, 1942, pp.2–11  \nTabbaa, Y., \"The Muqarnas Dome: its origin and meaning\" *Muqarnas,* 3,Leiden, 1985, pp.61–76.  \nSakhnini, Z., *Mathaf al-Tib wa al-'Ulum 'ind al-Arab: Bimaristan Nur al-Din \\[The Museum of Medicine and Science of the Arabs: Bimaristan Nur al-Din\\],* Damascus, 1997, pp.31–53.  \nIbn Jubayr (d. 614 / 1217), *Rihlat Ibn Jubayr \\[The Voyage of Ibn Jubayr\\],* Beirut, 1999, p.241.","patrons":"Nur al-Din Mahmud bin Zangi (r. AH 541–69 / AD 1146–74).","architects":"Abu al-Fadl al-Harithi (known as al-Muhandis, “the Geometer”).","dynasty":"Atabeg.","materials":[],"keywords":["Infirmary (bimaristan); stucco; windows; muqarnas; naskhi script; medicine; science; library; education; inlaid woodwork; Abu'l Fadl al-Muhandis; Nur al-Din Mahmud bin Zangi; Mesopotamia"],"author":"Abd al-Razzaq Moaz, Zena Takieddine","copy_editor":"Mandi Gomez"},"958f2e19-cf88-5446-b5c3-619ff5ee8038":{"name":"Rug.","description":"This is an outstanding example of a 'Konya rug', considered one of the earliest Turkish rug groups in Anatolia. Both warp and weft are wool. The weaving technique used is the 'Turkish double knot', known as the Gördes knot. The colours are red, dark-blue, blue, and beige. The main field of the rug has a geometric pattern with hooked red motifs on a light-red background. Triangles, octagons, hands-on-hip, and hook motifs form a repetitive geometric composition characteristic of Seljuq rugs. The decorative composition is dominated by the principle of 'infinity', as is typical with Turkish rugs. The design is repeated continuously. Between the repeating motifs are blue dots, which provide a strong contrast to the red background.  \n  \nThe field of the rug is surrounded by a narrow border of eight-pointed, dark-blue star motifs separated from each other by yellow-beige lines. The most striking feature of the rug is the wide border decorated with pseudo-*kufic* script. Bold, stylised, *kufic* letters in light-blue follow one another on a dark-blue background. The letters are divided by red bands outlined in beige. Such monumental *kufic*\\-script borders are characteristic of Seljuq rugs.  \n  \nThe decorative composition of the rug is completed by a narrow outer border decorated with red eight-pointed star motifs on a blue background. The rug is quite worn; much of the pile is gone. Areas of the outer border are missing, and there is a large tear in the middle.  \n  \nSeljuq rugs commonly were woven in large dimensions and decorated with plain geometric compositions consisting of a small number of colours in various shades contrasting with a wide *kufic* border.  \n  \nFound in the Alaaddin ('Ala' al-Din) Mosque in Konya, this is one of eight Seljuq rugs brought to the Museum and registered in the inventory on 30 Rabi' al-Awwal 1329 / 31 March 1911.","short_description":"This is the oldest known example of a 'Konya rug'. The rugs of this period are characterised by contrasting light and dark shades, repetetive geometric motifs in the ground representing the principle of infinity and a wide border with stylised *kufic* script, and were woven in Turkish (Gördes) double-knot technique.","type":"Wool, knotted, carpet","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 7th century / AD 13th century.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Length 519 cm, width 294 cm.","method_for_datation":"The Seljuq sultans had many mosques built and it is known that they endowed Qur'ans, candlesticks, Qur'an-stands and rugs to furnish them. This rug is believed to have been woven specially for the Alaaddin Mosque by order of the Seljuq Sultan Alaaddin (Ala' al-Din) Keykubad I (r. 616–35 / 1220–37), who had the mosque enlarged in 618 / 1221. Stylistic analysis also dates the rug to the 7th / 13th century.","method_for_provenance":"Most high-quality rugs produced under the Anatolian Seljuqs come from Konya; the colours used in this rug are predominant in Konya rugs.","provenance":"Konya, Turkey.","obtention":"Eight rugs were spotted by the scholar, Marin in the Alaaddin ('Ala' al-Din) Mosque in Konya in 1322 / 1905 and the information was brought to the attention of Loydved, the German Consulate. The rugs were first published in 1325 / 1908 and were registered in the Museum in 1329 / 1911.","bibliography":"Erdmann, K., *Seven Hundred Years of Oriental Rugs*, London, 1970, p.42.  \n  \nErdmann, K., *Der Türkische Teppich des 15.Jahrhundert*, Istanbul, 1958.  \n  \nölçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.145.  \n  \nölçer, N., *et al*., *Turkish Carpets from the 13th–18th Centuries*, Istanbul 1996, pp.4–5.  \n  \nönder, M., ”Selçuklu Devri Konya Halıları (Konya Rugs of the Seljuq Period)” *Türk Etnoğrafya Dergisi* 7–8 (1964–5), pp.46–50.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.402.","dynasty":"Anatolian Seljuq","materials":["Wool on wool, woven with the Turkish double knot also known as the Gördes knot."],"keywords":["Gördes; rug; geometric patterns; pseudo inscriptions"],"author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"96cf4210-b3bc-5e9b-8016-56c054beba7c":{"name":"Jug.","description":"A medium-sized jug that has a spherical-shaped body and a small 'S-shaped' handle. The body rests on a small, unglazed, foot. The jug is typically decorated with simple horizontal zigzag bands, painted with black pigment on the body of the unglazed vessel, and then glazed with a transparent turquoise glaze. Raqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. Raqqa had a number of pottery workshops, which produced a range of ceramics including lustre-painted, relief-moulded and underglaze painted vessels.","short_description":"The black decoration under the transparent turquoise glaze is typical of ceramics made in Raqqa during the Ayyubid period. Raqqa was one of two major production centres in Syria, the other being Rusafah. Both were located near the river Euphrates.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"Height 15 cm, diameter (of rim) 6.5 cm, diameter (of base) 7 cm.","method_for_datation":"Artistic analysis and analysis of the material composition of the clay body, which resembles in type that typical of Raqqa pottery.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \n  \nGrube, E. J., *Cobalt and Lustre, The First Centuries of Islamic Pottery,* The Nasser D. Khalili Collection of Islamic Art,vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Fritware; painted with black decoration under a transparent turquoise glaze."],"keywords":["domestic vessels; geometric decoration; water"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"991bde22-6f40-5b6e-800e-44dfdaba422f":{"name":"Alhambra.","description":"The name 'Alhambra' appears towards the end of the 9th century in a variety of different forms, the most common being *al-Qalat al-Hamra*, 'the red castle' due to the colour of the clay used in the walls. The complex is divided into three areas: the citadel, the palace area and the *medina*, in addition to the structures outside the walls. It has four large gateways to the outside, two to the north and two to the south, in the Almohad tradition, the most monumental of which is the Gateway of Justice, which dates from the early AH 8th / AD 14th century. There are two types of tower in the complex: residential (the Tower of the Captive and the Tower of the Princesses) and defensive (Muhammad's Tower and the Tower of the Lamp). The main through routes are the Lower Royal Road for access to the palace area, the Upper Royal Road, the main street in the medina, and the Circular or Ditch Road, the main thoroughfare.  \nThe palace area constitutes a single unit, even though the seven palaces are separate. It should be remembered that the Alhambra as we know it today dates mainly to the second half of the AH 8th / AD 14th century with significant later modifications. Four buildings were virtually destroyed between 1492 and 1812, while the Comares Palace and the Palace of the Lions were conserved as an annex to the unfinished Renaissance palace of Charles V.  \nThe Comares Palace was the official seat of the sovereign, and its principal function was to house the executive power. Its Court of the Myrtle Trees was the centre of a group of courts with bureaucratic functions that progressively revealed the presence of the king, who appeared publicly in the Golden Hall and the Palace of Justice (the Mexuar), and privately in the Hall of Ambassadors with its floor of white and blue tiles with golden decoration, now lost. The Alhambra is unique in the Muslim world for its floor tiles that bear the eulogy 'There is no conqueror but God'. The ceiling of this hall is a schematic representation of the seven heavens of the Muslim cosmos (Qur'an 67: 3). The Comares Palace had an interior façade on the south side of the court of the Golden Hall, the most profusely decorated wall in the whole of the Alhambra. The twin doors were designed to confuse potential assailants. The Palace of the Lions, a recreational villa, could be reached by a road and its Halls – of the Mozarabe, of the Kings, of the Two Sisters (summer) and of the Abencerrajes (winter) – were arranged around a court with intersecting axes, the first two halls being used for parties and banquets and the latter two for musical evenings, judging by their acoustics. It is possible that the king also used the Daraxa Balcony, which projected from the Hall of the Mullioned Windows over the court of the same name. Its honeycombed cupola is the most exuberant exaltation of Granadan art.  \nA road separated these areas from the Rauda (*rawda*, garden), the royal necropolis, laid out like a garden in Paradise. The Alhambra would not make sense without its gardens, which represent the culmination of a long tradition, some integrated with the architecture, for example, the Patio of the Lions and the Generalife, and others reaching to the very bottom of the hill. It is the only Andalusian palace with a set of inscriptions that explain the architecture and gardens.","short_description":"For more than 250 years, this palatine city was the seat of the Nasrid Sultanate of Granada and the last Muslim stronghold in the Iberian Peninsula. Located on top of a rise in the foothills of the Sierra Nevada, it was surrounded by more than 1,730 m of wall and several monumental gateways. It was divided between four main centres: the citadel, the palaces, the *medina* and the Generalife, a place of recreation.  \nIt reached the peak of its architectural and decorative splendour under Sultan Yusuf I and his son Sultan Muhammad V with the Comares Palace and the Palace of the Lions.","dates":"From Hegira 636 / AD 1238 to the reign of Muhammad V (AH 754–94 / AD 1354–91).","location":"Granada","method_for_datation":"In addition to chronological references, a number of poems inscribed in the wall for different reasons help with dating, for example the poem in the Hall of the Two Sisters.","bibliography":"*Al-Andalus: Las Artes Islámicas en España*, Exhibition catalogue, Granada, 1992.  \nCabanelas Rodríguez, D., *El Techo del Salón de Comares en la Alhambra: Decoración, Policromía, Simbolismo y Etimología*, Granada, 1988.  \nFernández Puertas, A., *The Alhambra*,Vol. I: *From the Ninth Century to Yusuf I (1354)*, London, 1997; Vol. II: *Muhammad V, 1354–1391*, forthcoming; Vol. III: *From 1391 to the Present Day*, forthcoming.  \nGrabar, O., *La Alhambra: Iconografía, Formas y Valores*, 3rd edition, Madrid, 1984.  \nTorres Balbás, L., *La Alhambra y el Generalife*, Madrid, 1953.","history":"The successors to Muhammad V brought an inexorable decline in Nasrid art. Following the conquest of Granada in 898 / 1492, the Catholic Kings declared the Alhambra to be a royal residence. In 1526, Charles V decided to build the palace that bears his name, in a Renaissance style. The complex was declared a national monument in 1870 and is currently managed by the Patronato de la Alhambra y Generalife, now under the auspices of the regional government of Andalusia.","patrons":"Muhammad I (r. AH 636–72 / AD 1238–73) built the Nasrid citadel; Muhammad II (r. AH 672–702 / AD 1273–1302) transformed the fortress into a palatine city; Muhammad III (r. AH 702–9 / AD 1302–9) built the Partal, the royal mosque and the baths; the remaining work was commissioned by Yusuf I (r. AH 733–54 / AD 1333–54) and in particular his son Muhammad V (r. AH 754–94 / AD 1354–91), who is responsible for the current physiognomy of the Alhambra.","dynasty":"Nasrid.","materials":[],"keywords":["Alhambra; Granada; Nasrids; Muhammad I; Muhammad II; Muhammad III; Yusuf I; Muhammad V; citadel; palatine city; Mexuar; medina; Comares Palace; tile; Palace of the Lions; honeycomb work; Generalife; garden"],"author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"995abd79-4a58-5ec8-b765-a1346e8414b0":{"name":"Marby Rug.","description":"One of the few examples surviving in Sweden from a tradition of carpet–making in the early Ottoman period in Anatolia. In 1925, the so-called 'Marby rug', Sweden's oldest preserved oriental carpet, was found, cut in two pieces, at the abandoned church of Marby, a village in the province of Jämtland. Belonging to the group of animal carpets, it shows red, stylised birds standing symmetrically on either side of a tree set within octagons on an ivory ground. The birds and tree motif has been long known and very common in Central Asia.  \nTo judge from their presentations in Italian paintings of the 14th century, animal carpets with a tree flanked by two birds already seem to have been popular at this time. However, they reached the peak of their production and circulation during the first half of the AH 9th / AD 15th century. The provenance of this rug from a village in Jämtland in Sweden is important as it shows that the export was not restricted to Italy, but also reached the Baltic region. Animal carpets disappeared towards the end of the AH 9th / AD 15th century.  \nApart from the Marby rug, some fragments with the motif of birds flanking a tree from Fustat in Egypt are known and there are two completely preserved examples. The first was found in a church in Italy and is now in the Museum of Islamic Art in Berlin, Germany, and a second was acquired by the Metropolitan Museum of Art in New York in 1990.","short_description":"Rug, called ‘Marby rug’ after the village where it was found. Its pattern shows stylised red birds standing symmetrically on either side of a tree. This motif was long known and very common in Central Asia.","type":"Wool, knotted, carpet","holder":"Museum of National Antiquities.","initial_owner":"Church of Marby, Jämtland.","dates":"Hegira 700–823 / AD 1300–1420.","location":"Stockholm","dimensions":"Height 160 cm, width 112 cm.","method_for_datation":"The rug was dated by radiocarbon (Carbon-14).","method_for_provenance":"The patterns of the border and the guard strips are characteristically Anatolian; the guard strips also appear in another group of early Ottoman carpets discovered in the 'Ala al-Din Mosque at Konya, Turkey.","provenance":"Anatolia, Turkey.","obtention":"Bought by the Museum of National Antiquities in 1925.","bibliography":"Ådahl, K., *Den Orientaliska Mattan i Sverige*, Stockholm, 1998, cat. no. 1.  \nErdmann, K., *The History of the Early Turkish Carpet*, London, 1977.  \nKing, D. and Sylvester, D., *The Eastern Carpet in the Western World: From the 15th to the 17th Century*, London, 1983, cat. no. 2.  \nLamm, C. J., *Carpet Fragments: The Marby Rug and Some Fragments of Carpets Found in Egypt*, reprint, Uddevalla, 1985.  \nSterner, M. and Kind, J., *Antika Orientaliska Mattor i Sverige*, Stockholm, 1937.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool; knotted."],"keywords":["Carpet; figurative decoration"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"9dd54e6a-3ac7-5825-b7ce-cc73c549cb45":{"name":"Jar with lid.","description":"The spherical jar stands on a high foot and has a cylindrical rimless neck with a flat lid with a knob. The body is covered inside and outside with an opaque, pale turquoise-coloured tin glaze. In the lower part the glaze is not thick enough so that the reddish colouring of the body shines through the glaze. The abstract decoration of the jar is mainly composed of a series of vertical stripes alternating with dotted lines, called 'millipedes', around the neck and a scale pattern filled with stylised half-carnations on the spherical section of the jar. The foot-ring is undecorated. The colours used are a deep limonite yellow, two gradations of brown, a light one of iron oxide and a dark one of manganese, and cobalt-blue and copper green. The use of brown, yellow, blue and green as full, unmixed tones is the characteristic colour scheme of Moroccan polychrome faience. Faience is the type of decoration: after a first firing the potters put on the opaque tin glaze on the earthenware vessel; the mineral pigments used for the polychrome decoration were applied over the dried glaze; in a second firing glaze and pigments melted together.  \nThe small and large red dots irregularly spread over the whole outside surface of jar and lid are a striking feature. It is a paste with a base of red lead applied over the glaze by fingertip. After drying, the paste appears like red wax. However, this kind of decoration was not executed by the potters themselves. It was done by the faience traders, at first to cover the traces of the firing tripods on plates and later on all kinds of pottery vessels.  \nFaience was an urban ceramic in Morocco whose most important centre of production was Fez. The objects made by the faience potters were mostly functional and for everyday use. This pot was possibly used for storing fat or yeast. Unlike other examples of this kind of stock pot, however, this one does not have the usual two handles.","short_description":"Jar on a high foot and with a flat lid with knob. The decoration is composed of vertical stripes alternating with dotted lines and stylised half-carnations. The colour scheme is characteristic of Moroccan polychrome faience. This pot might have been used for storing fat or yeast.","type":"Jar, ceramic","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Possibly Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height approx. 21.3 cm, diameter of rim 10.5 cm.","method_for_datation":"Dating is difficult. There are only a few dated faiences and the same forms and patterns were used throughout various periods. The red dots were probably common from the end of the 12th / 18th century.","method_for_provenance":"On the basis of the pattern, the technique and the colour scheme.","provenance":"Morocco, possibly Fez.","obtention":"Bequest from the Bielke collection.","bibliography":"Bel, A., *Les Industries de la Céramique à Fès*, Alger, Paris, 1918.  \nBoukobza, A., *Poteries et Céramiques Marocaines*, Casablanca, 1974.  \nHakenjos, B., *Marokkanische Keramik*, Stuttgart, 1988.  \nHasson, R., *Pottery from Morocco: 19th–20th century C. E.*, Jerusalem, 1982.  \nHedgecoe, J. and Damluji, S. S., *Zillij: The Art of Moroccan Ceramics*, Reading, 1992.","dynasty":"Alawid","linkcatalogs":"IAM_MA_EN_001","materials":["Ceramic; faience."],"keywords":["Faience; geometric ornament"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"Fragment from a mosaic floor.","description":"This panel was part of a 50 sq m mosaic floor. With a border made up of alternate geometric and floral motifs, the main area of the floor consists of a tracery of four-lobed flowers which combine to form various geometric patterns. When the floor was lifted, several panels were shared between various Tunisian museums. In the panel at the Raqqada Museum, red, white and blue-black lines alternate to represent a lilac-leaf in an octagon and four diamond-shaped petals in a circle. These elements are held within a pattern of twisting semi-circular fringes.  \nThis mosaic is unique in Ifriqiyan art of the Fatimid era. Some historians hold that this example attests to the survival of mosaic art in mediaeval Tunis. The techniques used in the Mahdiyyan mosaic certainly show continuity with the ancient traditions of Roman and Byzantine North Africa. But evidence suggests that the floor was made by Byzantine artisans or '*Rums*' who were probably taken prisoner during the many armed incursions by al-Qa'im in Italy and Sicily.","short_description":"This mosaic is unique in Ifriqiyan art from the Fatimid era, with some art historians believing that it is a continuance of the ancient traditions of Roman and Byzantine Africa. This panel was part of a mosaic covering some 58 square metres, and it combines geometric forms with floral motifs.","type":"Floor, stone","holder":"Museum of Islamic Art.","initial_owner":"The Fatimid prince, al-Qa’im.","dates":"Hegira 303 / AD 916.","location":"Raqqada","province":"Kairouan","dimensions":"Length 107 cm, width 106 cm.","method_for_datation":"The mosaic was discovered in 1956 during the excavations under a reception room at al-Qa'im Palace. One could logically date it from the building of the palace in 303 / 916 (date confirmed by historical sources) but it could possibly have been constructed at a later date, when we believe improvements and refurbishments to the original building were made. These would have been accomplished during the relatively peaceful period of al-Qa'im's reign and just before the Kharijite rebellion of 332 / 944 that was led by Abu Yazid, known as the 'man on the donkey'.","method_for_provenance":"This mosaic, discovered *in situ* at the al-Qa'im Palace, was obviously built there. But we still cannot prove the origin of the artisans who built it.","provenance":"Mahdiyya.","obtention":"After being dismantled at al-Qa'im Palace at Mahdiyya, the mosaic was kept at the Bardo Museum. In 1986 three panels from this mosaic were sent to the National Institute of the Patrimony of Kairouan. In 1993 one of these panels was acquired by the Museum of Islamic Art at Raqqada for display in the second section, currently being refurbished.","bibliography":"Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, *Fifth international colloquium on ancient mosaics,* USA, 1994, pp.307–18.  \nLouhichi, A., “La mosaïque de Mahdia: contexte et interprétation”, *Africa*, XX, 2004, pp.143–66.  \nZbiss, S. M., “Mahdia et Sabra Mansouriya: nouveaux documents d'art fatimide d'Occident”, *Journal asiatique,* CCXLIV, 1956, pp.79–93.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.176–7.","dynasty":"Fatimid","materials":["Limestone *tessera* (mosaic tiles)."],"keywords":["Mosaic; geometric decoration; floral decoration"],"author":"Mourad Rammah","copy_editor":"MWNF","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"a6a01024-6733-5cbd-9746-7f832e8a4d36":{"name":"Vase.","description":"This small pot, with a spherical body and a cylindrical neck fitted with two handles and a ring-foot, would have been used as a drinking vessel. The neck and upper part of the belly are covered in dark manganese-oxide paint and carved with decorative motifs. The motifs appear in a frieze on the neck and on the upper part of the belly. Horizontal and vertical dividing lines as well as a braid motif known as the 'eternity braid' are drawn on the neck. A pseudo-epigraphic motif, representing the name of Allah embellished with plant motifs and framed by a panel of horizontal volutes, can be seen on the belly. The handles are decorated with scattered oblique lines and with small painted disks. This type of decoration, reminiscent of metalwork, is typical of Almohad produce from North Africa and al-Andalus.","short_description":"This small pot with a rounded belly, cylindrical neck and two carrying handles, would have been used as a drinking vessel. The neck and upper part of the belly are covered in brown paint with excised decorative motifs: an 'eternity' plait and pseudo-epigraphic motifs.","type":"Vse, ceramic","holder":"Archeological Museum.","dates":"Hegira 6th century / AD 13th century.","location":"Tetouan.","dimensions":"Height 12 cm, base diameter 5.4 cm, max. diameter 13 cm, aperture diameter 9.9 cm.","method_for_datation":"Found in the rubble of a medieval bourgeois house on the archaeological site of Lixus. The date has been confirmed by stylistic and comparative study with reliably dated objects discovered in Murcia and Huelva in Spain from the end of the first third of 7th / 13th century.","method_for_provenance":"Excavated at the Lixus site.","provenance":"Lixus, Morocco.","obtention":"Excavated.","bibliography":"Ataallah, M., “La céramique musulmane à paroi incisée ou peinte de Lixus”, *Bulletin d'archéologie marocaine* VII, 1967, no. 117, pp.627–39, pl. I.  \nBazzana, A., “La céramique médievale”, in *Maroc, les trésors du Royaume*, catalogue, Paris, 1999.  \nNavarro Palazón, J., *La céramique hispano-arabe à décor esgrafié*, trans. Bazzana, Madrid, 1986.  \nPonsich, M., *Lixus, le quartier des Temples*, Etudes et travaux d'archéologie marocaine series, Vol. IX, Rabat, 1981.","dynasty":"Almohad","linkcatalogs":"IAM_MA_EN_001","materials":["Wheel-thrown ceramic, painted and excised."],"keywords":["geometrical decoration; vegetal decoration; pseudo-inscription"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"a80ae3b6-0e85-5e1b-93e6-f4552c3eac51":{"name":"*Ataifor* (bowl).","description":"This *ataifor*, with a ring in the base and curved sides, is made of yellowish material and coated with a white glaze. The inside is decorated in green and manganese. The decorative theme is made up of a large circular border running round the edge of the plate in which it is possible to see the remains of a *kufic* inscription with the phrase ‘al-Mulk’ (power). The decoration is finished with two narrower strips that cross in the centre, with markings that appear to be a simplification of *kufic* writing but that are in fact meaningless. The decorative technique used, epigraphic motifs in copper green and manganese black visible through the white glaze, produces an impressive chromatic effect.  \nMadinat al-Zahra was the most important centre for the production and distribution of ceramics glazed and decorated in green and manganese during the Caliphate. Ornamentally, the clarity of the design and the austerity of the compositions, with extensive areas of the base undecorated, differentiates them from other works produced at the same time in al-Andalus.  \nThe function of this type of ceramic is still unclear, but what is clear is that production at Madinat al-Zahra constituted a fundamental technological advance. The use of copper and manganese oxides in the decoration and the glazing, which made the containers waterproof and stopped liquids soaking the earthenware, created a type of special crockery which was considered a luxury.","short_description":"Found in an archaeological dig at the palatine city of Madinat al-Zahra, this bowl or *ataifor* would have been part of the domestic crockery at the caliph’s home. This can be inferred from the inscription ‘al-Mulk’, ‘the power’, presumably referring to the power of the caliph.","type":"Ataifor, bowl, ceramics","holder":"National Archaeological Museum.","dates":"Hegira 324–66 / AD 936–76.","location":"Madrid","dimensions":"Height 7 cm, diameter 22 cm.","method_for_datation":"The *kufic* script belongs to an initial stage of production at Madinat al-Zahra, before the reign of al-Hakam II (350–66 / 961–76).","method_for_provenance":"The piece came from archaeological excavations at Madinat al-Zahra. Most of the ceramics are characterised by an open not a closed shape, and the majority of them are *ataifors*. The phrase ‘al-Mulk’, related to Umayyad power and legitimacy, is the inscription most frequently found in this type of ceramic.","provenance":"Córdoba, Spain.","obtention":"The *ataifor* was given to the National Archaeological Museum by the State on 5 February 1943.","bibliography":"Camps Cazorla, E., “Cerámica y Vidrios Califales de Medina Azahara”, in *Adquisiciones del Museo Arqueológico Nacional (1940–1945)*, Madrid, 1947, p.154.  \nCastejón y Martínez de Arizala, R., *Excavaciones del Plan Nacional de Medina Azahara (Córdoba). Campaña de 1943*. Informes y Memorias no. 8, Madrid, 1945.  \n*El Esplendor de los Omeyas Cordobeses*, Exhibition catalogue, Granada, 2001.","dynasty":"Umayyads of al-Andalus, Caliphate period","materials":["Ceramics; wheel-thrown, fired, green and manganese, glazed."],"keywords":["Geometric decoration; epigraphy; ceramic"],"author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"ad9d8415-0b17-5ab2-bb81-d214aedc3c9e":{"name":"Qur’an.","description":"The binding of this Qur'an is composed of a two-page (back and front) cover of light-brown leather. The right-hand side of the binding is decorated with a cartouche that has faded and now has unclear remains of a stamped design on it. This was a well-known style of ornamentation for leather bindings of books and manuscripts.  \nThe volume opens on to a frontispiece embellished with a decorative cartouche. The cartouche is filled with illuminated vegetal motifs against a background of dark-blue. An inscription written in Mamluk *thuluth* script adorns the frontispiece, the text reads: 'Intended for al-Maqam al-Sharif al-Sultan al-Malik al-Zahir abu Sa'id Jaqmaq, May his triumph be glorious'. The frontispiece is followed by five folios containing prayers and commentaries on the fundamentals of *al-Tajwid* (the art of reciting the Qur'an). These pages are also written in *thuluth* script. This is followed by pages that contain chapters from the Qur'an. The first of these is a double-page spread where, set in the right hand page, is a rectangular area framed with blue marginal lines; within this zone is the title, *Surat al-Fatiha (The Opening Chapter)*, written in *thuluth* script. Vegetal decorations adorn this area from above and below. The *sura* (chapter) itself is written within a rectangular frame, whose edges on three sides are ornamented with colourful vegetal motifs. The facing page has the same layout and decoration but it bears the title of *Surat al-Baqara (The Chapter of the Cow)* and the first verses of the chapter. The right-hand border of the first page and the left-hand border of the second page are decorated with three ornamental shapes, two of which are circular medallions filled with illuminated vegetal decorations. The centre shape assumes the form of a polychrome lotus blossom.  \nThe first of the 114 chapters of this Qur'an are written in *thuluth* script and illuminated and written against a blue background, embellished with vegetal motifs and set within a rectangular frame. Each verse is separated from the next by a decorative motif in the form of a golden tri-petalled flower. Each petal is separated from the other by a single dot. On the left and right sides of some pages in this volume there are decorated roundels filled with illuminated vegetal motifs. The number of lines on each page of this manuscript is 13.","short_description":"Mamluk Sultans and amirs endowed their religious establishments with copies of the Qur'an as a demonstration of piety. Being the holy book of the Muslim belief, the calligrapher, illuminator and binder vied to show their skill in executing these Qur'ans as we see in this copy commissioned by Sultan Jaqmaq.","type":"Manuscript","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Zahir Sayf al-Din Jaqmaq (r. AH 842–57 / AD 1438–53).","dates":"Hegira 842–57 / AD 1438–53.","location":"Cairo","dimensions":"Length 40 cm, width: 30 cm.","method_for_datation":"This manuscript is dated based on the inscription written in the beginning of the volume: 'Intended for al-Maqam al-Sharif al-Zahir Jaqmaq', who reigned 842–57 / 1438–53).","method_for_provenance":"In the beginning of this Qur'an, there is an indication that it was a work commissioned for Sultan Jaqmaq. It is probable that the work was commissioned in Cairo the Capital of the Egyptian State, for Egypt was famous at that time for the proliferation of its manuscripts, especially of the Qur'an. The Mamluk sultans were also known for their great personal interest in the Qur'an, and for their patronage of calligraphers. These precious Qur'anic manuscripts were often made part of a *waqf* (endowment) to mosques.","provenance":"Cairo.","obtention":"This Qur'an was donated to the Museum in 1956. The manuscript had been part of the collection in the private library of King Faruq – the last of the Egyptian Kings who was descended from the family of Muhammad Ali and who ruled from 1936–52 – in the Qasr al-Quba, one of the palaces of the royal family before the Revolution.","bibliography":"Al-Alfi, Abu S., *Al-Fan al-Islami \\[Islamic Art\\],* Cairo, 1984.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nJa'id, N., “Fan Kitabat al-Mushaf al-Sharif wa Tajmilahu \\[The Art of Writing and Decorating the Holy Qur'an\\]”, in *Huda al-Islam \\[Guide to Islam\\],* No. 6, 1984, pp.43–50.  \nJames, D., *Qur'ans of the Mamluks*, London, 1988.  \nSalama, K., *Al-Makhtutat al-Qur'aniya fi al-Mathaf al-Islami fi al-haram al-Sharif* \\[*Qur'anic Manuscripts in the Islamic Museum in the Haram al-Sharif\\],* Lebanon, 2003.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York. 1997.  \nAl-Suyuti, Jalal al-Din Abd al-Rahman (d. 911 / 1505), *Tarikh al-Khulafa' \\[History of the Caliphs\\],* Beirut, 1980.  \nZain al-Din, N., *Musawwar al-Khat al-Arabi \\[Illustrated Arabic Calligraphy\\],* Baghdad, 1980.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["On paper, the text written in *thuluth* script in black and red ink with gold illumination; the binding, stamped leather."],"keywords":["Binding; illumination; ink; thuluth; vegetal motifs; manuscript; Qur’an; paper; patronage; religious manuscript"],"author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"ae76a20b-77b1-575a-ab1c-36776cb0c633":{"name":"Fragment of a robe.","description":"This fragment shows two dark blue friezes facing each other, each featuring white *kufic* inscriptions surrounded by pink tendrils with white blossoms. A third frieze, composed of red rosettes with white four-petalled flowers, and framed on either side with waves of brown tendrils on a green background, sits between the two inscription friezes.  \nThis small fragment, which originally formed part of a much larger *tiraz* band, was identified as having been commissioned for the Fatimid ruler Al-Mustansir billah by comparing it with a similar inscription on a nearly identical piece in the Victoria and Albert Museum, London. The *kufic* text in the upper frieze on the Berlin fragment reads ‘In the name of God the merciful and good. There is no God other than God. M(ohammed is the envoy of God)’. This represents, therefore, the message of Islam. The text in the lower frieze reads ‘…this was commissioned by the vizier, the great…’. The term *tiraz* was derived from the name of the workshops where the cloths with the inscriptions, the *tiraz*, were woven. These robes of honour were manufactured for caliphs and high-ranking nobles in the workshops of the royal court. The *tiraz* were given to local or foreign high-ranking persons as a reward for their services. Medieval sources referred to them as valuable objects. The majority of *tiraz* bands come from Egypt, as these fabrics were preserved very well in the very dry climate and, if buried, the extremely dry earth.","short_description":"Cotton textiles with silk embroidery were produced in court workshops in Fatimid Egypt and were called *tiraz* because of the inscriptions which often gave the name of the workshop and the ruler. On special occasions they were presented to people who had rendered services to the state.","type":"Robe, fragment, textile","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 427–87 / AD 1036–94.","location":"Berlin","dimensions":"Height 16 cm, width 13 cm.","method_for_datation":"An inscription on a similar piece of fabric in the Victoria and Albert Museum, London, into which the name of the Fatimid Caliph Al-Mustansir billah (r. 427–487 / 1036–94) is woven, places this object within the same reign.","method_for_provenance":"Comparisons with other fabrics have proved that the two nearly identical fragments – the London one inscribed with the name of the Caliph al-Mustansir billah and the Berlin one – have been produced in a royal workshop in Egypt from which caliphs commissioned the creation of their cloths.","provenance":"Egypt.","obtention":"Obtained from the Reinhardt Collection.","bibliography":"Kühnel, E., *Islamische Stoffe aus ägyptischen Gräbern*, Berlin, 1927, pp.22–3 no. 3132, plate 7.  \nKühnel, E. and Bellinger, L., *Catalogue of Dated Tiraz Fabrics, Umayyad, Abbasid, Fatimid*, Washington, 1959, p.75.  \n*Museum für Islamische Kunst*, Catalogue, Berlin, 1979, cat. no. 301.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, no. 16, pp.44–5.","dynasty":"Fatimid; reign of Al-Mustansir billah","materials":["Cotton and silk, weft rep, woven-in text."],"keywords":["Tiraz fabric; robe; kufic; royal workshop; royal manufacture; Fatimid textiles; geometric patterns"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"b6c68555-4721-5c09-8439-5598ae6f7fdd":{"name":"Fragment of woven linen.","description":"A textile fragment of plain-woven linen with tapestry-woven decorative bands executed in silk, the pattern comprising three horizontal, superposed decorative bands, each separated by areas of plain weaving. The uppermost band, flanked by golden scrolling borders with red outlines and blue detailing, contains a zigzag band with a simple scroll outlined in red on a golden ground. Blue trident-like motifs fill the remaining spaces above and below the zigzag pattern. Below this is a slightly narrower decorative stripe that has a cursive inscription set against a deep-red background, flanked by stylised split-palmette borders above and below. The third and narrowest band has a central wavy green strip on a gold background, and two gold palmette-scroll borders set on a red ground.  \n  \nThis textile fragment is a good example of the artistic influence that the Coptic communities who settled in Egypt had on textile production during the Fatimid period. There remains to this day a sizeable Coptic population in Egypt.","short_description":"Islamic Egypt was famed for the production of sophisticated wool, linen and silk textiles made in specialist workshops. These were manned by Coptic Christian textile workers as well as Muslims. This textile was collected by Henry Wallis (1830–1916), a famous painter and expert on Middle Eastern ceramics.","type":"Fatimid textile, woven linen, tapestry silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira 6th century / AD 12th century.","location":"Edinburgh","province":"Scotland","dimensions":"Height 33.02 cm, width 33.02 cm.","method_for_datation":"This textile has been tentatively dated to the 6th/12th century on the basis of general similarities with other textiles of the Fatimid period.","method_for_provenance":"It is assumed that textile fragments with this type of decoration and epigraphic detail were produced in Fatimid Egypt. This is due to so many having been found in burials and excavations throughout Upper Egypt in particular.","provenance":"From a tomb at al-Drounka, Egypt.","obtention":"This textile together with several other Fatimid textile fragments were acquired by NMS in 1898 from Henry Wallis, a famous Pre-Raphaelite painter, who travelled and painted extensively in Egypt and elsewhere. Subsequently he became a highly respected expert on Egyptian and Persian ceramics.","dynasty":"Fatimid","materials":["Plain-woven linen, and tapestry-woven silk."],"keywords":["Al-Drounka; linen; silk; Henry Wallis; Fatimid textiles; textile"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"b7aafb59-ff4c-5242-9b12-fb975a73f3bf":{"name":"*Zellij* panel.","description":"This *zellij* panel, which covered the entrance wall of the Bouinaniya Madrasa, is decorated with *testirs*, geometric motifs often used in earthenware tile facings.  \nEach element is known by a particular name, and the stucco craftsmen memorised the particular proportions, motifs and dimensions corresponding to each figure. The motifs were first drawn on the tile then carved using a mallet. They were carved in the fired clay beneath the glaze so as to give each piece a corner-shaped profile. Once assembled, they created a polychrome mosaic with large and simple motifs dominated by white, yellow ochre and black. The panel includes a thick white line tracing rectilinear knotwork, a method introduced in the AH 7th / AD 13th century by the Almohads in their architectural decoration, and polychrome filling made up of small elements whose specific shapes are matched exactly to the voids left in the design. This knotwork rises from small white columns encircled with a green band and finishes in half knots. It encloses a network of concentric diamonds made up of elements in yellow ochre, violet black and emerald green or yellow ochre, black and lavender blue, all with a black piece in the centre.  \nThis fragment illustrates the mastery of the *zellij* craftsmen in the Marinid era who, like their Nasrid counterparts, produced op art masterpieces before their time.","short_description":"This *zellij* panel covered the entrance wall to the *madrasa*. It is decorated with *testirs*, or geometric patterns that are the pre-eminent decorative motif for earthenware-tile facings. It consists of a network of lozenges surrounded by an interlacing design.","type":"Panel, tile, earthenware","holder":"Batha Museum.","initial_owner":"*Habus* (endowment).","dates":"Hegira 751–7 / AD 1351–6.","location":"Fez.","dimensions":"Height 160 cm, length 77 cm.","method_for_datation":"The panel comes from the Buinaniya Madrasa (AH 751–7 / AD 1351–6).","method_for_provenance":"The panel was salvaged during the restoration of the monument in the 20th century.","provenance":"Buinaniya Madrasa, Fez.","obtention":"Salvaged following the restoration of the monument.","bibliography":"Marçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nPaccard, A., *Le Maroc et l'artisanat traditionnel islamique dans l'architecture*, Vol. 1, Paris, 1979.  \nTerrasse, Ch., *Médersas du Maroc*, Paris, 1927.  \nTerrasse, H. and Hainaut, J., *Les arts décoratifs au Maroc*, Paris, 1925.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6, p.232.","dynasty":"Marinid","linkcatalogs":"IAM_MA_EN_001","materials":["Glazed earthenware tiles."],"keywords":["religious monument; geometric decoration; tilework; tile panel"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"b8ecf061-5f47-5eb8-bd73-a5714784eff0":{"name":"Plate.","description":"A ceramic plate decorated with geometric designs in yellow pigment on a brown background and under a transparent glaze.  \n  \nThe inner surface is divided into four zones, each pair corresponding with each other. One pair consists of curved triangles filled with crossed lines forming, net-like, small indented squares; the other two zones show crisscrossed curved lines which form an arrow–head design.","short_description":"Ceramic plate from Tall Hisban, decorated with geometric designs in yellow pigment on a brown background and under a transparent glaze. The inner surface is divided into four zones, forming two pairs of crisscrossed curved designs.","type":"Plate, ceramic","holder":"Jordan Archaeological Museum.","dates":"Hegira 7th century / AD 13th century.","location":"Amman","dimensions":"Height 8.8 cm, diameter 30.3 cm, diameter (of base) 10.7cm.","method_for_datation":"The plate was dated by its stratigraphic context in the archaeological excavation.","method_for_provenance":"The plate was recovered from Tall Hisban during an archaeological excavation.","provenance":"Tall Hisban, Jordan.","obtention":"The plate was recovered during the course of an archaeological excavation carried out at Tall Hisban in 1993.","bibliography":"ساري. صالح، الفخار الأيوبي المملوكي في بلاد الشام 567-923 ه / 1171-1517 م، رسالة ماجستير، الجامعة الأردنية، 1979، ص 178-179، شكل 73، 74.  \n  \nBienkowski, P., The Art of Jordan, Glasgow, 1991, p.85, cat. no. 101.  \n  \nBoras, R., and Geraty, L., Heshbon 1976, Andrews University Seminary Studies, Miami, 16.1, 1978, pp.1–17.  \n  \n*La voie royale: 9000 ans d'art au royaume de Jordanie*, exhibition catalogue, Paris, 1986, p.283, cat. no. 385.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Glazed ceramic."],"keywords":["Geometric decoration"],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"bba9a6eb-34f8-578b-b58b-ae4a8784d89d":{"name":"Leather binding.","description":"Back-board. Italian format. The red-brown dye of the leather has turned black at the edges.  \nThe panel is covered with wicker-like strap-work tooled with fringe markings enclosing roundels. The central rope is twisted into three knots. The border consists of four linear frames. The second frame is decorated with a twisted rope motif and a fringe with roundels. The leather covers a panel of what appears to be poplar, on the back of which is glued a piece of parchment.  \nThe decoration applied to this binding follows the style in fashion at the time in Ifriqiya. Twisted rope, plaiting, curled interlacing and chequer-work are all in fact used in the *minbar* (preacher's chair) of the Great Mosque at Kairouan, which bears the stamp of Syrian Umayyad art, with its heritage of Byzantine themes, and which also evokes Abbasid art with its profound Sassanid influences. However, these arguments do not allow us to conclude that the Kairouan bookbinding was influenced by Syria. Several links in the chain are missing. Furthermore, the books bound at Kairouan seem to borrow their decoration from a repertoire that was familiar to the Christians and which the Copts used to extraordinary effect. In fact, it is likely that the binding is one of the acquisitions through which Christian Egypt contributed to the enrichment the Muslim world.","short_description":"Brown binding from Kairouan separated from the Qur'an to which it belonged. It is decorated with twists, braids, interlacing loops and squares, also found on the pulpit of the Great Mosque of Kairouan, which was strongly influenced by Syrian Umayyad art.","type":"Binding, leather","holder":"Museum of Islamic Art.","dates":"Hegira, end of the 3rd–beginning of 4th centuries / AD 9th–10th centuries.","location":"Raqqada.","province":"Kairouan.","dimensions":"Length 17.2 cm, width 8 cm, thickness 0.6 cm.","method_for_datation":"Other identical bindings have been found still glued to the volumes of the Qur'ans to which they had belonged. Palaeographic study of their writing dates them very accurately from the end of the 3rd to the beginning of the 4th century (9th / 10th). Moreover, a Damascene binding definitely dating from the year 270 (883) shows a remarkable resemblance to this Kairouanese binding.","method_for_provenance":"This binding belonged to the old library of the Great Mosque of Kairouan which was left abandoned in the *maqsura* of the prayer hall. During the 1930s it was re-classified after being discovered by some well-informed visitors. Most of the bindings were separated from the Qur'ans to which they belonged and this one suffered the same fate. This and the other bindings are almost certainly Kairouanese, since the town was a great centre of book production at the time.","provenance":"Kairouan.","obtention":"After the abolition of the *habus* foundation in Tunisia, this binding board was obtained by the Museum of the Great Mosque of Kairouan in 1963. It has been displayed in the Museum of Islamic Art at Raqqada since 1986.","bibliography":"*De Carthage a Kairouan* (exhibition catalogue), 1982, p.234, cat. no. 319.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.228.  \n*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.262.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, I, Tunis-Paris, 1948, p.116, plate VI B.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62, 182–3.","dynasty":"Aghlabid, Fatimid","materials":["Poplar-wood press-board covered with decorated leather."],"keywords":["Floral decoration"],"author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"cc2e6597-5498-5c64-94ac-0ecb6099dcdd":{"name":"Lustre bowl.","description":"The inner surface of the bowl is decorated with two patterns: symmetrical arabesques and bands of intertwining *kufic* calligraphy. Both motifs are framed within eight separate boxes, and the two patterns alternate with each other. Both are painted in golden brown lustre over a white glaze. The surrounding space is covered in dots or small entwining scrolls. The outer surface is decorated with hastily painted flutings and a braided band, over a light blue glaze. The bowl is one of the most important examples of Nasrid ceramics given its display of painstaking paintwork and the fact that the place where it was made is noted on its ring-base.","short_description":"The technique of lustre-ware pottery was introduced to al-Andalus from Egypt and outstanding quality was soon attained. This bowl with a design of geometrical and vegetal panels has an inscription on the foot stating that it was made in the Spanish city of Malaga.","type":"Bowl, ceramic","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"W. von Bode, F. Sarre.","dates":"Hegira mid-8th century / AD mid-14th century.","location":"Berlin","dimensions":"Height 8.5 cm, diameter 23 cm.","method_for_datation":"The production of lustre-ware in Andalusia began in the 6th / 12th century. In 750 / 1350, the Arab chronicler Ibn Battuta noted the production of ceramics in his writings on Malaga. This bowl is the only intact item by which the source may be verified. Overall the decoration also corresponds to other branches of the arts and crafts of that period, an example being the decorative patterns used in textiles.","method_for_provenance":"There is an inscription in cursive Arabic script on the bowl’s base stating that it was made in Malaqa (Málaga). Thus the bowl acts as an important marker for the identification and dating of the entire collection of Spanish lustre-ware from the same period.","provenance":"Malaga, Spain.","obtention":"A gift donated by Friedrich Sarre. The bowl was bought in 1901 in Italy by W. v. Bode and was given to Sarre as a gift, which he later donated to the museum.","bibliography":"*Islamische Keramik*, Catalogue, Düsseldorf, 1973, no. 470.  \nMartin, F. R. and Sarre, F. (eds.), *Die Ausstellung von Meisterwerken Muhammedanischer Kunst München 1910*, Munich, 1912, Vol. 2, no. 1610, pl. 117.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1973–9, no. 342.  \nSarre, F., “Die Spanisch-Maurischen Lüsterfayencen und ihre Herstellung in Malaga”, *Jahrbuch der Preußischen Kunstsammlungen* 24, 1903, 103–30.  \n*Schätze der Alhambra: Islamische Kunst aus Andalusien*, Catalogue, Berlin, 1995, no. 122.","dynasty":"Nasrid","materials":["Ceramic with lustre painting."],"keywords":["luster; Malaga; Andalusia; Nasrid"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"cf2da5c2-0d20-5dbf-a2aa-c9244ad7d708":{"name":"Half of the Holy Qur’an.","description":"A large manuscript containing half of the Qur'an. It includes 325 pages written in *thuluth* script. The first page is decorated with coloured and gilded geometric and stylised vegetal motifs showing very high levels of precision and skill. Surrounding the basic text of the Qur'an are marginal notes recorded in blue, red, and black ink addressing Qur'anic recitation, interpretation, and grammar.  \nThe verses of the Qur'an are underlined by threads of wavy blue and separated by small golden circles that number the holy phrases. The entire text is surrounded by a thick, opulent frame of geometric and astral tessellations outlined in blue and abundantly gilded. Three large gilded circular and triangular medallions branch out beyond the gilded frame towards the edge of the page.  \nAn Arabic text dealing with the dedication of this copy of the Qur'an is found on the third page. It may be translated as follows: “This is a *waqf* to al-Amir al-Kabir al-Sarim Ibrahim bin al-Amir al-Nasari Muhammad bin al-Amir al-Sarimi Ibrahim bin al-Sayfi Manjak, may God grant them shelter in his mercy and contentedness, and settle them in his paradises, Amen, and has made the dwelling of this Qur'an in the mosque of his father, the Aqsab Mosque, outside Damascus the Protected, praise be to God only”.  \nThe text specifies that the person who established this Qur'an as a charitable endowment is the Mamluk Prince Ibrahim bin Muhammad bin Ibrahim al-Sayfi Manjak. He was one of the grandchildren of Prince Manjak, who twice served as the Mamluk governor of Damascus.","short_description":"The abundance and intricacy of gold-leaf decoration found on this illuminated Qur'an is typical of the Mamluks' patronage of religious arts. The use of gold was also popular on Mamluk mosque lamps and was usually symbolic of 'divine light'.","type":"Manuscript, Qur'an, paper","holder":"National Museum of Damascus","initial_owner":"Ibrahim bin Muhammad Ibrahim al-Saifi Manjak (d. AH 9th / AD 15th century), grandson of the Mamluk Ibrahim Manjak who was twice governor of Damascus during the second half of the AH 8th / AD 14th century.","dates":"Hegira 8th–9th century / AD 14th–15th century.","location":"Damascus","dimensions":"Length 50 cm, width 35 cm, depth 7 cm.","method_for_datation":"The donor is the grandson of the Mamluk Prince Manjak, who served his first term as ruler of Damascus in 759 / 1357, and his second in 770 / 1368. It is possible that this Qur'an dates generally to this period. However, his grandson Ibrahim may also have endowed the Qur'an to the mosque at a later date, during the 9th / 15th century.","method_for_provenance":"This Qur'an was dedicated to a mosque in Damascus, and was commissioned by the grandson of a Mamluk governor of Damascus. Though it was in all likelihood copied in Damascus, the text does not specifically state this, so it is possible that it was copied elsewhere, for example in Cairo.","provenance":"Damascus, Syria.","obtention":"The piece was confiscated by security forces in the year 1959.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969.  \nCluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994, pp.410–12.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Ink on paper, gilded."],"keywords":["Qur’an; manuscript; ink; paper; gilding; Damascus; Ibrahim bin Muhammad Ibrahim bin Manjak; religious manuscript"],"author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez"},"d1d438f0-83d2-5fda-b51d-574d3965aaa9":{"name":"Silk textile with geometric pattern.","description":"A silk textile with a lampas weave, satin ground and weft-faced tabby pattern. Yellow strap-work bands on a red background create a dazzling geometric interlace design in which eight-pointed stars figure prominently. Other colours, such as pink, green, and a silvery blue, are used to create contrasts and highlights. Textiles like this one were made in the Nasrid period in southern Spain and North Africa. They continued to be valued throughout Europe long after the fall of the Nasrid dynasty; this particular example was hanging behind a statue of the Virgin Mary in Florence, Italy as late as the 19th century.","short_description":"A silk textile woven with an elaborate geometric pattern based on eight-pointed stars. Textiles like this were woven in southern Spain and North Africa during the Nasrid period. This example may have served as a hanging to enliven an architectural setting.","type":"Woven silk textile","holder":"Victoria and Albert Museum.","dates":"Hegira 8th–9th / AD 14th–15th century.","location":"London","province":"England","dimensions":"Length 56 cm, width 47.5 cm.","method_for_datation":"Comparison with other Spanish and North African textiles.","method_for_provenance":"The Nasrids ruled in Spain.","provenance":"Spain.","obtention":"Received from Dr Bock in 1864.","bibliography":"Arts Council of Great Britain, The Arts of Islam, London, 1976, p.81, cat. no. 18.","dynasty":"Nasrid","materials":["Woven silk textile."],"keywords":["geometric decoration"],"author":"Barry Wood","copy_editor":"Mandi Gomez"},"d4475f08-ea5a-5e67-84a3-3e7f04581e4b":{"name":"Bookbinding.","description":"A tooled leather bookbinding with ornament added in gold. The front and back covers feature a design composed around a central circular medallion. Within it, an arabesque pattern grows out of a geometric interlace to fill the circular space; on the other side of a wide border decorated with linked flowers, 12 scallops form a sunburst motif. Large spade-like motifs project from the top and bottom scallops. The corners of the front and back covers are filled with related arabesque designs, as is the binding's flap, itself further ornamented with a dense field of freely rendered flowers. The gilded tooling is further highlighted in some areas by the addition of light-blue pigment, creating a subtle and pleasing contrast. This binding was thought for many years to be a work of early Ottoman times but recently it has been re-attributed to the late Mamluk period. It is unknown which book this binding was used to protect, but given the quality of the workmanship it seems likely that it was a Qur'an.","short_description":"A tooled leather bookbinding with ornament in gold and light-blue pigment. Details of the design are similar to other bookbindings from the late Mamluk period. Such a fine binding was most likely used to cover a Qur’an.","type":"Painted leather, paper manuscript","holder":"Victoria and Albert Museum.","dates":"Probably late hegira 9th / 15th century.","location":"London","province":"England","dimensions":"Height 31.2 cm, width 21 cm","method_for_datation":"Details of the decoration are similar to those on bindings known to have been made for the Mamluk Sultans Qatbay (r. 872–901 / 1468–96) and Qansuh al-Ghuri (r. 906–22 / 1500–1516).","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1983.","bibliography":"Haldane, D., Islamic Bookbindings in the Victoria and Albert Museum, London, 1983, pp.142–3 (listed as early Ottoman).  \n  \nRaby, J. and Tanındı, Z., Turkish Bookbindings in the Fifteenth Century, London, 1993, p.11.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Gilded and painted leather over paper."],"keywords":["floral decoration"],"author":"Barry Wood","copy_editor":"Mandi Gomez"},"d73ce677-c4d9-526d-a784-55d5db6b9325":{"name":"Storage jar.","description":"A small, dark-gray storage jar of beautiful form, with a ribbed body and linear geometric pattern, painted with a single and a multiple-headed brush prior to firing, which covers the entire vessel. The extent of decoration on this jar means that it was probably a costly item.  \n  \nThe jar has a triangular rim, two loop handles and a round umbilical base. It was made of two parts joined by pressing the clay together, as there is a flange between the shoulder and the ribbed body. The jar was broken into pieces when recovered and has been subsequently mended.","short_description":"A small storage jar from the nymphaeum at Umm Qays with a geometric pattern painted before firing. It was made of two parts, joined at the flange between the shoulder and body. The extent of decoration probably made it a costly item.","type":"Jar, ceramic","holder":"Umm Qays Archaeological Museum.","dates":"Hegira, second half of the 1st century / AD 2nd half of the 7th century.","location":"Umm Qays","dimensions":"Height 47.5 cm, diameter (of rim) 10 cm; diameter (of base) 22 cm.","method_for_datation":"The jar was dated by stratigraphic context and comparison with similar vessels uncovered at other sites.","method_for_provenance":"The jar was found at the nymphaeum of Umm-Qays during excavation, but the original place of production is not known.","provenance":"Umm Qays, Jordan.","obtention":"The jar was uncovered in the course of an archaeological excavation carried out at the nymphaeum (a pleasure garden) at Umm-Qays in 2001.","bibliography":"Harding, G. L., 'Excavations on the Citadel, Amman', *Annual of the Department of Antiquities of Jordan*, Vol. I, 1951, pp.7–16, fig. 4.41 (for similar jars).  \n  \nSmith, R. H., *Pella of the Decapolis*, Vol. I, London 1973, p.233, object no. 281, plate 45, photo 85 (for similar jars).","dynasty":"Early Umayyad","linkcatalogs":"IAM_JO_EN_001","materials":["Wheel-thrown ceramic."],"keywords":["Luxury ware; nymphaeum; pottery."],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"da6f318d-80ce-5330-b287-e6ae140c2ff0":{"name":"Frontispiece of a Qur’an.","description":"The first page is decorated with a particularly brilliant illumination. It consists of a rectangular field gilded and stippled with red and black dots and framed by two plaited strips. In the axial plane is a central circle equidistant from two semi-circles. The whole is separated by four half-lozenges. Each one of these contains a stylised, five-lobed, vine-leaf motif inscribed in a circle from which two half-leaves emerge. A palm-leaf motif with abundant floral decoration projects towards the edge of the page.  \nThese different motifs come from the Ifriqiyan decorative repertoire of the classical period: AH 3rd–5th centuries / AD 9th–11th.  \nThe second page contains a Qur'anic text taken from the tenth *sura*, Yunis (Jonas, verses 70-1). The lively gilded *kufic* script is framed in brown. The vowels are indicated by red dot diacritics, with two vertically arranged dots for the *tanwin* and green and blue dots respectively for the *hamza* and the *shadda*, after the method established by Abi al-Aswad. Short diagonal lines are also used for the vowel points.  \nThe divisions between the verses are marked by gilt rosettes inside blue circles. The fifth verse is marked by a gilded roundel with a blue centre and a red circumference. The tenth verse is marked in the margin by a roundel covered with gilded petals. An ornate inner circle contains a gilded inscription on a red background.","short_description":"The first page bears an uncommonly bright illumination. The second page contains a Qur'anic text taken from the *sura* Yunis. The *kufic* script is gold and outlined in brown.","type":"Manuscript, Qur'an, parchment","holder":"Museum of Islamic Art.","dates":"Hegira 4th century / AD 10th century (second half).","location":"Raqqada.","province":"Kairouan.","dimensions":"Length 21 cm, width 15 cm.","method_for_datation":"Palaeographic study reveals that the lettering is identical to that of Qur'ans belonging to the library of the Great Mosque of Kairouan and dated thanks to their deed of gift (*habus*) from the 4th / 10th century. Furthermore, a *fatwa* issued by the great Maliki jurist of Kairouan, Abdullah ibn Abi Zayd (d. 386 / 996) (d. 386 / 996) appears to mention this gilt-inscribed Qur'an, thus narrowing the dating to the second half of the 4th / 10th century.","provenance":"Probably Kairouan.","obtention":"After the abolition of the *habus* foundation in Tunisia, this Qur'an was obtained by the National Library in 1967, and transferred in 1983 to the Centre of Islamic Art and Civilisation at Raqqada. It has been displayed in the Museum of Islamic Art at Raqqada since 1986.","bibliography":"*30 ans au service du patrimoine* (exhibition catalogue), 1986, p.209.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.219.  \n*Tunisie: du christianisme a l'islam* (exhibition catalogue), Lattes, 2001, p.193.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62 and 182–3.","dynasty":"Fatimid–Zirid","materials":["Illuminated and decorated parchment."],"keywords":["Calligraphy; floral decoration; habus;  religious manuscript"],"author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"df881eea-95c8-5db6-825d-d04360d53ffd":{"name":"Mamluk *mashaf*","alternate_name":"Qur’anic manuscript, No. 16.","description":"A *mashaf* (Qur'anic manuscript) bound in deep-brown leather, made up of two covers (front and back) and a library marker. The ornamentation on this binding is reminiscent of Mamluk *mashafs* in that the intertwining geometric lines, by intersecting with each other, create fields of different sizes that are filled with embossed details. The margins of both sides of the binding are delineated with different decorative frames. The inside of the binding is also decorated with an embossed medium-sized circle surrounded by semi-circles.  \nFolio 1b–2a is composed of two pages written in *thuluth* script in black ink; the lettering branching out into illumination. There are 10 lines to each page; each line is surrounded by strokes that encircle the text. Folio 2b–3a forms the frontispiece of the *mashaf.* It comprises two pages that contain two identical panels covering most of the spread, and is composed of decoration made up of intersecting geometric lines. The lines encompass between them fields of varying sizes, and each field holds a golden blossom within it. Each blossom varies in size to fit the geometric zone that contains it. The decorative panels finish at the top and bottom with illuminated bands that include text from the Qur'an “al-Waqi'ah” (“The Event, The Inevitable” 56: 76–82). Vegetal decoration surrounds the bands and panels in gold and blue, framing all four sides of the pages.  \nFolio 3b–4a contains the opening pages of the *mashaf*. Both pages are identically decorated and are written in illuminated *thuluth* script composed of five lines. Ornamentation of climbing vegetal motifs, framing broad rectangular areas, is placed above and below the text as well as on the sides. On the remaining pages the text is written in *thuluth* script in black ink. The pause marks assume the shape of flowers in gold, blue and brown. The name “Majesty” (*al-Jalala)* and the *Basmala* (In the name of Allah, Most Gracious, Most Merciful) are written in gold. The chapter and verse number is white outlined in black; it sits on a wavy gold background on blue, or occasionally red, within a wide gold strip that forms a rectangular frame. The last two pages of the *mashaf*, which contain the last three chapters of the Qur'an, are written in gold.","short_description":"A complete Mamluk Qur’an in two covers of leather with intertwining geometric lines. At the beginning are two identical decorative panels with two blossoms. The text is written in *thuluth* script in black ink. The pause marks assume the shape of flowers in gold, blue and brown. Illumination is used especially in chapter names, a number of verses and where the word ‘Majesty’ appears.","type":"Mashaf, paper, manuscript","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"*Qadi* (Judge) Taj al-Din Abi Ishaq al-Maliki (d. AH 771 / AD 1369).","dates":"Before hegira 771 / AD 1369; during the lifetime of the original owner.","location":"Jerusalem","dimensions":"Length 47 cm, width 32 cm, depth 11 cm.","method_for_datation":"The dating of this *mashaf* is supported by the knowledge of the life-span of the original owner, *Qadi* (Judge) Taj al-Din Abi Ishaq al-Maliki (d. 771 / 1369).","method_for_provenance":"Egypt was narrowed down as the place where the *mashaf* was copied due to the style of the script, the decoration used, as well as the leather binding. The *mashaf* is fairly typical of Egyptian manuscripts of this sort produced in the same period.","provenance":"Egypt.","obtention":"The *mashaf* was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) where it had been endowed by its owner for recitation, to the Islamic Museum in 1927.","bibliography":"Al-'Asqalani, Ahmad bin 'Ali bin Hajar (d. 852 / 1448), *Al-Durar al-Kamina fi al-A'yan al-Mi'a al-Thamina \\[The Valuable Jewellery of the Personalities of the Eighth Century\\],* Vols. 1 and 6, Hyderabad, 1972.  \nSalameh, K., *Al-Makhtutat al-Qur'aniya fi al-Muthaf al-Islamu fi al-Haram al-Sharif \\[Qur'anic Manuscripts in the Islamic Museum in al-Haram al-Sharif\\],* Paris, 2003.  \nAl-Maqrizi, Taqi al-Din, A., (d. 845 / 1442), *Al-Suluk li Marifat Duwal al-Muluk \\[The Right Ways to Know the Lands of the Rulers\\],* Vols. 2 and 3, Cairo, 1970.  \nal-Shaja'i, Shams al-Din, *Al-Malik al-Nasir Muhammad bin Qalawun Salihi wa Awladahu \\[The Ruler, al-Nasir Muhammad bin Qalawun Salihi and his Sons\\],* Fisbadan, 1978.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Coloured inks on paper with gilding; the binding, embossed leather."],"keywords":["Illumination; leather binding; thuluth; embossed decoration; vegetal decoration; geometric decoration; Qur’an; mashaf; paper; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"e499d19d-1cd3-574e-b40c-b7a8dc83a218":{"name":"Qur’an.","description":"This Qur’an is written in Mamluk *naskhi* script on sheets of finished (*aharli*) paper with gilding outlined in black. The pages do not have any marginal lines. The leather binding has a flap. The Qur’an opens with an illuminated double-page spread plate, laid out in geometric fashion, in the centre of which is an eight-pointed star containing a Qur’anic verse (*sura* 41, verse 42). All the polygons formed by the geometric decoration are filled with arabesque motifs. The background of the border framing the geometric decoration is painted in black. The border is filled with arabesques and palmettes containing rosebud-like motifs in fading shades of pink, green and blue. This style of painting is known in Mamluk illumination as the 'Sandal style'.  \n  \nThe beginning of each chapter (*sura*) is written in *kufic* calligraphy, while the ends of verses are separated with interlacing rosettes in gold and blue. Every five and ten verses there appear illuminated medallions containing *kufic* script on the margin of the page. This Qur'an was prepared for the Treasury of the Mamluk Sultan Nasir al-Din Muhammad, who ruled three times AH 692–4, 698–708, 709–42 / AD 1293–4, 1299–1309, 1310–41).  \n  \nThe Qur'an was transcribed by the calligrapher Shadi bin Muhammad bin Shadi bin Dawud bin Isa bin Abu Bakr bin Ayyub, a descendent of Saladin (Salah al-Din), founder of the Ayyubid state, in Ramadan 713 / December 1313. The illumination was done by Aydoğdu bin Abdullah al-Badri and Ali bin Muhammad al-Rassam.  \n  \nThis Qur’an is a work of art of the highest quality, produced for presentation to the sultan at a time when the most exquisite and refined works were being produced in all branches of art, a period which may even be called the Renaissance of Islamic art in Egypt.","short_description":"The names of its calligrapher, its illuminator and the person it was presented to make up three important features that stress the artistic value of a Qur’an. A masterpiece of Mamluk book arts, this Qur’an was written in gold with an illumination establishing a school and it bears the name of the sultan it was presented to.","type":"Manuscript, paper","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The Mamluk Sultan Nasir al-Din Muhammad, (he ascended the throne three times: AH 692–4, 698–708, 709–42 / AD 1293–4, 1299–1309, 1310–41).","dates":"Hegira Ramadan 713 / AD December 1313.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 35 cm, width 26.5 cm.","method_for_datation":"The colophon gives the date as Ramadan 713 / December 1313.","method_for_provenance":"The work bears the hallmarks of the Mamluk style and was produced by court masters of the Mamluk palace in Cairo; therefore, it is highly likely that it was produced in Cairo.","provenance":"Cairo, Egypt.","obtention":"The work was transferred to the Museum in 1914 from the tomb of Sultan Selim II (974–82 / 1566–74) in the Ayasofya Mosque, Istanbul.","bibliography":"Aksoy, Ş., “Der Prachtkoran”, *Die Koranbestände des Museums für Türkische Kunst in Istanbul*, Berlin, 1999, pp.111–23.  \n  \nJames, D., “Some Observation on the Calligrapher and Illuminators of the Koran of Rukn al-Din Baybars al-Jashnagir”, *Muqarnas*, 3, 1984, pp.147–57.  \n  \nJames, D., *Qur'ans of the Mamluks*, London, 1988, pp.58–63.  \n  \nÖlçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.176–9.","artist":"Calligrapher: Shadi bin Muhammad bin Shadi bin Dawud bin Isa bin Abu Bakr bin Ayyub; illuminators: Aydoğdu bin Abdullah al-Badri and Ali bin Muhammad al-Rassam.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["finished (aharlı) paper, ink, gilding, leather (binding)."],"keywords":["Calligraphy; geometric decoration; leather (binding) religious objects; religious manuscript."],"author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"eb481f86-d60b-5344-8c63-a9deba6327fa":{"name":"Buinaniya Madrasa.","description":"This monument from the AH 8th / AD 14th century is distinctive from the other *madrasas* (religious schools) in Fez because of its great mosque, endowed with a minaret and a *minbar*, nowadays exhibited at the Batha Museum, as well as its two classrooms located opposite one another, its large ablutions hall and its hydraulic clock located opposite the main gateway of the *madrasa*.  \nOn the north side of the *madrasa*, two adjacent doors open onto al-Tal'a Lakbira street, and a third door opens on the south side onto al-Tal'a Sghira street. Each door gives access to a hallway that leads to a staircase. The hallway on the south side is bent. The stairs in the two north hallways give access to a courtyard, around which the different elements of the building stand. The rectangular courtyard is paved entirely with marble and at its centre are the remains of a basin.  \nThe Wadi Lamtiyyin, one of the branches of the Wadi Fez, crosses the south side of the courtyard and separates it from the mosque. The main façades of the courtyard lead to a classroom covered by a sculpted wood dome. The east and west galleries extend behind the two classrooms. They are separated from a courtyard by *mashrabiyya* (wooden lattice screens) set between the pillars.  \nTwo small bridges, built on either side of the wadi, give access to the rectangular prayer room. Its north side opens out onto the courtyard through five large openings. The mosque is divided into two rows parallel to the south wall. The arcade that separates them is made up of five arches supported by six yellow-white marble columns. The *mihrab* set in the middle of the south wall is richly decorated. The square minaret rises from the northwest corner.  \nOpposite the main doorway of the *madrasa*, on the other side of the Tal'a Lakbira road, is the entrance to the *dar al-wudu* (ablutions house). The famous *magana* (hydraulic clock) is on the wall overlooking the road.  \nThe *madrasa* has been restored several times since the AH 11th / AD 17th century following the earthquake suffered by the town. At the end of the AH 12th / AD 18th century, during the reign of the 'Alawid Sultan Mulay Sliman (r. AH 1207–38 / AD 1792–1822) entire sections were reconstructed, and in the 20th century, major restoration work was carried out to the load-bearing structure and the plaster, wood and *zellij* (small tiles) decoration.","short_description":"Built in Fez in AH 751 / AD 1351 by Abu Inan to train his administrators and theologians, this is the largest and most beautiful of the *madrasas* built by the Marinids. The complex of buildings includes a mosque, two classrooms, one large ablutions room and an outbuilding known as the 'House of Clocks' (Dar Almagana). The courtyard of the *madrasa* is paved entirely in marble, with a basin at its centre, of which little has survived. It has been restored on several occasions, with the latest project being completed in 2004.","dates":"Hegira 751–6 / AD 1351–6.","location":"Fez (Old Town / medina).","method_for_datation":"The *madrasa* has been dated using an inscription included in the *zellij* that cover the interior walls. The inscription bears the name of Abu 'Inan and the date of its inauguration in 756 / 1357.","bibliography":"Bel., A., *Inscriptions arabes de Fès*, offprint of *Journal Asiatique* 1917–1919, Paris.  \nGolvin, L., “La medersa Bouinaniya”, in *Fès médiévale* (ed. M. Mezzine), Paris 1992, pp.92–9.  \nPérétié, M. A., “Les madrasas de Fas”, *Archives marocaines*, Vol. 18, 1912.  \nTerrasse, C., *Médersas du Maroc*, Paris, 1927.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6.","patrons":"Founded by Abu ‘Inan (AH 751–6 / AD 1351–6).","dynasty":"Marinid.","materials":[],"keywords":["Madrasa; mosque; stucco; mosaic"],"author":"Mohamed Mezzine","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"eb797dee-46d6-5927-9b28-91cd43374b40":{"name":"Kutubiya Mosque.","description":"Two 'mosques of Kutubiya' (the booksellers' quarter) were constructed in the space of a few years by 'Abd al-Mu'min. The later of the two has survived to our times. The two buildings were connected at a slight angle, and consequently the surviving Kutubiya is a trapezium shape and not a rectangle, as one of its outer walls belonged to its twin.  \nThe size of the building is impressive: its sides measure around 92 m and 90 m lengthways and 66 m and 57 m widthways.  \nThe internal layout follows a classical Almohad pattern: the axial nave and the nave that runs along the *qibla* are wider than the others and form a T shape.  \nThere are eight naves on either side of the axial nave. The last four extend to the opposite wall on either side of the very wide and shallow courtyard, to which a very long gallery has been added to maintain a regular shape. The centre of the courtyard is occupied by a circular ablutions basin.  \nStone and brick have been used variously: on the east side, the gateways are all in brick, while the gateways on the west side are made of brick and stone. The pillars that determine the shape of the structures are cruciform or semi-cruciform and they are made of brick covered with a thick coat of plaster. They are flanked by false engaged columns with floral capitals. The transverse nave that runs alongside the *qibla* is noteworthy for its large *muqarnas* (honeycomb) arches resting on simple columns, and for its five domes: one before the *mihrab*, two at the ends and two in between.  \nThese domes have deep, smaller cupolas and extensive *muqarnas*.  \nThe *mihrab* niche is behind a very high, very large horseshoe arch surrounded by two concentric arches decorated with knotwork beading. The spandrels carved in relief support a 16-lobe cupola. A large band of polygonal knotwork frames the decorated arch and the spandrels.  \nAbove the *minbar*, a five-arcature (blind arcade) frieze is crowned with a wide band of polygonal knotwork.  \nThis delicately finished decorative ensemble gives a strong impression of equilibrium, power and serenity.  \nThe minaret, with it square base and sides 12.80 m long, rises to a total height of 77 m to the top of the spire. It is made of large stones mixed with brick in the lantern.  \nThe four sides of the tower are decorated differently, with large panels of complex and luxurious arcatures at various different heights that bring together different combinations of arches and knotwork. Like the minaret, the lantern is crowned with indented tapered merlons around a platform filled with a thick-ribbed dome.  \nThe Kutubiya is one of the most important vestiges of the Almohad dynasty.","short_description":"The current, imposing Kutubiya is the second mosque of this name built by the Almohad 'Abd al-Mu'min, the first destroyed as it was wrongly oriented.  \nThe building consists of 17 naves running lengthways, and the transverse nave beside the *qibla* wall has five large arches and five *muqarnas* (honeycomb) cupolas. The vast *mihrab* arch is sumptuously decorated. The rectangular courtyard has a circular ablutions basin. The square-plan minaret rises 77 m and is decorated differently on each face. In both architecture and decoration, this is one of the crowning achievements of Islamic art in the West.","dates":"Hegira 6th century / AD 12th century.","location":"Marrakesh.","method_for_datation":"Ibn Bashkuwal, quoted by al-Maqqari (*c.* 1592–1632) after he related the story of the transfer of the 'Uthman Qur'an from Córdoba to Marrakesh in 1157, adds: 'During this time, 'Abd al-Mu'min ordered the building of the Great Mosque of the capital at Marrakesh. Work started in the first days of Rabi II 553 \\[2–10 May 1158\\]. It was inaugurated with Friday prayers on 15 Shaban as indicated above \\[11 September 1158\\]' (cited by Deverdun, 1959).","bibliography":"Basset, H. et Terrasse, H., “Sanctuaires et forteresses almohades”, *Hespéris*, 1924.  \nDeverdun, G., “*Marrakech, des origines à 1912*”, Rabat, 1959, pp.172–94.  \nMarçais, G., *L'Architecture musulmane d'Occident*, Paris, 1954, pp.206, 244.  \nAl-Maqqari, *Nafh at-tib min ghosn al-andalus* (Analects on the History and Literature of the Arabs in Spain), Leiden, 1855–61.","patrons":"Caliph ‘Abd al-Mu’min (r. AH 524–58 / AD 1130–63).","dynasty":"Almohad.","materials":[],"keywords":["Place of worship; stone; brick; floral decoration; geometric decoration; muqarnas."],"author":"Kamal Lakhdar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"f396e33d-9645-55ac-affd-ff0c3b5c089a":{"name":"Page from a Qur’an.","description":"This Qur'an was written in gilt *kufic* script outlined in brown ink (sepia) on gazelle skin. The verses on the page shown (112: 3– 113: 1) are set in a richly illuminated frame, also gilded and outlined in brown ink. There are no diacritical marks. Vowel marks are shown as red or black dots. The beginning of a new chapter (*sura*) is only indicated by the *basmala* (the formula: 'In the Name of God, the Compassionate, the Merciful'). Three diagonal lines are placed at the end of the verses.  \n  \nThe Qur'an page is framed by a wide border delineated by narrow bands. The rectangles formed by the border bands form joining sections. The large spaces within these rectangles are filled with decoration including spiralling tendrils with leaves and flowers.  \n  \nOnly five leaves remain to us from this Qur'an, which was made in the AH 3rd–4th / AD 9th–10th centuries in or . Written in *kufic* script, gilded and richly illuminated, it must have been made for an important mosque or ruler.","short_description":"Calligraphy developed as a result of careful copying of the Holy Qur'an in order to make it accessible to the masses. This page is written in *kufic* script, named after the calligraphic centre in the city of Kufa, and its character is plain and rigid yet striking.","type":"Manuscript, Qur'an, gazelle skin","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 3rd–4th centuries / AD 9th–10th centuries.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 27 cm, width 39 cm.","method_for_datation":"The style of writing, the lack of diacritic marks, and the designs used in the illumination all suggest a date of the 3rd–4th / AD 9th–10th centuries.","method_for_provenance":"The Abbasid Empire was centred in Baghdad, and one of its most important regions was Syria. For this reason the object is thought to have been produced either in Iraq or in Syria.","provenance":"Iraq or Syria.","obtention":"Ismet Bey, the mayor of Istanbul and a member of the board of directors of the Museum of Islamic Foundations (the old name for the Museum of Turkish and Islamic Arts), visited the Umayyad Mosque in Damascus while travelling. He had a number of items in the collection at *Qubbat al-Hazine* (Treasury) of the mosque, including this Qur'an, transferred to the Museum where they were registered in the inventory in around 1332 / 1914.","bibliography":"ölçer, N. *et al*, *In Pursuit of Excellence: Works of Art from the Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.15.  \n  \nölçer, N. *et al*, *Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.44–5.","dynasty":"Abbasid","materials":["Gazelle skin with gilding, the writing in brown ink (sepia)."],"keywords":["Floral decoration; gold (gilding); leather; parchment; religious object; religious manuscript"],"author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"f68ad2e3-66ed-57d2-8adb-c0e1504537b3":{"name":"Glazed bowl.","description":"Glazed bowl with rounded everted rim, circular mouth, semi-oval body and flat base. The object has an exterior finish in honey-coloured monochrome glaze, and a polychrome glaze of white, green and purple in the interior, representing a plant motif consisting of a radial composition of eight lotus flowers topped by another set of eight oval lotus flowers. On the rim is a composition in four parts with alternating semi-circles and phytomorphic motifs. It has a defect at the bottom caused by the glaze coming into contact with another object in the kiln. The object has been restored.","short_description":"Glazed bowl with a plant motif consisting of a radial composition of eight triangular lotus flowers each topped with an oval lotus flower. This piece is similar to others found in Madinat al-Zahra and probably came from the Córdoba region.","type":"Bowl, ceramic","holder":"Museum of Mértola.","dates":"Hegira 339–90 / AD 950–1000.","location":"Mértola.","province":"Beja.","dimensions":"Height 6 cm, maximum diameter 29 cm, diameter (of base) 17 cm.","method_for_datation":"The stratigraphic context in which the object was found was very disordered, which led to its being dated to the second half of the 4th / 10th century, by comparison with objects of identical form found in Madinat al-Zahra (Córdoba, Spain).","method_for_provenance":"The shape, ornamental theme and type of paste used are very similar to ceramics from the Córdoba area.","provenance":"Probably Córdoba (Spain).","obtention":"Found in the archaeological excavations carried out by the Campo Arqueológico de Mértola in the citadel of the Castle of Mértola.","bibliography":"Gómez Martínez, S., “Catálogo da Cerâmica”, in *Museu de Mértola. Arte Islâmica*, ed. S. Macias, Mértola, 2001, p.111.  \nGómez Martínez, S., “La Cerámica de Verde y Morado de Mértola”, *Arqueologia Medieval*, no. 3, 1994, p.125.  \nTorres, C. and Gómez, S., “Le Vert et Brun au Portugal”, in *Le Vert et le Brun de Kairouan à Avignon: Céramiques du Xe au XVe Siècle*,exhibition catalogue, Marseilles, 1995, pp.98–102.  \nTorres, C. and Macias, S. (eds.), *O Portugal Islâmico*, Lisbon, 1998, p.97.","dynasty":"Umayyad al-Andalus / caliphate period","linkcatalogs":"IAM_PT_EN_001","materials":["Glazed ceramic made with compact pink paste, modelled on a wheel, fired in an oxidising atmosphere and decorated in green and purple."],"keywords":["floral decoration; tableware"],"author":"Susana Gómez Martínez","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"},"fa91a1b4-7f04-56f0-8661-0bd4d58ccac8":{"name":"Qur’an binding.","description":"This binding for a single-volume Almohad Qur'an transcribed in Andalusian cursive characters on parchment has the same square format as the manuscript that it protects. It consists of two sides joined by hinges and closed by an embossed red-leather flap reinforced with card. It is decorated with abundant geometric and floral patterns.  \nThe central composition of the sides consists of an eight-pointed star radiating a variety of polygons formed by geometric knotwork whose lines are decorated using a gilded groove pattern. It is surrounded by three superposed frames of different widths decorated with knotwork, double braids and mixtilinear knotwork lines whose interstices are filled with small, finely gilt-tooled stylised fleurons. The hinges, which closely fit the volume, are decorated with bouquets of roses and fleurons inscribed within the knots of a small interlaced chain.  \nThe density of the decoration suggests that this binding is unlikely to be a contemporary of the Qur'an that it protects, and probably was not made before the Marinid period. It has also undoubtedly been restored subsequently, as suggested by its state of preservation and the oriental floral motifs painted on the back of the hinges. Indeed, these Turco-Persian rose bouquets did not become part of the Moroccan artistic repertoire until the beginning of the AH 11th / AD 17th century.","short_description":"This binding, like the Almohad Qur'an that it protects, is square-shaped, although they were not made at the same time. It includes traditional geometric motifs as well as floral motifs, including rosettes of Eastern inspiration, a late addition to the Moroccan decorative repertoire.","type":"Qur'an, binding, leather","holder":"Royal Library","initial_owner":"*Habus* (endowment).","dates":"Binding: Hegira 7th–8th centuries / AD 13th–14th centuries, Qur'an: Hegira 531 / AD 1178.","location":"Rabat.","dimensions":"Height 16.2 cm, width 15.5 cm","method_for_datation":"Through comparison with other bindings from the Almohad period and later held in Moroccan museums. For the Qur'an, the final page of the manuscript bears the date on which it was copied.","method_for_provenance":"The decorative style on the binding is Moroccan.","provenance":"Morocco.","bibliography":"Al-Razi, J. and Varichon, A., *6000 ans d'art au Maroc*, catalogue, Paris, 1990.  \nRicard, P., “Reliures marocaines du XIIIe siècle”, *Hespéris* XVII, 1933, pp.109–27.  \nSefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, Vol. 6, Rabat, 1987, p.65.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.108–9.","dynasty":"Almohad","linkcatalogs":"IAM_MA_EN_001","materials":["Embossed leather with gilt tooling."],"keywords":["religious object; calligraphy; geometric decoration; floral decoration"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"fbf4d4a8-5487-5f14-80a9-c326b47bc923":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with staggered rows of diagonally ascending zigzag bands set at regular intervals, in red, which are further enhanced by a pattern, in miniature, of ‘tiger stripes’ and three circles (known as *chintamani*), rendered in green. The *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Silk brocades like the one used for this fragmented child kaftan were made in the Ottoman empire between the AH 10th and 11th / AD 16th and 17th centuries, first in the imperial workshops at Bursa. Later in the 10th- / 16th-century court workshops were also set up in Istanbul, the Ottoman capital.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 82.5 cm, width 77.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of similar Ottoman textiles).","dynasty":"Ottoman","materials":["Silk, cotton and silver brocade (*kemha*)."],"keywords":["Kemha; costume; Ottoman costume; textile; cintamani"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"feee4da0-04af-5864-b229-a94005de718d":{"name":"Glazed bowl.","description":"Glazed bowl with rounded rim, circular mouth, slightly carinate hemispherical body and convex base with diagonal foot-ring. The exterior is glazed in honey-coloured monochrome and the interior is decorated in the *cuerda seca* technique in which the white, green and honey colours of the glaze are separated by lines of manganese. The decorative theme is a large flower created by a radial geometric composition which occupies all of the decorated space and which may correspond to a lotus flower viewed from above. Examples identical to this object have been found in various parts of the western Mediterranean, in particular in the citadel of Málaga, in Cartagena, Palma de Mallorca (Spain), Pisa (Italy) and Ceuta (Morocco). The object has been restored.","short_description":"Bowl decorated entirely using *cuerda seca* and decorated with a large flower created by a geometric radial pattern that occupies all of the decorative space. The central motif is a lotus flower seen from above. Similar pieces have been found around the western Mediterranean.","type":"Bowl, ceramic","holder":"Museum of Mértola.","dates":"Hegira 6th century / AD 12th century.","location":"Mértola.","province":"Beja.","dimensions":"Height 8.5 cm, diameter (of mouth) 26 cm, diameter (of base) 10.5 cm.","method_for_datation":"The stratigraphic context in which the object was found was very disordered, which led to its being dated to the 6th / 12th century by comparison with objects of similar shape and decorative technique from Málaga and Almería.","method_for_provenance":"The abundance of this type of ceramic in Málaga and Almería (Spain), where kilns have been found in which they were made, has led researchers to attribute its production to these towns.","provenance":"Almería or Málaga, Spain.","obtention":"Found in the archaeological excavations carried out by the Campo Arqueológico de Mértola in the citadel of the Castle of Mértola.","bibliography":"Gómez Martínez, S., *A Cerâmica em Corda Seca de Mértola*, Mértola, 2002.  \nTorres, C., “Um Lote Cerâmico da Mértola Islâmica*”*, in *I Congreso de Arqueología Medieval Española. Huesca, 1985*, vol. IV, Saragossa, 1986, pp.193–228 .  \nTorres, C. and Gómez, S., “Le Vert et Brun au Portugal”, in *Le Vert et le Brun de Kairouan à Avignon: Céramiques du Xe au XVe Siècle*,exhibition catalogue, Marseilles, 1995, pp.98–102.  \nTorres, C. and Macias, S. (eds.), *O Portugal Islâmico*, Lisbon, 1998, p.92.","dynasty":"Almoravid or Almohad","linkcatalogs":"IAM_PT_EN_001","materials":["Ceramic made from medium-grained orange-coloured paste, modelled on a potter’s wheel, fired in an oxidising atmosphere and glazed using the cuerda seca technique throughout."],"keywords":["cuerda seca; ceramic; trade"],"author":"Susana Gómez Martínez","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"}}
+{"0733c67d-ccf5-56da-96ce-bd2ec24a4c83":{"name":"Qur’an.","description":"Written on delicate finished (*aharlı*) paper with black ink in *naskhi* script. The opening pages of the Qur'an feature a double-page illumination with chapter headings in decorated frames, and rose motifs in the margins to mark the verses. The floral compositions in the illumination are noteworthy for how they recall AH 9th / AD 15th century Turcoman and Timurid designs.  \n  \nThe outside of the leather binding is black, while its interior is brown and has cut-out decoration pasted on it. The symmetrical designs on the exterior and interior covers consist of oval medallions with palmette pendants and corner-pieces with half-pendants. The surface of the medallion is decorated with floral compositions of flowers, leaves and spiralling tendrils in a Chinese-inspired style. The tooled leather binding shows the influence of Mamluk art.  \n  \nThe period of Sultan Mehmed II ('The Conqueror', r. AH 848–50 and 855–86 / AD 1444–6 and 1451–81) was one of expansive conquest for the Ottoman Empire. At the same time, 'The Conqueror' had many manuscripts written and illustrated for his Treasury in the atelier he founded at the Topkapı Palace. The sultan, who was a great patron of the arts, gathered together many artists at the palace atelier in Istanbul that he had brought back from the lands he conquered. This is why the binding of this Qur'an shows the influence of Mamluk art, the illumination reflects Turcoman and Timurid art, and the calligraphy was written by a scribe from Kirman (). Although the manuscript has no colophon, its striking quality implies that it was made for Sultan Mehmed II's Treasury.","short_description":"Sultan Mehmed the Conqueror established a palace atelier for the *naqqash* (painters) in the Topkapı Palace and pioneered the development of book arts. This Qur'an of the late AH 9th / AD 15th century is an important work displaying the book arts of the Conqueror's period.","type":"Manuscript, paper, ink, leather binding","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The original owner of this Qur’an is unknown, although it may have been made for the Treasury of Sultan Mehmed II (‘the Conqueror’). The work bears the donation (waqf) seals of Sultan Mahmud I and his Inspector of Pious Foundations, Derviş Mustafa. Although we cannot tell from these seals to which building this Qur’an belonged, it is inferred that it was donated to be read at a mosque or a tomb.","dates":"Hegira 9th / 15th century (c. AH 874 / AD 1470).","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 41 cm, width 29 cm.","method_for_datation":"Although there is no colophon, the style of the script, binding and illumination all reflect the style of the 9th / 15th century and suggest a date in that period.","method_for_provenance":"The quality of the calligraphy, binding and illumination suggest that the work may have been produced in the palace atelier in Istanbul. Sultan Mehmed II ('the Conqueror') was an important patron of the arts, he employed artists in the palace atelier from all over the various lands he conquered, and they produced many manuscripts for the library there.","provenance":"Istanbul, Turkey.","obtention":"Transferred to the Museum from the Library of Sultan Mahmud I at Ayasofya, Istanbul, in 1914.","bibliography":"Artan, T., Denny, W. B., and çağman, F., *Palace of Gold and Light: Treasures from the Topkapı, Istanbul*, Washington D.C., 2000, cat. no. A39.  \n  \nÖlçer, N. *et al*, *In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.42, plates 16A–C; 45–7.  \n  \nRaby, J. and Tanındı, Z., *Turkish Bookbinding in the 15th Century*, London, 1993, pp.50–51.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, pp.290–91; p.439, cat. no. 247.","artist":"Calligrapher: Asadullah Kirmani.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Delicate finished (aharlı) paper, written using ink, watercolour, gilding; tooled leather (binding)."],"keywords":["Paper; gilding; ink; watercolour; leather (binding); tooling; painting; religious manuscript"],"author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"085d1bb8-7770-5c15-929d-7644cdd9063f":{"name":"Headdress.","description":"The Palestinians of Hebron and the surrounding villages call this type of cap an *araqiyeh*. It is circular with a pointed centre and elaborately embroidered with red and black cross-stitched geometric decoration. Attached to the back of the cap are silver Ottoman coins. The two multicoloured hair-bands (*laffayef*), together with the thin black ribbons fixed to either side of the cap, are modern replacements. This type of headdress has been worn in the Hebron area from the late AH 13th century / AD late 19th century to the present day. During the British mandate in Palestine, the hair-bands (which were used for tying up the hair into a round bun that rested on the back of the neck) were much longer and were made of plaited woollen thread. This headdress was made for everyday use.","short_description":"The Palestinian women of Hebron and the surrounding villages call this type of headdress an *araqiyeh*. They use the multicoloured hair-bands (*laffayef*) to tie up the hair into a round bun that rests on the back of the neck. The Ottoman coins are for decoration and a symbol of affluence.","type":"Ottoman Headgear, gems, textile","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira late 13th century / AD late 19th century (before 1940).","location":"Glasgow","province":"Scotland","dimensions":"(All sizes approximate) hair-bands: length 70 cm, width 10; cap: diameter 20 cm; ribbons: length 30 cm.","method_for_datation":"Artistic analysis: the cross-stitched pattern is typically Palestinian. The shape of the cap is of the type worn by Hebron women; the Ottoman coins confirm that the cap was made and first used in the early AH 14th / late 19th century.","provenance":"Hebron, Palestine.","obtention":"Donation to Glasgow Museums in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman, or under the British Mandate","linkcatalogs":"IAM_PA_EN_001","materials":["Embroidered cloth with ribbons and coins."],"keywords":["Traditional costumes; embroidery; geometric decoration; coinage; coin; numismatics; jewellery; women; daily life"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"0b92d7bf-5e20-5bb2-8dc2-0844969d6fc4":{"name":"Carpet with dragon and phoenix.","description":"This fragmented carpet is one of the most important animal-carpets of the early Ottoman period that have become known to the present day. Two highly stylised animals, a dragon and a phoenix, are depicted fighting, against a yellow background and within two octagonal spaces. The phoenix is swooping down onto the dragon from above. The image is clearer in the lower octagonal casing than in the upper. The outer border is composed of semi-palmette tendrils, which are framed on both sides by an edging of little rosettes. The original border appears to be missing on both the left and right sides. It is possible that the carpet was originally wider in shape, featuring a greater number of octagonal compartments. This would make it more akin to the animal-carpets that were reproduced in paintings. The dragon and phoenix motif, which originated in China – where yellow was considered to be the colour of the sovereign – was introduced into Islamic art in the AH 7th / AD 13th century with the arrival of the Mongols, as is demonstrated by its ubiquitous presence on a number of works of art, made in a variety of materials.  \nAnimal-carpets often appear in the paintings of Italian artists, but only a few of the actual pieces survived. The painter Domenico di Bartolo depicted a similar dragon-phoenix carpet in his fresco ‘The Wedding of the Foundlings’, which he painted in the Spedale della Scala in Siena in 1440–4. An animal-carpet featuring stylised birds on trees was found in a church in Sweden. The wide distribution of animal-carpets in Europe demonstrates that they were among the early types of carpets to be exported to Europe from the Ottoman Empire. This carpet allegedly comes from a church in central Italy and, from the results of Carbon-14 analysis, is dated to be from the AH mid-9th / AD mid-15th century.","short_description":"This Ottoman carpet with the pattern of a dragon being attacked from above by a phoenix is one of the most famous carpet designs. Introduced from the Far East, carpets with animal designs already occurred in numerous paintings from the European masters in the 13th and 14th centuries.","type":"Carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Museum of Arts and Crafts, Berlin.","dates":"Hegira mid-9th / mid-15th century.","location":"Berlin","dimensions":"Length 172 cm, width 90 cm.","method_for_datation":"Carbon-14 analysis has dated the carpet to the mid-9th / mid-15th century.","method_for_provenance":"The carpet’s Turkish knot and its unique motifs and colours place it within the Ottoman era.","provenance":"Turkey .","obtention":"Acquired in Rome by Wilhelm von Bode in 1886 and bought by the Museum of Arts and Crafts, Berlin. Given on loan to the Museum of Islamic Art in 1906, after which it was included in the Museum’s inventory.","bibliography":"Bode, W. v., *Vorderasiatische Knüpfteppiche aus älterer Zeit*, Leipzig, 1901, p.109.  \nEnderlein, V., *Wilhelm von Bode und die Berliner Teppichsammlung*, Berlin, 1995, p.23, no. 9, p.29, pl. 9.  \nErdmann, K., *Die Geschichte des Frühen Türkischen Teppichs*, London, 1977, pp.56–7, ill. 52.  \nRageth, J., “Dating the Dragon & Phoenix Fragments”, *Halı* 134, 2004, pp.106–109.  \n*The Eastern Carpet in the Western World from the 15th to the 17th century*, London, 1983, p.49, cat. no. 1, p.34, fig. 1.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool, knotted."],"keywords":["knot-carpet; Ottoman carpet; animal decoration; imaginary animal; zoomorphic imagery; phoenix"],"author":"Jens Kröger","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"0ba3cb5d-c156-521a-bf55-a6d0e2384ede":{"name":"Qur’anic manuscript No. 7.","description":"A *mashaf* bound with an embossed decorative cover that dates to the Ottoman period. Both sides of the binding are decorated with medallions that are connected at the top and bottom by a hanging ornament. The front of the *mashaf* is composed of scroll 3b–4a. These two pages contain identical illuminated panels, some parts of which have been lost as a result of age and usage over a long period of time. Restoration of the *mashaf* took place in AH 1117 / AD 1705, directed by the Ottoman governor in Jerusalem, Qura Mustafa Pasha, who ruled for just one year. Scroll 4b–5a consists of a two-page spread embellished with the Opening Chapter (Surat al-Fatiha) and the beginning of “Surat al-Baqara” (“Chapter of the Cow”,). The decorative bands specific to these two pages are lost and all that remains of their ornamentation is half a border, which lies above “Surat al-Baqara”. The chapter number, the verse number and the surrounding area are all placed within a rectangular frame with a blue background. Similar information with regard to the other chapters appears in the same form but unframed.  \nThe beautiful Mamluk *thuluth* script is written in black ink. A Farsi (Persian) translation of the Arabic text is written underneath each verse. The vowel marks of the *mashaf* are written in blue and the diacritical marks in red. The pause markers assume the shape of golden flowers. The symbols for the division of every five parts in the text assume the form of a pyramid-shaped blossom, whose place is indicated in the margin by a suspended ornament, and in the middle of which is a blue circle. Written in the centre of it is the word “one fifth” in illuminated *kufic* script against a red background. The markers of every one-tenth of the text take the form of a blue flower with four leaves. Its place is indicated in the margin by a circular-shaped ornament with the word “one tenth” written in it, in illuminated *kufic* script.","short_description":"This is a Qur’anic manuscript written in Mamluk *thuluth* script and translated into Farsi. The Farsi text appears below each line. Its opens with beautiful decorative panels that reflect the elements of Mamluk decorative art. Chapter names are illuminated against a dark blue background and the letters are written in blue. Diacritical markers are in red.","type":"Manuscript, Qur'an, leather, paper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The original owner of the *mashaf* is not known, but it was present at al-Aqsa Mosque and was likely to have been part of an endowment (*waqf*) which is now lost.","dates":"Hegira 7th century / AD 13th century; restored AH 1117 / AD 1705.","location":"Jerusalem","dimensions":"Length 41 cm, width 33 cm, depth 10 cm.","method_for_datation":"The Qur'an was dated by analysis of the Mamluk *thuluth* script employed in its production. Accurate dating was also achieved by analysis of the Mamluk decorative form used, which was widespread in the period to which the *mashaf* belongs.","method_for_provenance":"Egypt was narrowed down as the place of production because the type of *thuluth* script in which the manuscript is written was widespread in Egypt. It is possible to compare it with other similar works that were produced in Egypt.","provenance":"Egypt.","obtention":"The *mashaf* was an endowment (*waqf*) to al-Aqsa Mosque; it is not known when it was transferred from there to the Museum.","bibliography":"Salameh, K., *Al-Makhtutat al-Qur'aniya fi al-Muthaf al-Islami fi al-Haram al-Sharif, al-Quds \\[Qur'anic Manuscripts in the Islamic Museum in al-Haram al-Sharif, Jerusalem\\],* Paris, 2003.","dynasty":"Mamluk; restored in the Ottoman period","linkcatalogs":"IAM_EG_EN_001","materials":["Ink on paper; leather binding with embossed decoration."],"keywords":["Leather; embossed leather; thuluth; Qur'an; mashaf; paper; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"0c7ae2f5-8281-57f4-81e0-6e63bc4e6a10":{"name":"Qur’an binding.","description":"From its large size, this binding of a one-volume Qur’an, covered in geometric ornamentation, must have been associated with the court. It cannot yet be related to a specific Qur’an manuscript. It is thought that this Qur’an was a gift from the Mamluk Sultan al-Ashraf Sha‘ban II (AH 764–78 / AD 1363–76) to one of his pious foundations. Several handwritten Qur’ans commissioned by this same patron are now kept in the National Library in Cairo.  \nThe central area of the binding is framed by a thin border, which encapsulates the ‘Throne verse’, Sura 2 verse 255. The inscriptions sit in long cartouches that alternate with quatrefoil motifs. The inner area’s geometric ornamentation is composed of five stars, each with 12 rays. The design was first embossed with precise stamps and then coloured with gilt and blue pigment. White borders tracing the edges of the stars highlight the geometric design. The large size of this binding probably required the collaboration of a calligrapher and a painter.  \nSpecial Qur’an stands (*kursi*) made from expensive materials were designed to support handwritten Qur’ans of this size; they were placed open on the stand for reading out.","short_description":"Appropriately for a leather bookbinding of a Qur’an, an inscription from Sura 2 v.255 was chosen for the border. The middle field shows part of a repetitive geometrical pattern of 12-pointed stars typical of Mamluk works of art and architecture. Its large size indicates court associations.","type":"Binding, Quran, leather","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira late 8th century / AD late 14th century.","location":"Berlin","dimensions":"Height 95 cm, width 67 cm.","method_for_datation":"This book cover has been dated to the Mamluk period through comparisons with other Mamluk book covers that were donated by the Mamluk Sultan al-Ashraf Sha‘ban, and which are now housed in the National Library of Cairo.","method_for_provenance":"The Qur’an’s binding was acquired in Cairo and is directly comparable to other similar Egyptian book covers, so it is very probable that it is from Egypt.","provenance":"Egypt.","obtention":"Probably through B. Moritz in Cairo, 1904.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*,Washington, 1981, pp.2–27, no. 5–6.  \nBosch, G., Carswell, J. and Petherbridge, G., *Islamic Bindings and Bookmaking*, Chicago, 1981, pp.112–13, no. 19.  \n*Islamic Art in Egypt*, Catalogue, Cairo, 1969, p.313, no. 299, plate 55.  \n*Museum für Islamische Kunst*, Catalogue, Mainz, 2001, pp.86–7, ill. 87.  \nSarre, F., *Islamische Bucheinbände*,Berlin, 1928, pp.12–13, ill. 2.","dynasty":"Mamluk (Bahri)","linkcatalogs":"IAM_EG_EN_001","materials":["Embossed, gilded and painted leather."],"keywords":["Qur’an binding; gilding; geometric decoration; geometric patterns"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"13951807-1976-5889-bda1-2525eb1918f4":{"name":"Qasr al-Hayr al-Gharbi.","description":"Qasr al-Hayr al-Gharbi is an Umayyad desert palace complex composed of a dam, underground water canal, garden, lake, mill, *khan*, *hammam* and the palace residence. The Umayyad caliphs, particularly Hisham bin 'Abd al-Malik prided themselves on their capacity to transform deserts into lush pleasure gardens for courtly pursuits, such as hunting game.  \nThe dam, known as Kharbaqa Dam, lies 16 km southwest of the palace. Its waters are distributed via an underground canal connected to the palace and the rest of the facilities on site. The garden is an enclosed rectangle, measuring 1,050 m x 442 m, and includes remains of the canal, alongside traces of the custodian's dwelling. The *khan*, known as Khan al-Milh, is located 10 km northwest of the palace residence and takes the shape of a slanted square, with sides about 55 m long. It has mud-brick walls over a masonry base, and it includes a central courtyard. The *hammam* is also located to the northwest and consists of two sections: the *frigidarium* with four rooms, one featuring a *mihrab*; and the *calidarium* located above the furnace and consisting of three chambers.  \nThe palace proper has an exterior façade reminiscent of a fort, but any defensive features are purely decorative. The palace is square, with sides approximately 70 m long, made of hewn limestone to a height of about 2 m, after which it is completed with unfired bricks. Three of its exterior corners are embellished by circular towers; the northwestern corner is a square Byzantine tower dating to the AD 6th century. Between each corner is a pair of semi-circular towers. On the eastern wall, the pair of towers is more closely spaced to flank the main entrance and it features extensive stucco decoration of carved geometric, floral and architectonic motifs, with large merlons along the top and narrow windows that resemble arrow loops. In the 1940s this monumental entry façade was carefully transported to become the entrance of the National Museum in Damascus.  \nThrough the palace entrance, a corridor leads to a roofed portico that surrounds a large, square central courtyard. There are two storeys, which were probably identical in layout, and evidence of two staircases. Both storeys are divided into six independently functioning sections each including several rooms, a hall, and a lavatory. Above the entrances to each of these sections are arched windows decorated with pierced stucco that provide the palace with air and light. Splendid paintings, carvings, and statues covered the interior; many of these artefacts now belong to the collection at the National Museum of Damascus.  \nDespite the palace's grand decoration and clever utilisation of the environment, the paucity of ceramic and glass fragments found on the site indicates the brevity of its Umayyad occupation. During the Ayyubid and Mamluk periods, the site was used for military purposes; it was finally abandoned during the Mongol invasion of the AH 7th / AD 13th century.","short_description":"The quantity of paintings and sculpted stucco that was discovered at this Umayyad palatial complex reveals some of the best examples of early Islamic syncretism of pre-Islamic art, particularly in a courtly context. It was built by Hisham ibn 'Abd al-Malik with large enclosures decorated by semi-circular towers, except for the northwestern corner where a rectangular Byzantine watch-tower stands. The complex is dated to AH 109 / AD 727 by an inscription found in the door lintel of the nearby *khan* (travellers' lodgings).","dates":"Hegira 109 / AD 727.","location":"Syrian Desert.","method_for_datation":"The palace complex is dated by means of an inscription found on the lintel of the *khan*, now located in the National Museum of Damascus, which indicates that the *khan* was built in the year 109 (727). It is assumed that the rest of the palace complex was also built around that time.","bibliography":"Elisseeff, N., “Kasr al-Hayr al-Gharbi”, *Encyclopaedia of Islam*, CD-ROM edition, Leiden, 1999.  \nSchlumberger, D., *Qasr el-Heir el-Gharbi*, Paris, 1986.","patrons":"Hisham ibn 'Abd al-Malik (r. AH 105–25 / AD 723–42).","architects":"Thabit ibn Thabit, who oversaw construction of the Khan al-Milh.","dynasty":"Umayyad.","linkcatalogs":"IAM_JO_EN_001","materials":[],"keywords":["Umayyad; desert palaces; Hisham ibn Abd al-Malik; early Islamic architecture; Byzantine tower; Sassanian influence; Graeco-Roman influence; khan; garden; hammam; dam; canal; stucco decoration; pierced windows; floor painting"],"author":"Dina Bakkour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"202097f0-f5d2-5953-889d-9ac02af60426":{"name":"Giralda.","description":"The most important of the peninsula's surviving religious buildings from the Almohad era is undoubtedly the minaret of the old Great Mosque of Seville, known as 'La Giralda'.  \nWork on the Seville mosque was started during the reign of Abu Ya'qub Yusuf, who had lived in Seville as a governor before acceding to the throne, and once he had become the caliph, he made the city the residence of the Almohad caliphs in the peninsula. The size and grandiosity of the new mosque demanded the addition of a great minaret, and the work was entrusted to the master builder Ahmad ibn Baso, who dug the foundations of the tower in AH 580 / AD 1184. The death of the sovereign that same year caused work to be suspended until his son and successor Abu Yusuf Ya'qub al-Mansur arrived in Seville in AH 584 / AD 1188–9, ordering the work to be recommenced under the direction of Ali de Gomara. The minaret was finished on 30 Rabi al-Thaany AH 594 / 10 March AD 1198, on which date the Caliph, surrounded by his court and the people of Seville, attended the placement of the *yamur*, three golden balls on top of the tower that were commissioned to commemorate the battle of Alarcos.  \nThe minaret, attached to the eastern wall of the mosque and protruding from its outer perimeter, consists of two square-plan volumes, one inside the other, supported on a central base from which seven vaulted chambers rise. The ramp providing access to the upper part runs in between the two volumes. The height from floor to terrace is 50.85 m.  \nPractically all of the exterior decoration on the four sides of the minaret has survived. The lower part is smooth, interrupted only by the lighting apertures, with horseshoe and lobed arches framed with *alfiz* panels. Around the middle of the tower, the decoration on each of the sides splits into three. The middle section, like the lower part, contains lighting apertures, in this case made up of twin windows beneath a large blind arch framed with an *alfiz* panel. The side sections are covered with a network of carved and cut bricks on a smooth base formed by the extension and crossing of two blind arches on columns. The upper part of the tower is decorated with another ten arches with blind fronts that, like the previous ones, rest on marble columns with Umayyad capitals and shafts. As with other monuments of this type, the minaret is topped with stepped battlements, some of which have survived on the parapet of the existing bell tower.  \nIn 1355, an earthquake destroyed the *yamur*, and in 1560, in Christian times, work was started on the new structure, which was finished with an enormous weather vane known popularly as 'giralda', hence the name of the tower.","short_description":"The minaret of the great Almohad mosque that dominates Seville is the city’s most important monument. The name Giralda is derived from the weathervane-like statue that crowns the building. It has survived in full, with the exception of the very top which was replaced in the AH 10th / AD 16th century with a Christian bell tower.  \nIt is made of brick and has ramps connecting the seven superposed rooms. The decorative networks of rhombuses that spring from the Cordoban capitals and columns salvaged by the Almohads from the ruins of Madinat al-Zahra are also made of brick.","dates":"Hegira 580–94 / AD 1184–98.","location":"Seville","method_for_datation":"According to the chronicles of Ibn Said al-Sala, work on the mosque started in AH 568 / AD 1172. In AH 580 / AD 1184 the foundations of the minaret were dug. The official inauguration took place in AH 594 / AD 1198.","bibliography":"Casamar, M., “Almorávides y Almohades: Introducción”, in *Al-Andalus: Las Artes Islámicas en España*, Madrid, 1992, pp.75–83.  \nJiménez Martín, A., “Las Mezquitas”, in *Sevilla Almohade*, Seville-Rabat, 1999.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, Ars Hispaniae,Vol. IV, Madrid, 1949, pp.23–9.","patrons":"Abu Ya’qub Yusuf (r. AH 558–80 / AD 1163–84); Abu Yusuf Ya’qub al-Mansur (r. AH 580–96 / AD 1184–99).","architects":"Master builders Ahmad ibn Baso and Ali de Gomara.","dynasty":"Almohad.","linkcatalogs":"IAM_MA_EN_001","materials":[],"keywords":["Giralda; Seville, Almohads; minaret; mosque; yamur; religious architecture"],"author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"2681aa7c-6872-5aaf-afc2-c1e0626603b4":{"name":"Fragment of a frieze.","description":"Fragment of frieze made of *timchent* (local plaster), sculpted with epigraphic, geometric and floral decoration composed of two registers separated into three frames. The first frame consists of repeated, perforated circles, while the other two consist of plaster fillets separated by a milled edge composed of alternating small squares and voids. The epigraphic decoration that adorns the first register consists of an inscription of the word '*baraka*' (benediction) in *kufic* characters, repeated three times, the third instance of which is incomplete. Right from the beginning of the Hegiran era, the word *baraka* was used as an inscription for ceramic plates, jars, copper utensils, architectural elements, etc.  \nThe second register consists of a pattern of lozenges. Below, a small fragment of foiled and stylised leaf can be seen, which probably belonged to a third register of floral decoration.  \nThe sculpture was executed with the aid of a iron blade acting on the *timchent* while it was still soft. According to H. Saladin, this local plaster derived from limestone peculiar to the region was 'applied onto cob or roughstone walls'.  \nThe geometric ornamentation of this panel is reminiscent of what the Romans and the Byzantines from North Africa engraved onto reliquaries, architectural elements, altars, etc.  \nThis fragment formed part of one of the long friezes that ran along the top of the wall right across the room in order to delineate the ceiling from the decoration that adorned the rest of the wall.","short_description":"Frieze fragment with epigraphic, geometric and floral decoration split into three sections set apart by three frames. The first has a *kufic* inscription, '*baraka'* (benediction), repeated three times. The second is decorated with lozenges and the third, almost completely lost, was decorated with floral motifs.","type":"Frieze, plaster","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 296–467 / AD 909–1074.","location":"Algiers","dimensions":"Height 28 cm, length 50 cm, thickness 5.5 cm.","method_for_datation":"From study of the epigraphic decoration that features *kufic* characters, which, according to G. Marçais, could date back to the '11th century \\[AH 5th century\\] and resemble those in Kairouan'.","method_for_provenance":"The fragment was discovered in a palace in Sedrata following the report published in the *Comptes rendus de l'Académie des inscriptions et belles-lettres* in 1952.","provenance":"Sedrata, Algeria.","obtention":"Archaeological repository (van Berchem excavations, 1952).","bibliography":"Bermúdez Pareja, J., “Crónica arqueológica de la España musulmana”, *Al-Andalus*, Vol. XX, 1955, pp.407–452.  \nMarçais, G.,* L'architecture musulmane d'Occident*, Paris, 1954.  \nSaladin, H., *Manuel d'art musulman. L'architecture*, Paris, 1907.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata en Algérie”, *Comptes rendus de l'Académie des inscriptions et belles-lettres*, 1952, pp.242–6.  \nVan Berchem, M., “Deux campagnes de fouilles à Sédrata (1951–1952)”, *Travaux de l'Institut de recherches sahariennes*, Vol. X, 1953, pp.123–38.","dynasty":"Rustamids of Sedrata","materials":["Sculpted local plaster (*timchent*)."],"keywords":["Wall-cladding; plaster; timchent; sculpture; palatial architecture; epigraphic decoration; Rustamid."],"author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen"},"359c5242-9309-5cb3-a026-926ac7a00def":{"name":"Album of Ahmed Karahisari.","description":"The Album of Ahmed Karahisari is in two sections and contains the sixth *sura* of the Qur'an (al-An'am), a series of *hadith*s, and a section of the *Qasidat al-Burdah* ('Poem of the Mantle') by the AH 7th- / AD 13th-century poet al-Busiri. The album that contains samples of Ahmed Karahisari's writing including *kufic*, *naskhi*, *thuluth*, and *muhaqqaq* scripts and which expands the boundaries of the art of calligraphy, is carefully pasted together in 15 leaves. The leather binding is not original. This shows that these samples, which were originally written in scroll format, may have been cut down later and brought together in this album.  \n  \nThe album opens with a page featuring the words 'Praise be to God' in square *kufic* script at the top, the *basmala* in the centre, and *sura* 92 in square-*kufic* script at the bottom, all written in black ink and gold. On the other pages, the page layout shows different characteristics according to the style and dimensions of the writing.  \n  \nIn the colophon on the last page Ahmed Karahisari describes himself as a student of his teacher Asadullah Kirmani with whom he studied, rather than with the school of Sheikh Hamdullah, in order to learn to write in the style of the great calligrapher Yaqut al-Musta'simi (AH 7th / AD 13th century). Karahisari breathed new life into 16th-century Ottoman calligraphy and left his mark on it. The school he founded was continued by his student Hasan çelebi (d. AH 1002 / AD 1594) but was abandoned at the end of the 10th / 16th century.  \n  \nThese writings are models of Ottoman calligraphy, and in addition to showing the peak that was achieved in the art of writing their beauty inspires a great many artists even today.","short_description":"Calligrapher Ahmed Karahisari left his mark on Ottoman calligraphy of the AH 10th / AD 16th century through the school he founded. This album contains samples of his works which expand the boundaries of calligraphy in the 'layering' of letters.","type":"Paper, ink, leather binding, manuscript","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The original owner is unknown. The work bears a seal of Sultan Mahmud I (AH 1143–68 / AD 1730–54), as it was given by him as a pious endowment (*waqf*) to the library he founded in his own name.","dates":"Hegira 10th century / AD 16th century.","location":"Sultanahmet","province":"Istanbul","dimensions":"Height 50 cm, width 34 cm.","method_for_datation":"Although the colophon does not include a date, the dates of the calligrapher Ahmed Karahisari (AH 875–963 / AD 1470–1556) are known with certainty, and so the work can be dated to the period of his life.","method_for_provenance":"The calligrapher Ahmed Karahisari is known to have lived in Istanbul and thus the work is thought to have been made there.","provenance":"Istanbul, Turkey.","obtention":"The album was transferred to the Museum in 1914 from the Library of Sultan Mahmud I at Ayasofya Museum.","bibliography":"Aksoy, Ş., “Türk ve İslam Eserleri Müzesinden Bir Osmanlı Hat Sanatı Klasiği: Karahisari Albümü”, *P, Sanat, Kültür, Antika Dergisi*, 21 (Spring 2001), pp.66–75.  \n  \nAlparslan, A., *Osmanlı Hat Sanatı Tarihi*, Istanbul, 1999, p.56.  \n  \nÖlçer, N., *et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.42, plate 18A-B, pp.50-1.  \n  \nÖlçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.264–5.","artist":"The calligrapher was Ahmed Karahisari (AH 875–963 / AD 1470–1556).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Finished (*aharlı*) paper, ink, gilding, leather (binding)."],"keywords":["Gilding; ink; leather (binding); painting; paper; tooling; watercolour; calligraphy; hadith"],"author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"3ea5c496-cc96-57ae-a6e7-f47f064d36cb":{"name":"Teak Panel.","description":"A wooden panel of dark-brown teak wood. The surface is carved with an abstract design, known as the 'bevelled' style, a pattern of repeated curved shapes with bevelled edges, usually moulded rather than carved, probably derived from stylised vegetal forms. This type of design is typical of the Abbasid period and can also be found on stucco wall panels. This piece would have been part of a larger panel of carved wood used for furniture or doors. It is close in style to wood panels and stucco found at Samarra, capital of the Abbasid dynasty (AH 177–655 / AD 749–1258). Wood, particularly teak, was highly valued in Iraq and was probably imported from South East Asia.","short_description":"A teak panel, carved with an abstract design in the technique known as the ‘bevelled style’. This stylised design was typical of the Abbasid period and was employed on stucco wall panels as well as on carved wood on walls and ceilings.","type":"Woodwork, architectural decoration","holder":"The British Museum.","dates":"Hegira 3rd / AD 9th century.","location":"London","province":"England","dimensions":"Height 13 cm width 73 cm.","method_for_datation":"Through stylistic analysis: the 'bevelled' style was found on AH 3rd- / AD 9th-century architectural decoration from Samarra that was built in AH 221 / AD 836, and which was the Abbasid capital for only 37 years before the caliphate returned to Baghdad.","method_for_provenance":"The style of the carving resembles architectural decoration found at Samarra in Iraq.","provenance":"Samarra, Iraq.","obtention":"Acquired by the British Museum in 1944, from the Collection of Sir Sydney Bernard Burney, through the National Art Collections fund.","bibliography":"Ettinghausen, R. and Graber, O., The Art and Architecture of Islam: 650–1250, 1987, pp.102–9.  \n  \nNorthedge, A., 'Samarra', in Encyclopedia of Islam, 1995, pp.1039–41.","dynasty":"Abbasid","materials":["Carved teak wood."],"keywords":["Vegetal decoration; bevelled style; Abbasid furnishing design; furnishing; carving"],"author":"Emily Shovelton","copy_editor":"Mandi Gomez"},"42f89df0-5a8b-5150-b126-94c092d264a5":{"name":"Tile.","description":"This moulded square tile of a hard yellowish paste shows a geometrical polychrome decoration of pinkish white interlacing bands forming green or pale blue glazed stars and dark brown or tan polygons in *cuenca o arista* technique. The central motif of the tile is a green eight-pointed star set in the middle of a cross composed of four opaque brown polygons. The latter divides the surface of the tile into four square compartments representing stellar and polygonal shapes. As the four green half-stars and brown half-polygons on the edges show, this tile was part of a repetitive design used in wall decorations.  \nThe *cuenca o arista* technique imitates tile mosaic. While the pattern of tile mosaic is made by cutting and assembling polychrome glazed tiles, the design of tiles worked in *cuenca o arista* technique is made by filling small pattern fields formed by thin strips of clay with different glazes. Where the glaze flowed over the frame, the design does not stand out clearly.  \nThe star and cross motif is one of the most common Islamic geometric decorative patterns continued in Mudéjar art.","short_description":"Moulded square tile with a geometrical polychrome decoration. Interlacing bands form green and pale blue glazed stars and brown polygons. Coloured glazes fill small pattern fields formed by thin strips of clay. This technique is called *cuenca o arista* and imitates tile mosaic.","type":"Tile, ceramic","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira end of 9th–beginning of 10th century / AD end of 15th–beginning of 16th century.","location":"Stockholm","dimensions":"Height 15.0 cm, width 15.0 cm, depth approx. 1.9 cm.","method_for_datation":"Tiles similar in technique and design have been documented in buildings in Toledo dating from the end of the 9th / 15th century and the beginning of the 10th / 16th century, for example, in the monastery of San Clemente.","method_for_provenance":"Tiles similar in technique and design have been documented in buildings in Toledo, for example, in the monastery of San Clemente.","provenance":"Spain, possibly Toledo.","obtention":"The tile was purchased by the Museum of Cultural History in Lund, Sweden, from the Forrer collection in Frankfurt am Main, Germany, in 1922.","bibliography":"Martínez Caviró, B., *Cerámica Hispanomusulmana Andalusi y Mudéjar*, Madrid, 1991, 305–25.  \nRay, A., *Spanish Pottery, 1248–1898*, London, 2000.  \nTerrasse, H., *L'Art Hispano-Mauresque*, Paris, 1932.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","materials":["Ceramic, polychrome glaze; *Cuenca o arista*."],"keywords":["Tile; geometric decoration; cuenca o arista"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"461e1b34-d976-5ed9-8d53-d69810250d6c":{"name":"Tomb cover.","description":"A woven silk tomb cover that has a repeat design of zigzag bands set against a dark-green ground. Each zigzag band is contained within narrow borders that hold repetitions of the *shahada*, the Islamic profession of faith, rendered in white with red outlines and set against a dark-green ground: ‘La Ilah Ila Illah wa Muhammad rasul Illah’ (‘There is no God but God and Muhammad is the Messenger of God’). The narrow borders above contain prayers for the Prophet, while those below contain prayers for the four righteous caliphs Abu Bakr, ‘Umar, ‘Uthman and ‘Ali as well as for the companions of the Prophet. In between the bands the superposed words ‘Allah’ and ‘Muhammad’ are repeated.  \nIn Ottoman Turkey the cenotaphs of important personages were often draped with various types of textiles, much like this one, with its zigzag patterns of calligraphic prayers. It has been suggested that these textiles may have been intended to recall the ceremonial drapery or *kiswa* covering the Holy Ka’ba in Mecca. The earliest textiles of this type have been dated to the AH 11th / AD 17th century, and the latest to the AH 13th / AD 19th century.","short_description":"In Ottoman Turkey the cenotaphs of important individuals were often draped with religious textiles showing a distinctive design of zigzag panels containing Qur’anic prayers. This custom may have been intended to recall the ceremonial draping of the Holy Ka’ba in Mecca with the so-called *kiswa* cover.","type":"Ottoman carpet, woven silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira 11th century / AD 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 231 cm, width 78 cm.","method_for_datation":"A stylistically related funerary textile is in the V&A, London (inv. no. 780-1892), and there is another in the Topkapı Palace Museum (inv. no. 13/1690), both have been dated to the 11th / 17th century (see Atasoy *et. al*, 2000; *Türkische Kunst*, 1985).","method_for_provenance":"Funerary textiles of this type are ascribed to Ottoman Turkey (see Atasoy *et. al*, 2000; *Türkische Kunst*, 1985).","provenance":"Turkey.","obtention":"Purchased from Lisbet Holmes Ltd., London in 1981.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, P.297, fig. 284; p.205, figs. D I, D ii.  \nBlair, S. S., and Bloom, J. M., *Images of Paradise in Islamic Art*, Hanover N.H., 1991 (for a similar later piece and a discussion of the symbolism).  \nScarce, J., *Domestic Culture in the Middle East: an Exploration of the Household Interior*, Edinburgh, 1996, p.106 (where item is illustrated).  \n*Türkische Kunst und Kultur aus osmanischer Zeit*, exhibition catalogue, Recklinghausen, 1985, p.265, cat. no. 5/18.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Woven silk rendered in red, green and gold."],"keywords":["Shahada; kiswa; funerary object"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"4a195ed6-f6a1-5d77-b47a-6fcc6207735d":{"name":"Zisa","description":"The east-facing rectangular palace is built on three floors (total height 25.70 m) and has two towers set midway along its shorter sides. The elaborate top edge of the building includes friezes and an attic cornice that bears an epigraph in Arabic. This bold line of the top edge was subsequently interrupted by the inclusion of crenellations.  \nThe ground floor consists of a central fountain room with smaller rooms to the side. The same layout is evident on the second floor with the central room, probably originally an open courtyard given the presence of a central impluvium. The height of the fountain room and the entrance hall means that the first floor consists of just two lateral wings linked on the west side by a long corridor.  \nThe fountain room on the ground floor is square with one side open to the hall through a large pointed arch and the other three sides lined with large niches with *muqarnas* vaults. This was the most important part of the building and was used for feasts, concerts and banquets. Wall mosaics and column capitals decorated with iconographic motifs inspired by nature and hunting suggest that this room was intended as an extension of the garden within the palace. The water emerges through a singular nymphaeum in the west niche opposite the entrance and runs into the fishpond via an incline cut with zigzag channels. There are still some traces of this pond and of the small pavilion that rose from its waters.  \nA mosaic inscription in *naskhi* script around the entrance arch exalts the Norman sovereign who commissioned the work.","short_description":"The palace, which was used for recreation, was erected in the large Norman hunting ground around Palermo, a lush verdant setting complete with streams and ponds. It is an excellent example of the combination of Islamic (the interior includes exquisite *muqarnas* decoration) and Byzantine cultures (cycles of wall mosaics). It was completed during the reign of Guglielmo (William) II.","dates":"1165-1180.","location":"Palermo","province":"Sicily","method_for_datation":"From the mosaic inscription celebrating King Guglielmo II on the entrance archway; from historical sources (account by Romualdo Salernitano).","bibliography":"Bellafiore, G., *La Zisa di Palermo*, Palermo, 1994.  \nRudolph Meier, H., “I Palazzi Residenziali di Palermo”, in *I Normanni, Popolo d’Europa 1030–1200*, (ed. M. D’Onofrio), Rome, 1994, pp.221–7.  \nStaacke, U., *Un Palazzo Normanno a Palermo: La Zisa, la Cultura Musulmana negli Edifici dei Re*, Palermo, 1991.  \n*Siculo-Norman Art: Islamic Culture in Medieval Sicily*, pp.73–8.","history":"The palace stood in the middle of a large Norman hunting ground and was only used for brief stays. It served as a solatium, or place of pleasure, with its natural backdrop of lush fruit trees and palm groves, streams and ponds.  \nBuilding work (1165–80) was started during the reign of Guglielmo I and completed during the reign of Guglielmo II.  \nIt is currently used as a museum of Islamic art.","patrons":"King Guglielmo (William) II.","dynasty":"Norman","linkcatalogs":"IAM_IT_EN_001","materials":[],"keywords":["residential architecture"],"author":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"4a45199e-3af5-504d-9932-a1e4ed67dc93":{"name":"Printed cotton textile fragment.","description":"This cotton textile fragment is decorated with a printed design distributed along two bands. The upper band is narrow and consists of a repeated inscription in Mamluk *thuluth* script which reads: 'Al-sabr ni'm al-nasir li kul shay'in akhir' ('Patience is blessed with success and everything has an end'). The inscription is executed in a style where the letters are interwoven and the bases are raised in such a manner that equidistant spaces are created between them. These spaces are adorned by decorative units consisting of plaited lines in the form of braids.  \nThe lower band is wider than the upper and decorated with ornamentation distributed along four rows, consisting of two repeating and alternating decorative units: an eight-pointed star and a circular form within which are two concentric circles. The stars and circles in each row are organised so that the arrangement in the preceding row is opposite to that which follows. Each star is decorated with stylised floral designs, whereas the outer circle of the roundel is ornamented with a braided pattern, followed on the inside by a series of consecutive dots, which are followed in turn by the decorative form called '*Dawama'* (vortex). This is a decorative form that was widespread in Mamluk art especially in ornamental metal objects.  \nEgypt was famed for printed cotton textiles during the Mamluk period which was greatly influenced by trade with India, from where Egypt imported printed cotton clothing as well as raw cotton. The Mamluk craftsmen knew many different printing techniques, amongst which was wood-block printing with raised and sunken designs, and wax-resist wood-block printing. This textile fragment might have been part of a dress, curtain or perhaps more likely to have come from the cover of a counterpane, as it is comparable to a similar one housed in the Museum of Islamic Art in Cairo.","short_description":"The weaving industry in Mamluk Cairo included cotton and silk textiles. Some textiles were embroidered with silk while others, like this cotton piece, were block-printed. It bears a well-known expression indicating that patience is the best policy.","type":"Printing, textile, cotton","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Length 41 cm, width 36 cm.","method_for_datation":"This textile fragment was dated based on the style of the inscription, written in the Mamluk *thuluth* script. The similarities of the decorative components on this piece to other designs, especially on dated metal objects, also helped to narrow the time frame of its manufacture, especially the decorative motif known as '*Dawama'*. Furthermore, the word 'Nasir' which appears in the inscription, might be an reference to Sultan al-Nasir Muhammad ibn Qalawun who ruled in the latter half of the 7th / 13th century and throughout the first four decades – with the exception of almost one year – of the 8th / 14th century.","method_for_provenance":"The type of decorative motif found on this textile fragment was used frequently by Mamluk craftsmen. Furthermore Egypt was famed for its printed cotton textiles.","provenance":"Egypt.","obtention":"The textile was purchased in 1928 from a dealer in antiquities, Albert Abimayo.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nBaker, P., *Islamic Textiles,* London, 1995.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt*\\], Cairo, 1969.  \nMaher, S., *Al-Nasij al-Islami \\[Islamic textiles\\]*, Cairo, 1977.  \nPfister, R., *Les toiles imprimées de Fostat et l'Hindoustan*, Paris, 1938.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Cotton plain-woven and decorated with monochrome stamped block-printing."],"keywords":["Thuluth; vortex; printing; cotton; printed cotton; textile."],"author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"4bffe991-e046-55a1-a46a-44e1e0ee5baf":{"name":"Djama’a Sidi Bel-Hasan (mosque).","description":"Built in AH 696 / AD 1296 on the west side of Khemisti Square, the Sidi Bel-Hasan Mosque derives its name from Abu al-Hasan Ibn Yakhlaf Ettenessi, sage and lawyer of the mosque.  \nThe building has had various uses. Since the beginning of the colonial era, it has served as a shop selling animal fodder, a school and, finally, a museum; it is probably from this period that 'the creation of two large windows and the tiling of friezes using modern earthenware', as mentioned by G. Marçais, are dated. Over the last few years, the museum has been transferred into part of the old *madrasa* in Tlemcen's 20th August Street, and the building has been restored.  \nThe prayer hall occupies an area of about one hundred square metres. Six onyx columns support two horseshoe galleries, and thus demarcate three *balatat* (naves), perpendicular to the *qibla* wall, and five bays. Each *balata* is covered by a double sloping roof of pantiles on a cedarwood structure. The galleries and walls were once decorated with plaster arabesques enhanced with polychrome paint, some traces of which, along with a few small actual original sections, can still be seen on the north-facing walls, at the level of the arches. The *mihrab*, which has been designed on a hexagonal layout, features a semi-circular arch that rests on two columns and two capitals made of onyx. The framework that emphasises the *mihrab* rests on two horizontal bands that bear inscriptions. 'Above rises the archway that is made up of off-centre arches and of radiating keystones that are circumscribed by three tangential borders, and which are cantoned by cornerstones featuring floral tracery' (G. Marçais). A dome decorated with *muqarnas* (stalactite work) covers the *mihrab*. The quadrangular minaret is low in height (barely 14 metres). All of its four sides are decorated with rectangular panels that feature a diamond-shaped pattern, which has been made using bricks ornamented with earthenware mosaic. It is topped by a lantern decorated with *zellij* (enamelled tiles).","short_description":"Despite being modified, this mosque retains a prayer room divided into three naves by two horseshoe arches supported by six onyx columns. The cedarwood ceilings are covered with tiled roofs, and the arcades and walls were once painted with arabesques. The *mihrab*, covered by a cupola, includes a horseshoe arch resting on two onyx columns. The squat, quadrangular minaret is decorated with diamond-pattern brickwork and earthenware mosaics and is topped by a lantern decorated with *zellij* (enamelled tiles).","dates":"Hegira 696 / AD 1296.","location":"Tlemcen","method_for_datation":"From an inscription inside the mosque.","bibliography":"Bourouiba, A., *Apports de l'Algérie à l'architecture arabo-islamique*, Algiers, 1986.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nMarçais, G., *Tlemcen, 'Les villes d'art célèbres'* (collection), Paris, 1950; Blida, 2004.","patrons":"Sultan ‘Uthman I.","dynasty":"'Abd al-Wadid.","materials":[],"keywords":["religious architecture; floral decoration; geometric decoration"],"author":"Ali Lafer","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen"},"4ca47641-f0ff-50a2-a7c3-b3adf3abb210":{"name":"*Kufic* Qur’an manuscript.","description":"A manuscript comprising the second half of the Holy Qur'an that was placed for recitation in the Dome of the Rock for a number of centuries. A number of pages were lost as a result of its long use.  \nThe binding comprises two covers: the back and the front, fastened with a bolt-like clasp. The format is landscape, common for Qur'ans belonging to the first three centuries of the Islamic era. The binding is embellished by an embossed border of four lines, the inner part of which is gilded and outlined with braided silk thread. In the centre of each of the covers is a medallion with a spiral circumference. Within each medallion are intertwining vegetal decorations composed of five-leaf flowers. The inside of the binding is sheathed with light-red leather. The cover is not original and not earlier than the 12th / 18th century.  \nThe first and last two pages contain three rectangular panels framed by straight and circular bands which intertwine with each other. The inside of the bands are ornamented with red and blue dots. The spaces that result from the intersection of the bands are adorned with geometric lines interspersed with a number of dots in green.  \nThe Qur'an was written in *kufic* script in black ink. Vowels are stipulated in red, diacritical points in black; the pauses between verses are indicated by three slanted lines. The lines are numbered to enumerate the number of verses in each chapter. The names of the chapters *(suras)* are written in gilded *kufic* script, within rectangles framed in red. The chapter headings are not written in any one style and some are more decorative than others. The placing of the headings is unpredictable; sometimes within the upper section of the page, sometimes at the bottom within the lower band, and sometimes in the middle band. Sometimes the headings are illuminated within the decorative bands which contain simple and extremely beautiful decorations and whose design, size and form differ from one band to the next.  \nThis section is divided into seven of seven parts. The spreads that begin each of the one-seventh sections are distinguishable; the one under discussion by the presence of two frames that surround the content of each page. Both frames are decorated with different coloured dots. The number of the seventh part, the chapter title that it falls under, together with the corresponding verses from the beginning of the section to which it relates, are written in the upper section of the frame.","short_description":"The manuscript is the second half of the Qur’an. Its format is landscape and it is bound between two decorated leather covers. It is written in *kufic* script in black ink on gazelle parchment. Decorative motifs are distributed throughout and especially at the beginning of chapters. It is considered to be one of the earliest Qur’anic manuscripts extant.","type":"Qur'an, parchment, manuscript","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock.","dates":"Hegira 3rd century / AD 9th century.","location":"Jerusalem","dimensions":"Length 24 cm, width 31.5 cm, depth 8 cm.","method_for_datation":"An inscription within the manuscript dates it to 984 / 1547), and indicates that the Qur'an was linked to Hasan bin al-Husayn. The style of *kufic* script also supports this date as does the style of decoration which was widespread in this period.","method_for_provenance":"Iraq was narrowed down as the place of production in view of the fact that most of the family of the Prophet was in Iraq at that time. The *kufic* script, together with the style of decoration used in this manuscript, coincide with the use of the same style which predominated in Iraq at that time.","provenance":"Possibly Iraq.","obtention":"The manuscript was transferred from the Dome of the Rock to the Islamic Museum.","bibliography":"Al-'Asli, K., *Turath al-Filistin fi Kitabat Abd Allah Mukhlis \\[The Heritage of Palestine in the writings of Abd Allah Mukhlis*\\], Amman, 1986.  \nDeroche, F., *The Abbasid Tradition,* London, 1992.  \nAl-Munjid, Salah al-Din, *Dirasat fi Tarkikh al-Khat al-'Arabi \\[Studies in the History of Arabic Calligraphy*\\], Beirut, 1971.  \nSalameh, K., *Al-Makhtutat al-Qur'aniya fi al-Mathaf al-Islami in al-Haram al-Sharif' al-Quds \\[Qur'anic Manuscripts in the Islamic Museum at al-Haram al-Sharif, Jerusalem*\\], Paris, 2003.","dynasty":"Abbasid","materials":["Gazelle or goat parchment with ink and gold watercolour; the binding embossed leather."],"keywords":["Hasan bin al-Husayn; kufic script; parchment; Qur’an; Qur’an manuscript; kufic Qur’an manuscript; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"4ce02a11-07e9-50f5-a7d7-3651d7dd3510":{"name":"Textile fragment with cockerel medallions.","description":"A plain-woven silk textile fragment thought to come from a shirt. The weave has a pattern inlaid with extra wefts of silver and gold strips in the manner of brocading. The colour scheme is predominantly red, with detailing in blue and yellow. The design consists of lozenge-shaped cartouches formed from individual flowers, these enclose octagons with red, yellow and blue outlines and a central cockerel, facing left. The spaces in between the lozenges are filled with decorative bands formed from an alternating pattern of large stars and small octagons with central star motifs.","short_description":"The Muslim world was famous for its textile production, which built on Sassanid and Byzantine traditions and soon excelled these in sophistication and complexity. Court-sponsored workshops in Iraq, Iran, Egypt and later Spain competed to produce the most splendid silks as symbols of power and wealth.","type":"Woven silk textile","holder":"National Museums of Scotland (NMS).","dates":"Hegira 4th–5th century / AD 11th–12th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 35.5 cm, width 22.8 cm.","method_for_datation":"This textile has been dated tentatively to the 4th–5th / AD 11th–12th century on the basis of its clear stylistic relationship with post-Sasanian and early Islamic textiles.","method_for_provenance":"This textile has been associated with Abbasid Iraq on the basis of its clear stylistic relationship with post-Sassanid and early Islamic textiles from the region.","provenance":"Possibly Baghdad, Iraq.","obtention":"Purchased from Maurice Nahman, Paris, in 1934.","dynasty":"Abbasid","materials":["Woven silk with silver and gold threads."],"keywords":["Baghdad; silk; geometric decoration"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"4cff674a-5737-5495-a700-496faacc7750":{"name":"Prayer rug with multiple prayer niches (fragment).","description":"This carpet fragment is the preserved part of a considerably larger prayer rug featuring multiple prayer niches. The carpet features a row of six red niches of various widths that are closed at the top by dark-blue arches. The sixth niche on the left-hand side is only a half-niche as the carpet was cut at this point and the border repaired. The niches are separated using fine green lines that run down to the bottom and which could be interpreted as substitute columns. The carpet’s narrow border consists of a double-edged, reciprocal pattern of alternating light-blue and yellow crenellations. The wider, less complete, border has a single row of crenellations, yellow alternating with blue.  \nThe particular clarity of the carpet’s design and its use of colour demonstrate the Ottoman understanding of the decorative arts and their practice. Unlike most of the other known multiple prayer-niche carpets, this one is very simple, in that nowhere is it overly decorated; however even in its simplicity, it still follows a systematic composition of ordered patterns covering the surface, as can be seen repeatedly within Ottoman art from as early as the AH 9th / AD 15th century. Its simplicity, vibrant colours and the combined overall impact it creates would definitely have appealed to middle European tastes. Followers of the Islamic faith would have prayed on multiple prayer-niche carpets placed parallel to the *qibla* wall in the mosque. Admittedly, the rows of niches on this carpet merely refer to its function or use, because, essentially, each clean surface acts as a pad on which to pray. The narrowness of each niche on the carpet hints that a believer would have required more space in which to pray than that afforded by the narrow niches on the carpet.","short_description":"This carpet with its pattern of multiple niches is part of a once much larger rug. It was probably made for use in a mosque. It is unique because the design does not include the usual complicated patterns but instead makes a strong impact through its plain vibrant colours.","type":"Ottoman textile, carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"O. Bernheimer Collection, Munich","dates":"Hegira 11th century / AD 17th century.","location":"Berlin","dimensions":"Length 128 cm, width 329 cm.","method_for_datation":"The carpet has been dated on the grounds of its pattern, colours and knot-technique to be from the 11th / 17th century.","method_for_provenance":"The carpet belongs to a group of Ottoman carpets that are referred to as the Ushak Group.","provenance":"Ushak region, western Turkey.","obtention":"Obtained in 1961 from the O. Bernheimer Collection, Munich.","bibliography":"Arseven, C. E., *Les Arts Décoratifs Turcs*, Istanbul, 1952.  \nErdmann, K., *Siebenhundert Jahre Orientteppich*, Herford, 1966, p.108, plate 9.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, no. 4.  \nSpuhler, F., *Die Orientteppiche im Museum für Islamische Kunst Berlin*,Berlin, 1987, no. 18, plate 18.  \n*Weltkulturen und Moderne Kunst*, Catalogue,München, 1972, pp.99–100, no. 291.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool, maroon and white, knotted."],"keywords":["Ottoman; knot carpet; prayer rug"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"5319542a-7b08-534a-801f-e2b18cb78aef":{"name":"Hemispherical plate.","description":"A fragment corresponding to a section of the body including part of the rim and the complete base. The rim has a lip semi-circular in cross-section and the base has a high foot-ring. It is made from pinkish beige paste. Both surfaces are coated in white enamel with a slight sheen. The interior surface has a motif of intersecting lines, painted green, creating eight equidistant spokes radiating from the centre. The quality and fine grain of the paste of this flattened hemispherical plate reflects the sophistication of domestic articles used in Silves in this period.","short_description":"Hemispherical bowl from the Almohad period. It is decorated with a star painted in green consisting of eight evenly spaced spokes radiating from the centre. The quality and finesse of this piece suggest a refined environment and probable domestic use in the town on Silves during that time.","type":"Plate, ceramic","holder":"Silves Municipal Archaeology Museum.","dates":"Hegira 6th–7th  century / AD 12th–13th century.","location":"Silves.","province":"Faro.","dimensions":"Height 6.4 cm, diameter (of rim) 22.6 cm, diameter (of foot) 7.6 cm.","method_for_datation":"From its archaeological context, stratigraphy and style.","method_for_provenance":"Excavation carried out in the castle at Silves directed by Rosa Varela Gomes. Inventory number: Cast. Q 110/C3-3.","provenance":"Castelo de Silves.","obtention":"It has been housed in the museum since the excavation carried out in the 1980s.","bibliography":"Gomes, R. V., *Palácio Almóada da Alcáçova de Silves*, Lisbon, 2001, p.62.  \nGomes, R. V., *Silves (Xelb): Uma Cidade do Gharb Al-Andalus, Arqueologia e História (Séculos VIII–XIII),* Lisbon, 1999.  \nGomes, R. V., 'Silves (Xelb): Uma Cidade do Gharb Al-Andalus: A Alcáçova', *Cadernos do Instituto Portuguès de Arqueologia*, Lisbon, 2004, p.402.","dynasty":"Almohad","linkcatalogs":"IAM_PT_EN_001","materials":["Enamelled and glazed ceramic with decoration of intersecting lines in a star."],"keywords":["trade"],"author":"Maria da Conceição Amaral","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"},"54e60e87-a0d4-5416-b5e8-03ace6751eca":{"name":"Qur’an leaf.","description":"The single large leaf comes from a Qur'an manuscript. It shows 11 lines per page written in a fine *muhaqqaq* script in black ink on thick, well-polished, pale pink paper. The right edge of the leaf is cut. The text runs from *sura al-takwir* (LXXXI), verse 13, on the recto to sura *al-tatfif* (LXXXIII), verse 4, on the verso, which is presented now. Gold rosettes, irregularly decorated with blue dots, indicate the verses. One circular and two ovoid illuminated ornaments in the margin probably contain the words *khamsa* and *'ashra* to mark every fifth and tenth verse. Both recto and verso pages possess a sura heading written in a white *kufic* script. The headings are set in illuminated rectangular panels, which have in the main field a blue ground decorated with gold arabesques. Each of the panels possesses an ovoid gilded medallion extending into the margin. In the upper part of the recto the word *waqf* is written in a cursive script, suggesting that the Qur'an from which the leaf comes was dedicated to a religious organisation.  \nThe *muhaqqaq* script style was used for Mamluk Qur'an manuscripts of the AH 8th and 9th / AD 14th and 15th centuries. This large script has several notable features such as flat, stretched sublinear curves, letters with endings which terminate in sharp points andbreaks between the vertical and horizontal parts of some of the letters. The *muhaqqaq* is a style of script suitable for large format books. The use of coloured paper, especially pink, was popular among Mamluk scriptoriums.","short_description":"On this leaf from a Qur’an the text runs from sura *al-takvir* (LXXXI) to sura *al-tatfif* (LXXXIII). Both sides have a sura heading. Gold rosettes indicate the verses, with illuminated ornaments in the margin. The Qur’an from which the leaf comes probably belonged to a religious organisation.","type":"Qur'an, leaf, paper, manuscript","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Hegira 8th–9th centuries / AD 14th–15th centuries.","location":"Stockholm","dimensions":"Height 44.8 cm, width 33.5 cm.","method_for_datation":"From the style of script and the kind of illumination.","method_for_provenance":"From the style of script and the kind of illumination.","provenance":"Probably Egypt.","obtention":"Bequest from the Békésy collection.","bibliography":"James, D., *Qur'ans and Bindings from the Chester Beatty Library: A Facsimile Exhibition*, Dublin, 1980.  \nJames, D., *Qur'ans of the Mamluks*, London, 1988.  \nJames, D., *The Master Scribes: Qur'ans of the 11th to 14th centuries AD*. The Nasser D. Khalili Collection of Islamic Art, Vol. II, London, 1992.  \nLings, M. and Safadi, Y. H., *The Qur'an*, London, 1976.  \nSafwat, N. F., *The Art of the Pen: Calligraphy of the 14th to 20th Centuries.* The Nasser D. Khalili Collection of Islamic Art, Vol. V, London, 1996.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Paper, ink; calligraphy."],"keywords":["Qur'an; manuscript; calligraphy; religious manuscript"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"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","materials":["Silk brocade woven on a draw-loom."],"keywords":["geometric decoration; floral decoration; architectural decoration; women; costume; amulet; talisman"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"5a976782-2e17-535a-a5f4-a976eb8efe6f":{"name":"Great Mosque and Hospital of Divriği.","description":"The Divriği Great Mosque (Ulu Cami), together with the Turan Melik Darüşşifa, the hospital adjoining it to the south, covers a rectangular area of approximately 32 m x 64 m.  \nThe mosque with its basilical layout is accessed via two portals, one to the north and the other to the west. At the south end of the eastern façade is an opening which today functions as a window, but which originally provided access to the royal loge. A massive buttress built in the Ottoman period supports the cylindrical minaret rising on the northwest corner.  \nThe prayer hall comprises five aisles formed by four rows of arches extending perpendicular to the *mihrab* wall. Four piers in each row are also connected with each other and to the walls in the east to west direction. Twenty-five bays formed by 16 piers (later thickened to strengthen them) are covered by domes or vaults. The bay before the *mihrab* is surmounted with a 12-foil dome. The central bay, covered with an oval dome, has a snow basin. Most of the eight vaults over the bays of the two eastern aisles are star-vaults. The bays of the western aisles, though, have oval domes. The superstructure along with the western façade collapsed in an earthquake in the early AH 10th / AD 16th century. It is thought, therefore, that the present oval domes replaced the original vaulting. The *mihrab* niche is formed with rich convex and concave profiles.  \nThe walls, portals, minaret and the superstructure were built with dressed-stone blocks of various sizes while the *minbar* and window-shutters are of wood.  \nFlamboyant decoration adorns the portals, *mihrab, minbar* and the piers. The north portal, also called the 'Baroque Portal', is noteworthy for the rosettes, arabesques, and various leaf motifs in the wide decorative band, while the west portal, also called the 'Textile Portal', has vegetal decoration as well as geometric motifs and bird figures. The east portal, later converted to a window, is renowned for its geometric and vegetal decoration. The north portal of the mosque and the portal of the hospital have particularly imposing and extensively decorated disks. The wooden *minbar* has vegetal, geometric and calligraphic decoration in techniques including pseudo-*kündekari*, deep carving with rounded surfaces and openwork.  \nThe Turan Melik Darüşşifa (24 m x 32 m) was built to the same width and at the same time as the mosque and adjoins it on the south side. Accessed from the west, the hospital has an Anatolian *madrasa* layout with three *iwan*s and a covered courtyard. The structure is partly two-storied. Its portal with vegetal and geometric decoration in high relief and deep mouldings recalls Gothic features.  \nThe Great Mosque and Hospital of Divriği is a rare monument whose decoration departs from traditional Anatolian Seljuq style and design. Christian masters and architects probably worked together with Muslim masters on its construction. The structure is on the UNESCO list of World Heritage Sites.","short_description":"Included on the UNESCO list of World Heritage Sites, the complex is considered a 'miracle'. The mosque was commissioned by Ahmed Shah, son of Süleyman Shah, the Mengüjekid emir, and the hospital adjoining it by Melike Turan. Its carved decorations project out markedly to give the structure Baroque qualities. The basilical mosque and the hospital with the layout of a *madrasa* with three *iwans* and a covered courtyard are both covered with a variety of domes and vaults. The architects of the complex were from Ahlat in eastern Anatolia while the master of the wooden *minbar* was from Tblisi, Georgia.","dates":"Hegira 626/ AD 1228–9.","location":"Divriği","province":"Sivas","method_for_datation":"According to the construction inscriptions on the north and west portals, the mosque was built by Ahmed Shah, son of Süleyman Shah Mengücekli, in 626 / 1229. The inscription on the balustrade of the *minbar* tells that Ahmed Shah ordered the construction of the *minbar* in 638 / 1241. The inscription inside the star motif in the middle of the left (east) side of the *minbar* gives the name the master as Ahmed of Tbilisi, son of Ibrahim. According to the inscription on its portal, the hospital was built by Turan Melik in 626/ 1229.","bibliography":"Arel, H., “Divriği Ulu Camii Kuzey Portalinin Mimari Kuruluşu \\[The Architectural Structure of the North Portal of Divriği Great Mosque\\]”, *Vakıflar Dergisi,* 5 (1962), pp.99–111.  \nCantay, G., *Anadolu Selçuklu ve Osmanlı Darüşşifaları \\[Anatolian Seljuq and Ottoman Hospitals\\],* Ankara, 1992.  \nKuban, D., *Divriği Mucizesi, Selçuklular çağında İslam Bezeme Sanatı üzerine Bir Deneme \\[The Divriği Miracle, an Essay on Islamic Decorative Art in the Seljuq Period\\],* Istanbul, 1999.  \nönge, Y., Ateş, İ. and Bayram, S., *Divriği Ulu Camii ve Darüşşifası \\[The Great Mosque and Hospital of Divriği\\],* Ankara, 1978.  \nülgen, A. S., “Divriği Ulu Camii ve Darüşşifası \\[The Great Mosque and Hospital of Divriği\\]”, *Vakıflar Dergisi,* 5 (1962), pp.93–98.","patrons":"Ahmet Shah bin Süleyman Shah.","architects":"Architect: Ahmed Naqqash Hılatî; Architect both at the mosque and the hospital: Hürrem Shah bin Muğis al-Hılatî; Woodwork master: Ahmed bin Ibrahim at-Tiblisî; Calligrapher: Muhammad; Calligrapher and artist/naqqash: Ahmed bin Muhammad (AH 10th / AD 16th century).","dynasty":"Mengücekli Emirate.","materials":[],"keywords":["Divriği; Darüşşifa; hospital; architecture of Mengücekli Emirate; Ahmet Shah"],"author":"Sedat Bayrakal","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"77e732d5-caee-5472-847f-63e657f1353d":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall design of eight-pointed stars in staggered rows. Each star contains a central motif, consisting of eight tulip heads issuing from a central rosette. Tri-lobed arabesque extensions enhance the stars at the top and bottom. This type of pattern is also found in Ottoman velvets.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The silk brocadecostumes were designed to emphasise the imperial status of the sultan and his family, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 73.7 cm, width 63.7 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp21–3, pp.268–9, fig. 201 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Silk, cotton and silver brocade (*kemha*)."],"keywords":["Kemha; costume; Ottoman costume; textile"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"7a629444-465b-59ac-aecb-8d6757883d84":{"name":"Khanqah and Madrasa of Sultan Faraj ibn Barquq.","description":"This building is considered one of the largest multi-purpose complexes to be erected in the cemeteries of Egypt, for it consists of a mosque, a *khanqah* for *sufi* residents, a *madrasa* for religious learning, two mausoleums, two *sabils* (water dispensaries) and on top of each *sabil*, a *kuttab*, a Qur'anic school for children.  \nThe principle façade of the building is on the northwestern side. And on each end of it there is an entrance to the complex which is crowned by a tri-lobed arch. The western portal is used at the present time. Likewise, at each end of this façade, there is a *sabil* above which are the two *kuttab*s. The façade is topped by two slender minarets, which in terms of both their intricate detailing and beauty of proportion, are considered to be among the most prominent examples of Mamluk minarets.  \nThe floor-plan of the complex is almost square, approximately 85 m x 85 m. It consists of a large open courtyard measuring 37 m x 40 m, surrounded by four *iwan*s. The largest and deepest of these *iwan*s is the *qibla iwan*, measuring 34 m x 17 m. The *qibla iwan* is composed of three aisles of arches running parallel to the *qibla* wall, and perpendicular to the other arches. The *qibla iwan* is covered by 21 shallow domes made out of brick, whose transition zones are formed of spherical pendentives, thus resembling the domes in the colonnades of the Fatimid Mosque, al-Aqmar. The *mihrab* is crowned by a dome that is higher than the rest of the domes of the *iwan*, and whose area of transition is set with corner *muqarnas*. The *iwan* facing the *qibla* is composed of three colonnades covered with small domes, whose zones of transition are composed of spherical pendentives. Each of the side *iwan*s is made up of a single aisle of arches, covered with small domes. Behind these two *iwan*s are *sufi* cells.  \nOn both sides of the *qibla iwan* are two mausoleums. Each of them is a square room which can be entered from one of the two sides of the *qibla iwan* by means of a doorway that is adorned with an interlaced and interlocked wooden screen, ornamented with geometric designs. An elevated stone dome with a diameter of 14 m covers each of the mausoleums; each has a transition zone made up of a number of *muqarnas* tiers. The domes' exterior surfaces are decorated with carved geometric decoration composed of zigzag patterns, forming a pattern reminiscent of a linked chain in the shape of the letter V. These domes are considered to be amongst the most innovative of decorative domes, their intricate detailing representing the pinnacle of the genre. The domes are among the oldest of these large stone constructions erected in Cairo, and represent Mamluk engineering at its zenith.  \nSultan al-Zahir Barquq was buried in the northeastern mausoleum. Some historical sources state that Sultan Barquq asked his son Faraj to bury him in the mausoleum of this complex, and not in the building that houses the *madrasa* and *khanqah* that was constructed by Sultan Barquq in AH 788 / AD 1386, in al-Muizz li Din Allah Street in Cairo. Also buried in this mausoleum are the sons of Sultan Barquq. In the southwestern mausoleum, the wife of al-Zahir Barquq, *Khawand* Shaqra, and the daughter of al-Nasir Faraj, were buried. In as far as both complexes comprise two mausoleums, this one resembles the Madrasa of 'Umm Sultan Sha'ban (built in AH 790 / AD 1369).  \nA distinguishing feature of this complex lies in the successful combination of two styles: the manner of *madrasas* with *iwan*s, and the mode of mosques with hypostyle rows of columns. This building is further distinguished by the symmetry of its architectural components in the northwestern façade, clearly manifest in the positioning of the two *sabil*s at both sides of the façade; in the symmetry of the two portals of the complex and in the two minarets, each of which is placed beside one of the entrances. This symmetry also appears in the northeastern façade of the building, where the two identical domes of the mausoleums are placed at the two ends of the façade.","short_description":"This complex, the largest in its area, comprises a mosque, a *khanqah* (hostel for Sufis), a *madrasa*, two *sabils* (water dispensaries), two *kuttabs* (Qur'anic school for children), two mausoleums and two minarets. It lies in the Mamluk (Northern) Cemetery of Cairo, historically one of the most important cemeteries. Sultans and amirs since the end of the AH 8th / AD 14th century built mosques, *madrasas* and *khanqahs* there and annexed to them their tombs and mausoleums. By the late AH 9th / AD 15th century the Cemetery contained many superb monuments that represented the magnificence of Mamluk architecture.","dates":"Hegira 813 / AD 1411.","location":"Cairo","method_for_datation":"The building was dated based on a high-relief inscription on the two sides of the entrance, which includes the name of the sponsor and the date when construction was completed.","bibliography":"Behrens Abou-Seif, D., *The Minarets of Cairo,* Cairo, 1985.  \nBehrens-Abouseif, D., *Islamic Architecture in Cairo,* Leiden, 1989.  \nPrisse d'Avennes, é., *L'Art arabe d'après les monuments du Caire depuis le VIIe siècle jusqu'à la fin du XVIIIe*, Paris, 1877.  \nHamza, H., *The Northern Cemetery of Cairo,* Cairo, 2001.  \nRizq, A., *Khanqahwat al-Sufiya fi Masr fi al-'asr al-Ayyubi wa al-Mamluki \\[Sufi Khanqahs in the Ayyubid and Mamluk periods*\\], Cairo, 1997.  \nRoberts, D., *Egypt Nubia,* London, 1896.  \nSameh, Kamal al-Din, *Al-'imara al-Islamiya fi Masr \\[Islamic Architecture in Egypt\\]*, Cairo, 1991.  \n*Mamluk Art. The Splendour and Magic of the Sultans*, pp. 103-106.","patrons":"Sultan al-Nasir Faraj ibn Barquq who ruled twice in AH 801–8 / AD 1399–1405 and in AH 808–15 / AD1405–12. The intervening period between his two reigns saw the short reign of Sultan al-Mansur 'Abd al-Aziz.","dynasty":"Mamluk.","linkcatalogs":"IAM_EG_EN_001","materials":[],"keywords":["Khanqah; geometric decoration; mausoleum; funerary architecture; religious architecture; civil architecture; Qur’an school."],"author":"Tarek Torky","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic)."},"7f3ad75b-9c30-59f5-bd90-9efafe607dc8":{"name":"Bowl.","description":"A shallow, stone-paste (fritware) footed bowl with a flat top rim: it is decorated with six rectangular rotating bands with heavy black outlines, which form a hexagon in the centre; the rim is decorated with pseudo-Arabic in *kufic* script. Organic decoration fills the background between the bands and in the centre of the hexagon.  \n  \nRaqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. In Raqqa there were a number of pottery workshops that produced a range of ceramics including lustre-painted, relief-moulded, and underglaze-painted vessels. The pottery ceased production when the Mongols razed the city to the ground in AH 657 / AD 1259.  \n  \nSyrian wares of this type were also found widely throughout Egypt, due to Fustat in Egypt being both a busy international port and due to the fact that Syrian potters settled in Fustat, establishing their own pottery workshops.","short_description":"Raqqa, where this bowl was made, was one of two major pottery-production centres during the Ayyubid period in Syria. The style and decoration of this dish, and the composition of the glaze and how it has deteriorated, are typical features of Raqqa pottery.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"Height 11.4 cm, diameter (of rim) 20.9 cm.","method_for_datation":"Stylistic analysis, together with analysis of the material composition of the vessel's body which is distinctively that of Raqqa. Furthermore, the nature and extent of the deterioration of the glaze is also typical of Raqqa ceramics.","method_for_provenance":"The vessel is typical of Raqqa ceramics in both its material composition and in the nature of the deterioration of the glaze.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \nGrube, E. J., *Cobalt and Lustre: The First Centuries of Islamic Pottery*, the Nasser D. Khalili Collection of Islamic Art, Vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Stone-paste (fritware), painted, black decoration under a transparent green glaze."],"keywords":["Domestic vessels; geometric decoration; calligraphic decoration"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"80cabe22-0796-50d8-b4b1-b4e1801d847c":{"name":"Bowl.","description":"A stone-paste (fritware) bowl of flaring shape with straight sides, decorated with black painted stripes on the sides and a roundel of highly stylised calligraphy in the centre of the well, which may read: 'al-'izz … Muhammad' ('the glory... Muhammad'). The decoration is typical for this type of bowl where the body of the unglazed vessel is painted with black pigment, and a transparent glaze (in this case turquoise) is then subsequently applied overall. Raqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. There were a number of pottery workshops şn Raqqa that produced a range of ceramics including lustre-painted, relief-moulded, and underglaze-painted vessels. The pottery ceased production when the Mongols razed the city to the ground in AH 657 / AD 1259.","short_description":"The centre decoration of this bowl has a calligraphic inscription which may read 'al-'izz … Muhammad' ('the glory... Muhammad'), painted in black pigment under a transparent blue glaze. The popular use of good wishes inscriptions and blessings on Middle Eastern ceramics goes back to the earliest part of the Islamic period.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"15.8 cm, diameter (of base) 6.5 cm.","method_for_datation":"Stylistic analysis, together with analysis of the material composition of the vessel's body which is distinctively that of Raqqa. Furthermore, the nature and extent of the deterioration of the glaze is also typical of Raqqa ceramics.","method_for_provenance":"The vessel is typical of Raqqa ceramics in both its material composition and in the nature of the deterioration of the glaze.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \n  \nGrube, E. J., *Cobalt and Lustre: The First Centuries of Islamic Pottery*, the Nasser D. Khalili Collection of Islamic Art, Vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Stone-paste (fritware) painted, black decoration under a transparent blue glaze."],"keywords":["Domestic vessels; calligraphic decoration"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"81fcd4e9-7384-5569-aa53-bc862c54ad3f":{"name":"Jug.","description":"A fine, pear-shaped pottery jug with two handles, in a characteristic cream colour, decorated using various techniques such as incising, perforations and knife scraping. The decorative scheme is composed of a combination of geometric and floral patterns which were common in Islamic art.","short_description":"Pear-shaped, two-handled pottery jug from Tall Hisban, decorated using various techniques such as incising, perforations and knife scraping. The decorative scheme is composed of a combination of geometric and floral patterns.","type":"Jug, ceramic","holder":"Jordan Archaeological Museum.","dates":"Hegira, late 2nd–early 3rd century / AD second half of the 8th century.","location":"Amman","dimensions":"Height 28 cm, diameter (of mouth) 8 cm.","method_for_datation":"The jug was dated by stratigraphic context and comparison with similar jugs; Abbasid pottery is characteristically cream in colour.","method_for_provenance":"The jug was found at Tall Hisban during an archaeological excavation in 1973.","provenance":"Tall Hisban, Jordan.","obtention":"The jug was found during the course of an archaeological excavation at Tall Hisban in 1973.","bibliography":"Horn, S. H., 'The 1973 Season of Excavations at Tell Hesban', *Annual of the Department of Antiquities of Jordan*, XIX, 1974, pp.151–6, plate LXXV, 2.  \n  \nHorn, R. S., and Horn, S. H., *Heshbon 1973*, Andrews University Seminary Studies, Miami, 1975.","dynasty":"Abbasid","materials":["Wheel-thrown ceramic."],"keywords":["Floral decoration; geometric decoration"],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"8acf2eac-8e23-5efc-a927-dea5fc1c4c75":{"name":"Bowl with radial decoration.","description":"This piece, the shape of which is taken from contemporary Chinese porcelain from the T’ang period (AD 618–906), is decorated with blue cobalt paint with a large motif in the shape of stylised petals. In the background there is a star-shaped polygon, the points of which are hatched. In the centre there is a motif known as ‘Solomon’s Seal’, an extremely common decorative element in Islamic art.  \nThe bowl, decorated in a simple but pleasing style, could be considered typical of Mesopotamian pieces painted in blue cobalt only on a creamy white base. This type is of particular interest as it represents one of the oldest examples in the Islamic world of an imitation of the much-valued Chinese porcelain that was sent in significant quantities to Egypt and Iraq by sea and to Persia by land via the Silk Route.  \nThe imitation porcelain was produced using a heavy lead-oxide glaze to which was added tin oxide as an opacifier. The result is a consistent creamy white layer decorated with blue cobalt in an Islamic style.","short_description":"This piece is particularly noteworthy for its decoration inspired by Chinese porcelain from the T’ang period, evidence of contact and trade between China and countries such as Egypt, Persia and Iraq along the Silk Route.","type":"Bowl, ceramic","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira second half of 3rd century / AD second half of 9th century.","location":"Rome","dimensions":"Height 6 cm, diameter 19.8 cm.","method_for_datation":"Dating has been suggested on the basis of type (see description for analysis).","method_for_provenance":"It should be seen as a typical example of Mesopotamian pieces painted only in cobalt blue on a creamy white base.","provenance":"Iraq.","obtention":"Private deposit.","bibliography":"Fèhervari, G., *La Ceramica Islamica*, Milano, 1985. Folsach, K. von, *Islamic Art: The David Collection*, Copenhagen, 1990. Grube, E.J., *Cobalt and Lustre. The First Centuries of Islamic Pottery. The Nasser D. Khalili Collection of Islamic Art*, Vol. IX, London, 1994. Lane, A., *Early Islamic Pottery*, London, 1953. Scerrato, U., “Ceramica Irachena del IX–X Secolo”, *Serie Schede Museo Nazionale d’Arte Orientale* 2, Rome, 1968.","dynasty":"Abbasid","materials":["Glazed ceramic."],"keywords":["Ceramic; glazed; floral decoration"],"author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"8d173c69-e270-52ea-8792-452101a75d8b":{"name":"Hospital (*Bimaristan*) Nur al-Din.","alternate_name":"Maristan al-Nuri.","description":"The Bimaristan Nur al-Din, a hospital dating from the AH 6th / AD 12th century, is one of the most famous buildings in Damascus. At the time of its construction, it was considered remarkably new and refined, a sentiment recorded by the memoirs of the Valencian voyager from al-Andalus, Ibn Jubayr. It functioned as a therapeutic refuge for the sick as well as a medical school for aspiring physicians. The Mamluk Sultan Qalawun is said to have been saved from a lethal illness at this *bimaristan* – an experience which inspired him to build his famous institution in Cairo, The Complex of Sultan Qalawun. The Bimaristan Nur al-Din currently functions as a Museum of Arabic Medicine and Science. Located in a side road off the Suq al-Hamidiyyeh, it is easily discernable by its Mesopotamian-style red brick *muqarnas* dome rhythmically dotted with bulbs of dark glass. It is also famous for the eclecticism of its entrance façade, the woodcarving of its door, and the perfect balance of its axial symmetric four-*iwan* plan.  \nThe entrance block to the Bimaristan Nur al-Din protrudes at a right-angle to the building and it is accentuated by a portal featuring an unusually tall and shallow *muqarnas* façade, including a row of lobed arches at its base, and resting on top of a classically styled lintel. The door is an important example of fine wood carving and inlaid wood of the period. The identity of the door's designer is recorded in history as Abu al-Fadl Muhammad bin 'Abd al-Karim al-Harithi, known as al-Muhandis, or “the Geometer”. As both a medical doctor at the *bimaristan* and a creative craftsman of its gate, Abu al-Fadl demonstrates the multiplicity of expertise that scholars of this period usually enjoyed.  \nThe entrance leads into a square vestibule capped with a brick *muqarnas* dome; the adaptation of the *muqarnas* to the medium of stone was yet to take place in history. Once inside, the overhead *muqarnas* is a mesmerising vision of gradually receding cells pierced by beams of light.  \nPassage through the vestibule leads to the grand rectangular courtyard and its central square basin with bracketed inner corners. Surrounding the courtyard are four arch-vaulted *iwan*s: the west *iwan* which leads to the entrance, the south and north *iwan*s on either side of the courtyard, and the main, east *iwan* which is larger than the others and faces the entrance. This main *iwan* represents the grand hall of the *bimaristan*, a place where students attended lectures by renowned physicians and had access to medical manuscripts for study. A marble dado rail with a *naskhi* inscription quotes passages from the Qur'an pertaining to medicine and healing. This serves as an allegory to the building's function as well as a holy blessing.  \nOverlooking the southwest corner of the courtyard is an original arched window of perforated stucco, comprising a grid of octagonal stars with interlacing floral scrolls.","short_description":"A charming survival of a medieval Syrian hospital, the *bimaristan* was built by Nur al-Din Mahmud bin Zangi in AH 549 / AD 1154. It had a strong architectural and institutional impact, inspiring the construction of Bimaristan al-Qaymari, also in Damascus, and the Sultan Qalawun complex in Cairo. The undulating *muqarnas* and classical-style lintel that accentuate its facade, the red-brick *muqarnas* dome and the perfect axial symmetry of the interior *iwans* around the courtyard, are examples of local adaptations to Eastern influences brought in by Nur al-Din. This *bimaristan* was a renowned medical centre in its timel.","dates":"Hegira 549 / AD 1154.","location":"Damascus","method_for_datation":"The monument is dated by the foundation text which is inscribed in four lineson a horseshoe-shaped marble sacramental table that is embedded in the eastern *iwan.*","bibliography":"Allen, T., “Ayyubid Architecture”, *Occidental* (electronic publication 7th edition), 2003.  \nBogard, F., *Composition et decors dans l'Architecture Damascaine aux XII et XIII siecles: La Formation d'une Esthetique dans la Damas Medievale*, PhD thesis, University de Provence, Aix-Marseille I, 2004.  \nHerzfeld, E., “Damascus: Studies in Architecture”, Part I, *Ars Islamica*, Vol. IX, 1942, pp.2–11  \nTabbaa, Y., \"The Muqarnas Dome: its origin and meaning\" *Muqarnas*, 3,Leiden, 1985, pp.61–76.  \nSakhnini, Z., *Mathaf al-Tib wa al-'Ulum 'ind al-Arab: Bimaristan Nur al-Din \\[The Museum of Medicine and Science of the Arabs: Bimaristan Nur al-Din*\\], Damascus, 1997, pp.31–53.  \nIbn Jubayr (d. 614 / 1217), *Rihlat Ibn Jubayr \\[The Voyage of Ibn Jubayr*\\], Beirut, 1999, p.241.","patrons":"Nur al-Din Mahmud bin Zangi (r. AH 541–69 / AD 1146–74).","architects":"Abu al-Fadl al-Harithi (known as al-Muhandis, “the Geometer”).","dynasty":"Atabeg.","materials":[],"keywords":["Infirmary (bimaristan); stucco; windows; muqarnas; naskhi script; medicine; science; library; education; inlaid woodwork; Abu'l Fadl al-Muhandis; Nur al-Din Mahmud bin Zangi; Mesopotamia"],"author":"Abd al-Razzaq Moaz, Zena Takieddine","copy_editor":"Mandi Gomez"},"958f2e19-cf88-5446-b5c3-619ff5ee8038":{"name":"Rug.","description":"This is an outstanding example of a 'Konya rug', considered one of the earliest Turkish rug groups in Anatolia. Both warp and weft are wool. The weaving technique used is the 'Turkish double knot', known as the Gördes knot. The colours are red, dark-blue, blue, and beige. The main field of the rug has a geometric pattern with hooked red motifs on a light-red background. Triangles, octagons, hands-on-hip, and hook motifs form a repetitive geometric composition characteristic of Seljuq rugs. The decorative composition is dominated by the principle of 'infinity', as is typical with Turkish rugs. The design is repeated continuously. Between the repeating motifs are blue dots, which provide a strong contrast to the red background.  \n  \nThe field of the rug is surrounded by a narrow border of eight-pointed, dark-blue star motifs separated from each other by yellow-beige lines. The most striking feature of the rug is the wide border decorated with pseudo-*kufic* script. Bold, stylised, *kufic* letters in light-blue follow one another on a dark-blue background. The letters are divided by red bands outlined in beige. Such monumental *kufic*\\-script borders are characteristic of Seljuq rugs.  \n  \nThe decorative composition of the rug is completed by a narrow outer border decorated with red eight-pointed star motifs on a blue background. The rug is quite worn; much of the pile is gone. Areas of the outer border are missing, and there is a large tear in the middle.  \n  \nSeljuq rugs commonly were woven in large dimensions and decorated with plain geometric compositions consisting of a small number of colours in various shades contrasting with a wide *kufic* border.  \n  \nFound in the Alaaddin ('Ala' al-Din) Mosque in Konya, this is one of eight Seljuq rugs brought to the Museum and registered in the inventory on 30 Rabi' al-Awwal 1329 / 31 March 1911.","short_description":"This is the oldest known example of a 'Konya rug'. The rugs of this period are characterised by contrasting light and dark shades, repetetive geometric motifs in the ground representing the principle of infinity and a wide border with stylised *kufic* script, and were woven in Turkish (Gördes) double-knot technique.","type":"Wool, knotted, carpet","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 7th century / AD 13th century.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Length 519 cm, width 294 cm.","method_for_datation":"The Seljuq sultans had many mosques built and it is known that they endowed Qur'ans, candlesticks, Qur'an-stands and rugs to furnish them. This rug is believed to have been woven specially for the Alaaddin Mosque by order of the Seljuq Sultan Alaaddin (Ala' al-Din) Keykubad I (r. 616–35 / 1220–37), who had the mosque enlarged in 618 / 1221. Stylistic analysis also dates the rug to the 7th / 13th century.","method_for_provenance":"Most high-quality rugs produced under the Anatolian Seljuqs come from Konya; the colours used in this rug are predominant in Konya rugs.","provenance":"Konya, Turkey.","obtention":"Eight rugs were spotted by the scholar, Marin in the Alaaddin ('Ala' al-Din) Mosque in Konya in 1322 / 1905 and the information was brought to the attention of Loydved, the German Consulate. The rugs were first published in 1325 / 1908 and were registered in the Museum in 1329 / 1911.","bibliography":"Erdmann, K., *Seven Hundred Years of Oriental Rugs*, London, 1970, p.42.  \n  \nErdmann, K., *Der Türkische Teppich des 15.Jahrhundert*, Istanbul, 1958.  \n  \nölçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.145.  \n  \nölçer, N., *et al*., *Turkish Carpets from the 13th–18th Centuries*, Istanbul 1996, pp.4–5.  \n  \nönder, M., ”Selçuklu Devri Konya Halıları (Konya Rugs of the Seljuq Period)” *Türk Etnoğrafya Dergisi* 7–8 (1964–5), pp.46–50.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.402.","dynasty":"Anatolian Seljuq","materials":["Wool on wool, woven with the Turkish double knot also known as the Gördes knot."],"keywords":["Gördes; rug; geometric patterns; pseudo inscriptions"],"author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"96cf4210-b3bc-5e9b-8016-56c054beba7c":{"name":"Jug.","description":"A medium-sized jug that has a spherical-shaped body and a small 'S-shaped' handle. The body rests on a small, unglazed, foot. The jug is typically decorated with simple horizontal zigzag bands, painted with black pigment on the body of the unglazed vessel, and then glazed with a transparent turquoise glaze. Raqqa was one of two major pottery-production centres in Ayyubid Syria, the other being Rusafah. Raqqa had a number of pottery workshops, which produced a range of ceramics including lustre-painted, relief-moulded and underglaze painted vessels.","short_description":"The black decoration under the transparent turquoise glaze is typical of ceramics made in Raqqa during the Ayyubid period. Raqqa was one of two major production centres in Syria, the other being Rusafah. Both were located near the river Euphrates.","type":"Fritware, stonework, ceramic","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 7th century / AD 13th century.","location":"Glasgow","province":"Scotland","dimensions":"Height 15 cm, diameter (of rim) 6.5 cm, diameter (of base) 7 cm.","method_for_datation":"Artistic analysis and analysis of the material composition of the clay body, which resembles in type that typical of Raqqa pottery.","provenance":"Raqqa, Syria.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Fehervari, G., *Ceramics of the Islamic World in the Tareq Rajab Museum*, London, 2000.  \n  \nGrube, E. J., *Cobalt and Lustre, The First Centuries of Islamic Pottery*, The Nasser D. Khalili Collection of Islamic Art,vol. 9, London, 1994.","dynasty":"Ayyubid","materials":["Fritware; painted with black decoration under a transparent turquoise glaze."],"keywords":["domestic vessels; geometric decoration; water"],"author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez"},"991bde22-6f40-5b6e-800e-44dfdaba422f":{"name":"Alhambra.","description":"The name 'Alhambra' appears towards the end of the 9th century in a variety of different forms, the most common being *al-Qalat al-Hamra*, 'the red castle' due to the colour of the clay used in the walls. The complex is divided into three areas: the citadel, the palace area and the *medina*, in addition to the structures outside the walls. It has four large gateways to the outside, two to the north and two to the south, in the Almohad tradition, the most monumental of which is the Gateway of Justice, which dates from the early AH 8th / AD 14th century. There are two types of tower in the complex: residential (the Tower of the Captive and the Tower of the Princesses) and defensive (Muhammad's Tower and the Tower of the Lamp). The main through routes are the Lower Royal Road for access to the palace area, the Upper Royal Road, the main street in the medina, and the Circular or Ditch Road, the main thoroughfare.  \nThe palace area constitutes a single unit, even though the seven palaces are separate. It should be remembered that the Alhambra as we know it today dates mainly to the second half of the AH 8th / AD 14th century with significant later modifications. Four buildings were virtually destroyed between 1492 and 1812, while the Comares Palace and the Palace of the Lions were conserved as an annex to the unfinished Renaissance palace of Charles V.  \nThe Comares Palace was the official seat of the sovereign, and its principal function was to house the executive power. Its Court of the Myrtle Trees was the centre of a group of courts with bureaucratic functions that progressively revealed the presence of the king, who appeared publicly in the Golden Hall and the Palace of Justice (the Mexuar), and privately in the Hall of Ambassadors with its floor of white and blue tiles with golden decoration, now lost. The Alhambra is unique in the Muslim world for its floor tiles that bear the eulogy 'There is no conqueror but God'. The ceiling of this hall is a schematic representation of the seven heavens of the Muslim cosmos (Qur'an 67: 3). The Comares Palace had an interior façade on the south side of the court of the Golden Hall, the most profusely decorated wall in the whole of the Alhambra. The twin doors were designed to confuse potential assailants. The Palace of the Lions, a recreational villa, could be reached by a road and its Halls – of the Mozarabe, of the Kings, of the Two Sisters (summer) and of the Abencerrajes (winter) – were arranged around a court with intersecting axes, the first two halls being used for parties and banquets and the latter two for musical evenings, judging by their acoustics. It is possible that the king also used the Daraxa Balcony, which projected from the Hall of the Mullioned Windows over the court of the same name. Its honeycombed cupola is the most exuberant exaltation of Granadan art.  \nA road separated these areas from the Rauda (*rawda*, garden), the royal necropolis, laid out like a garden in Paradise. The Alhambra would not make sense without its gardens, which represent the culmination of a long tradition, some integrated with the architecture, for example, the Patio of the Lions and the Generalife, and others reaching to the very bottom of the hill. It is the only Andalusian palace with a set of inscriptions that explain the architecture and gardens.","short_description":"For more than 250 years, this palatine city was the seat of the Nasrid Sultanate of Granada and the last Muslim stronghold in the Iberian Peninsula. Located on top of a rise in the foothills of the Sierra Nevada, it was surrounded by more than 1,730 m of wall and several monumental gateways. It was divided between four main centres: the citadel, the palaces, the *medina* and the Generalife, a place of recreation.  \nIt reached the peak of its architectural and decorative splendour under Sultan Yusuf I and his son Sultan Muhammad V with the Comares Palace and the Palace of the Lions.","dates":"From Hegira 636 / AD 1238 to the reign of Muhammad V (AH 754–94 / AD 1354–91).","location":"Granada","method_for_datation":"In addition to chronological references, a number of poems inscribed in the wall for different reasons help with dating, for example the poem in the Hall of the Two Sisters.","bibliography":"*Al-Andalus: Las Artes Islámicas en España*, Exhibition catalogue, Granada, 1992.  \nCabanelas Rodríguez, D., *El Techo del Salón de Comares en la Alhambra: Decoración, Policromía, Simbolismo y Etimología*, Granada, 1988.  \nFernández Puertas, A., *The Alhambra*,Vol. I: *From the Ninth Century to Yusuf I (1354)*, London, 1997; Vol. II: *Muhammad V, 1354–1391*, forthcoming; Vol. III: *From 1391 to the Present Day*, forthcoming.  \nGrabar, O., *La Alhambra: Iconografía, Formas y Valores*, 3rd edition, Madrid, 1984.  \nTorres Balbás, L., *La Alhambra y el Generalife*, Madrid, 1953.","history":"The successors to Muhammad V brought an inexorable decline in Nasrid art. Following the conquest of Granada in 898 / 1492, the Catholic Kings declared the Alhambra to be a royal residence. In 1526, Charles V decided to build the palace that bears his name, in a Renaissance style. The complex was declared a national monument in 1870 and is currently managed by the Patronato de la Alhambra y Generalife, now under the auspices of the regional government of Andalusia.","patrons":"Muhammad I (r. AH 636–72 / AD 1238–73) built the Nasrid citadel; Muhammad II (r. AH 672–702 / AD 1273–1302) transformed the fortress into a palatine city; Muhammad III (r. AH 702–9 / AD 1302–9) built the Partal, the royal mosque and the baths; the remaining work was commissioned by Yusuf I (r. AH 733–54 / AD 1333–54) and in particular his son Muhammad V (r. AH 754–94 / AD 1354–91), who is responsible for the current physiognomy of the Alhambra.","dynasty":"Nasrid.","materials":[],"keywords":["Alhambra; Granada; Nasrids; Muhammad I; Muhammad II; Muhammad III; Yusuf I; Muhammad V; citadel; palatine city; Mexuar; medina; Comares Palace; tile; Palace of the Lions; honeycomb work; Generalife; garden"],"author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"995abd79-4a58-5ec8-b765-a1346e8414b0":{"name":"Marby Rug.","description":"One of the few examples surviving in Sweden from a tradition of carpet–making in the early Ottoman period in Anatolia. In 1925, the so-called 'Marby rug', Sweden's oldest preserved oriental carpet, was found, cut in two pieces, at the abandoned church of Marby, a village in the province of Jämtland. Belonging to the group of animal carpets, it shows red, stylised birds standing symmetrically on either side of a tree set within octagons on an ivory ground. The birds and tree motif has been long known and very common in Central Asia.  \nTo judge from their presentations in Italian paintings of the 14th century, animal carpets with a tree flanked by two birds already seem to have been popular at this time. However, they reached the peak of their production and circulation during the first half of the AH 9th / AD 15th century. The provenance of this rug from a village in Jämtland in Sweden is important as it shows that the export was not restricted to Italy, but also reached the Baltic region. Animal carpets disappeared towards the end of the AH 9th / AD 15th century.  \nApart from the Marby rug, some fragments with the motif of birds flanking a tree from Fustat in Egypt are known and there are two completely preserved examples. The first was found in a church in Italy and is now in the Museum of Islamic Art in Berlin, Germany, and a second was acquired by the Metropolitan Museum of Art in New York in 1990.","short_description":"Rug, called ‘Marby rug’ after the village where it was found. Its pattern shows stylised red birds standing symmetrically on either side of a tree. This motif was long known and very common in Central Asia.","type":"Wool, knotted, carpet","holder":"Museum of National Antiquities.","initial_owner":"Church of Marby, Jämtland.","dates":"Hegira 700–823 / AD 1300–1420.","location":"Stockholm","dimensions":"Height 160 cm, width 112 cm.","method_for_datation":"The rug was dated by radiocarbon (Carbon-14).","method_for_provenance":"The patterns of the border and the guard strips are characteristically Anatolian; the guard strips also appear in another group of early Ottoman carpets discovered in the 'Ala al-Din Mosque at Konya, Turkey.","provenance":"Anatolia, Turkey.","obtention":"Bought by the Museum of National Antiquities in 1925.","bibliography":"Ådahl, K., *Den Orientaliska Mattan i Sverige*, Stockholm, 1998, cat. no. 1.  \nErdmann, K., *The History of the Early Turkish Carpet*, London, 1977.  \nKing, D. and Sylvester, D., *The Eastern Carpet in the Western World: From the 15th to the 17th Century*, London, 1983, cat. no. 2.  \nLamm, C. J., *Carpet Fragments: The Marby Rug and Some Fragments of Carpets Found in Egypt*, reprint, Uddevalla, 1985.  \nSterner, M. and Kind, J., *Antika Orientaliska Mattor i Sverige*, Stockholm, 1937.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","materials":["Wool; knotted."],"keywords":["Carpet; figurative decoration"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"9dd54e6a-3ac7-5825-b7ce-cc73c549cb45":{"name":"Jar with lid.","description":"The spherical jar stands on a high foot and has a cylindrical rimless neck with a flat lid with a knob. The body is covered inside and outside with an opaque, pale turquoise-coloured tin glaze. In the lower part the glaze is not thick enough so that the reddish colouring of the body shines through the glaze. The abstract decoration of the jar is mainly composed of a series of vertical stripes alternating with dotted lines, called 'millipedes', around the neck and a scale pattern filled with stylised half-carnations on the spherical section of the jar. The foot-ring is undecorated. The colours used are a deep limonite yellow, two gradations of brown, a light one of iron oxide and a dark one of manganese, and cobalt-blue and copper green. The use of brown, yellow, blue and green as full, unmixed tones is the characteristic colour scheme of Moroccan polychrome faience. Faience is the type of decoration: after a first firing the potters put on the opaque tin glaze on the earthenware vessel; the mineral pigments used for the polychrome decoration were applied over the dried glaze; in a second firing glaze and pigments melted together.  \nThe small and large red dots irregularly spread over the whole outside surface of jar and lid are a striking feature. It is a paste with a base of red lead applied over the glaze by fingertip. After drying, the paste appears like red wax. However, this kind of decoration was not executed by the potters themselves. It was done by the faience traders, at first to cover the traces of the firing tripods on plates and later on all kinds of pottery vessels.  \nFaience was an urban ceramic in Morocco whose most important centre of production was Fez. The objects made by the faience potters were mostly functional and for everyday use. This pot was possibly used for storing fat or yeast. Unlike other examples of this kind of stock pot, however, this one does not have the usual two handles.","short_description":"Jar on a high foot and with a flat lid with knob. The decoration is composed of vertical stripes alternating with dotted lines and stylised half-carnations. The colour scheme is characteristic of Moroccan polychrome faience. This pot might have been used for storing fat or yeast.","type":"Jar, ceramic","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Possibly Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height approx. 21.3 cm, diameter of rim 10.5 cm.","method_for_datation":"Dating is difficult. There are only a few dated faiences and the same forms and patterns were used throughout various periods. The red dots were probably common from the end of the 12th / 18th century.","method_for_provenance":"On the basis of the pattern, the technique and the colour scheme.","provenance":"Morocco, possibly Fez.","obtention":"Bequest from the Bielke collection.","bibliography":"Bel, A., *Les Industries de la Céramique à Fès*, Alger, Paris, 1918.  \nBoukobza, A., *Poteries et Céramiques Marocaines*, Casablanca, 1974.  \nHakenjos, B., *Marokkanische Keramik*, Stuttgart, 1988.  \nHasson, R., *Pottery from Morocco: 19th–20th century C. E.*, Jerusalem, 1982.  \nHedgecoe, J. and Damluji, S. S., *Zillij: The Art of Moroccan Ceramics*, Reading, 1992.","dynasty":"Alawid","linkcatalogs":"IAM_MA_EN_001","materials":["Ceramic; faience."],"keywords":["Faience; geometric ornament"],"author":"Friederike Voigt","copy_editor":"Monica Allen"},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"Fragment from a mosaic floor.","description":"This panel was part of a 50 sq m mosaic floor. With a border made up of alternate geometric and floral motifs, the main area of the floor consists of a tracery of four-lobed flowers which combine to form various geometric patterns. When the floor was lifted, several panels were shared between various Tunisian museums. In the panel at the Raqqada Museum, red, white and blue-black lines alternate to represent a lilac-leaf in an octagon and four diamond-shaped petals in a circle. These elements are held within a pattern of twisting semi-circular fringes.  \nThis mosaic is unique in Ifriqiyan art of the Fatimid era. Some historians hold that this example attests to the survival of mosaic art in mediaeval Tunis. The techniques used in the Mahdiyyan mosaic certainly show continuity with the ancient traditions of Roman and Byzantine North Africa. But evidence suggests that the floor was made by Byzantine artisans or '*Rums*' who were probably taken prisoner during the many armed incursions by al-Qa'im in Italy and Sicily.","short_description":"This mosaic is unique in Ifriqiyan art from the Fatimid era, with some art historians believing that it is a continuance of the ancient traditions of Roman and Byzantine Africa. This panel was part of a mosaic covering some 58 square metres, and it combines geometric forms with floral motifs.","type":"Floor, stone","holder":"Museum of Islamic Art.","initial_owner":"The Fatimid prince, al-Qa’im.","dates":"Hegira 303 / AD 916.","location":"Raqqada","province":"Kairouan","dimensions":"Length 107 cm, width 106 cm.","method_for_datation":"The mosaic was discovered in 1956 during the excavations under a reception room at al-Qa'im Palace. One could logically date it from the building of the palace in 303 / 916 (date confirmed by historical sources) but it could possibly have been constructed at a later date, when we believe improvements and refurbishments to the original building were made. These would have been accomplished during the relatively peaceful period of al-Qa'im's reign and just before the Kharijite rebellion of 332 / 944 that was led by Abu Yazid, known as the 'man on the donkey'.","method_for_provenance":"This mosaic, discovered *in situ* at the al-Qa'im Palace, was obviously built there. But we still cannot prove the origin of the artisans who built it.","provenance":"Mahdiyya.","obtention":"After being dismantled at al-Qa'im Palace at Mahdiyya, the mosaic was kept at the Bardo Museum. In 1986 three panels from this mosaic were sent to the National Institute of the Patrimony of Kairouan. In 1993 one of these panels was acquired by the Museum of Islamic Art at Raqqada for display in the second section, currently being refurbished.","bibliography":"Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, *Fifth international colloquium on ancient mosaics*, USA, 1994, pp.307–18.  \nLouhichi, A., “La mosaïque de Mahdia: contexte et interprétation”, *Africa*, XX, 2004, pp.143–66.  \nZbiss, S. M., “Mahdia et Sabra Mansouriya: nouveaux documents d'art fatimide d'Occident”, *Journal asiatique*, CCXLIV, 1956, pp.79–93.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.176–7.","dynasty":"Fatimid","materials":["Limestone *tessera* (mosaic tiles)."],"keywords":["Mosaic; geometric decoration; floral decoration"],"author":"Mourad Rammah","copy_editor":"MWNF","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"a6a01024-6733-5cbd-9746-7f832e8a4d36":{"name":"Vase.","description":"This small pot, with a spherical body and a cylindrical neck fitted with two handles and a ring-foot, would have been used as a drinking vessel. The neck and upper part of the belly are covered in dark manganese-oxide paint and carved with decorative motifs. The motifs appear in a frieze on the neck and on the upper part of the belly. Horizontal and vertical dividing lines as well as a braid motif known as the 'eternity braid' are drawn on the neck. A pseudo-epigraphic motif, representing the name of Allah embellished with plant motifs and framed by a panel of horizontal volutes, can be seen on the belly. The handles are decorated with scattered oblique lines and with small painted disks. This type of decoration, reminiscent of metalwork, is typical of Almohad produce from North Africa and al-Andalus.","short_description":"This small pot with a rounded belly, cylindrical neck and two carrying handles, would have been used as a drinking vessel. The neck and upper part of the belly are covered in brown paint with excised decorative motifs: an 'eternity' plait and pseudo-epigraphic motifs.","type":"Vse, ceramic","holder":"Archeological Museum.","dates":"Hegira 6th century / AD 13th century.","location":"Tetouan.","dimensions":"Height 12 cm, base diameter 5.4 cm, max. diameter 13 cm, aperture diameter 9.9 cm.","method_for_datation":"Found in the rubble of a medieval bourgeois house on the archaeological site of Lixus. The date has been confirmed by stylistic and comparative study with reliably dated objects discovered in Murcia and Huelva in Spain from the end of the first third of 7th / 13th century.","method_for_provenance":"Excavated at the Lixus site.","provenance":"Lixus, Morocco.","obtention":"Excavated.","bibliography":"Ataallah, M., “La céramique musulmane à paroi incisée ou peinte de Lixus”, *Bulletin d'archéologie marocaine* VII, 1967, no. 117, pp.627–39, pl. I.  \nBazzana, A., “La céramique médievale”, in *Maroc, les trésors du Royaume*, catalogue, Paris, 1999.  \nNavarro Palazón, J., *La céramique hispano-arabe à décor esgrafié*, trans. Bazzana, Madrid, 1986.  \nPonsich, M., *Lixus, le quartier des Temples*, Etudes et travaux d'archéologie marocaine series, Vol. IX, Rabat, 1981.","dynasty":"Almohad","linkcatalogs":"IAM_MA_EN_001","materials":["Wheel-thrown ceramic, painted and excised."],"keywords":["geometrical decoration; vegetal decoration; pseudo-inscription"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"a80ae3b6-0e85-5e1b-93e6-f4552c3eac51":{"name":"*Ataifor* (bowl).","description":"This *ataifor*, with a ring in the base and curved sides, is made of yellowish material and coated with a white glaze. The inside is decorated in green and manganese. The decorative theme is made up of a large circular border running round the edge of the plate in which it is possible to see the remains of a *kufic* inscription with the phrase ‘al-Mulk’ (power). The decoration is finished with two narrower strips that cross in the centre, with markings that appear to be a simplification of *kufic* writing but that are in fact meaningless. The decorative technique used, epigraphic motifs in copper green and manganese black visible through the white glaze, produces an impressive chromatic effect.  \nMadinat al-Zahra was the most important centre for the production and distribution of ceramics glazed and decorated in green and manganese during the Caliphate. Ornamentally, the clarity of the design and the austerity of the compositions, with extensive areas of the base undecorated, differentiates them from other works produced at the same time in al-Andalus.  \nThe function of this type of ceramic is still unclear, but what is clear is that production at Madinat al-Zahra constituted a fundamental technological advance. The use of copper and manganese oxides in the decoration and the glazing, which made the containers waterproof and stopped liquids soaking the earthenware, created a type of special crockery which was considered a luxury.","short_description":"Found in an archaeological dig at the palatine city of Madinat al-Zahra, this bowl or *ataifor* would have been part of the domestic crockery at the caliph’s home. This can be inferred from the inscription ‘al-Mulk’, ‘the power’, presumably referring to the power of the caliph.","type":"Ataifor, bowl, ceramics","holder":"National Archaeological Museum.","dates":"Hegira 324–66 / AD 936–76.","location":"Madrid","dimensions":"Height 7 cm, diameter 22 cm.","method_for_datation":"The *kufic* script belongs to an initial stage of production at Madinat al-Zahra, before the reign of al-Hakam II (350–66 / 961–76).","method_for_provenance":"The piece came from archaeological excavations at Madinat al-Zahra. Most of the ceramics are characterised by an open not a closed shape, and the majority of them are *ataifors*. The phrase ‘al-Mulk’, related to Umayyad power and legitimacy, is the inscription most frequently found in this type of ceramic.","provenance":"Córdoba, Spain.","obtention":"The *ataifor* was given to the National Archaeological Museum by the State on 5 February 1943.","bibliography":"Camps Cazorla, E., “Cerámica y Vidrios Califales de Medina Azahara”, in *Adquisiciones del Museo Arqueológico Nacional (1940–1945)*, Madrid, 1947, p.154.  \nCastejón y Martínez de Arizala, R., *Excavaciones del Plan Nacional de Medina Azahara (Córdoba). Campaña de 1943*. Informes y Memorias no. 8, Madrid, 1945.  \n*El Esplendor de los Omeyas Cordobeses*, Exhibition catalogue, Granada, 2001.","dynasty":"Umayyads of al-Andalus, Caliphate period","materials":["Ceramics; wheel-thrown, fired, green and manganese, glazed."],"keywords":["Geometric decoration; epigraphy; ceramic"],"author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"ad9d8415-0b17-5ab2-bb81-d214aedc3c9e":{"name":"Qur’an.","description":"The binding of this Qur'an is composed of a two-page (back and front) cover of light-brown leather. The right-hand side of the binding is decorated with a cartouche that has faded and now has unclear remains of a stamped design on it. This was a well-known style of ornamentation for leather bindings of books and manuscripts.  \nThe volume opens on to a frontispiece embellished with a decorative cartouche. The cartouche is filled with illuminated vegetal motifs against a background of dark-blue. An inscription written in Mamluk *thuluth* script adorns the frontispiece, the text reads: 'Intended for al-Maqam al-Sharif al-Sultan al-Malik al-Zahir abu Sa'id Jaqmaq, May his triumph be glorious'. The frontispiece is followed by five folios containing prayers and commentaries on the fundamentals of *al-Tajwid* (the art of reciting the Qur'an). These pages are also written in *thuluth* script. This is followed by pages that contain chapters from the Qur'an. The first of these is a double-page spread where, set in the right hand page, is a rectangular area framed with blue marginal lines; within this zone is the title, *Surat al-Fatiha (The Opening Chapter)*, written in *thuluth* script. Vegetal decorations adorn this area from above and below. The *sura* (chapter) itself is written within a rectangular frame, whose edges on three sides are ornamented with colourful vegetal motifs. The facing page has the same layout and decoration but it bears the title of *Surat al-Baqara (The Chapter of the Cow)* and the first verses of the chapter. The right-hand border of the first page and the left-hand border of the second page are decorated with three ornamental shapes, two of which are circular medallions filled with illuminated vegetal decorations. The centre shape assumes the form of a polychrome lotus blossom.  \nThe first of the 114 chapters of this Qur'an are written in *thuluth* script and illuminated and written against a blue background, embellished with vegetal motifs and set within a rectangular frame. Each verse is separated from the next by a decorative motif in the form of a golden tri-petalled flower. Each petal is separated from the other by a single dot. On the left and right sides of some pages in this volume there are decorated roundels filled with illuminated vegetal motifs. The number of lines on each page of this manuscript is 13.","short_description":"Mamluk Sultans and amirs endowed their religious establishments with copies of the Qur'an as a demonstration of piety. Being the holy book of the Muslim belief, the calligrapher, illuminator and binder vied to show their skill in executing these Qur'ans as we see in this copy commissioned by Sultan Jaqmaq.","type":"Manuscript","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Zahir Sayf al-Din Jaqmaq (r. AH 842–57 / AD 1438–53).","dates":"Hegira 842–57 / AD 1438–53.","location":"Cairo","dimensions":"Length 40 cm, width: 30 cm.","method_for_datation":"This manuscript is dated based on the inscription written in the beginning of the volume: 'Intended for al-Maqam al-Sharif al-Zahir Jaqmaq', who reigned 842–57 / 1438–53).","method_for_provenance":"In the beginning of this Qur'an, there is an indication that it was a work commissioned for Sultan Jaqmaq. It is probable that the work was commissioned in Cairo the Capital of the Egyptian State, for Egypt was famous at that time for the proliferation of its manuscripts, especially of the Qur'an. The Mamluk sultans were also known for their great personal interest in the Qur'an, and for their patronage of calligraphers. These precious Qur'anic manuscripts were often made part of a *waqf* (endowment) to mosques.","provenance":"Cairo.","obtention":"This Qur'an was donated to the Museum in 1956. The manuscript had been part of the collection in the private library of King Faruq – the last of the Egyptian Kings who was descended from the family of Muhammad Ali and who ruled from 1936–52 – in the Qasr al-Quba, one of the palaces of the royal family before the Revolution.","bibliography":"Al-Alfi, Abu S., *Al-Fan al-Islami \\[Islamic Art*\\], Cairo, 1984.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nJa'id, N., “Fan Kitabat al-Mushaf al-Sharif wa Tajmilahu \\[The Art of Writing and Decorating the Holy Qur'an\\]”, in *Huda al-Islam \\[Guide to Islam\\],* No. 6, 1984, pp.43–50.  \nJames, D., *Qur'ans of the Mamluks*, London, 1988.  \nSalama, K., *Al-Makhtutat al-Qur'aniya fi al-Mathaf al-Islami fi al-haram al-Sharif* \\[*Qur'anic Manuscripts in the Islamic Museum in the Haram al-Sharif\\],* Lebanon, 2003.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517*), London, New York. 1997.  \nAl-Suyuti, Jalal al-Din Abd al-Rahman (d. 911 / 1505), *Tarikh al-Khulafa' \\[History of the Caliphs\\],* Beirut, 1980.  \nZain al-Din, N., *Musawwar al-Khat al-Arabi \\[Illustrated Arabic Calligraphy*\\], Baghdad, 1980.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["On paper, the text written in *thuluth* script in black and red ink with gold illumination; the binding, stamped leather."],"keywords":["Binding; illumination; ink; thuluth; vegetal motifs; manuscript; Qur’an; paper; patronage; religious manuscript"],"author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"ae76a20b-77b1-575a-ab1c-36776cb0c633":{"name":"Fragment of a robe.","description":"This fragment shows two dark blue friezes facing each other, each featuring white *kufic* inscriptions surrounded by pink tendrils with white blossoms. A third frieze, composed of red rosettes with white four-petalled flowers, and framed on either side with waves of brown tendrils on a green background, sits between the two inscription friezes.  \nThis small fragment, which originally formed part of a much larger *tiraz* band, was identified as having been commissioned for the Fatimid ruler Al-Mustansir billah by comparing it with a similar inscription on a nearly identical piece in the Victoria and Albert Museum, London. The *kufic* text in the upper frieze on the Berlin fragment reads ‘In the name of God the merciful and good. There is no God other than God. M(ohammed is the envoy of God)’. This represents, therefore, the message of Islam. The text in the lower frieze reads ‘…this was commissioned by the vizier, the great…’. The term *tiraz* was derived from the name of the workshops where the cloths with the inscriptions, the *tiraz*, were woven. These robes of honour were manufactured for caliphs and high-ranking nobles in the workshops of the royal court. The *tiraz* were given to local or foreign high-ranking persons as a reward for their services. Medieval sources referred to them as valuable objects. The majority of *tiraz* bands come from Egypt, as these fabrics were preserved very well in the very dry climate and, if buried, the extremely dry earth.","short_description":"Cotton textiles with silk embroidery were produced in court workshops in Fatimid Egypt and were called *tiraz* because of the inscriptions which often gave the name of the workshop and the ruler. On special occasions they were presented to people who had rendered services to the state.","type":"Robe, fragment, textile","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 427–87 / AD 1036–94.","location":"Berlin","dimensions":"Height 16 cm, width 13 cm.","method_for_datation":"An inscription on a similar piece of fabric in the Victoria and Albert Museum, London, into which the name of the Fatimid Caliph Al-Mustansir billah (r. 427–487 / 1036–94) is woven, places this object within the same reign.","method_for_provenance":"Comparisons with other fabrics have proved that the two nearly identical fragments – the London one inscribed with the name of the Caliph al-Mustansir billah and the Berlin one – have been produced in a royal workshop in Egypt from which caliphs commissioned the creation of their cloths.","provenance":"Egypt.","obtention":"Obtained from the Reinhardt Collection.","bibliography":"Kühnel, E., *Islamische Stoffe aus ägyptischen Gräbern*, Berlin, 1927, pp.22–3 no. 3132, plate 7.  \nKühnel, E. and Bellinger, L., *Catalogue of Dated Tiraz Fabrics, Umayyad, Abbasid, Fatimid*, Washington, 1959, p.75.  \n*Museum für Islamische Kunst*, Catalogue, Berlin, 1979, cat. no. 301.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, no. 16, pp.44–5.","dynasty":"Fatimid; reign of Al-Mustansir billah","materials":["Cotton and silk, weft rep, woven-in text."],"keywords":["Tiraz fabric; robe; kufic; royal workshop; royal manufacture; Fatimid textiles; geometric patterns"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"b6c68555-4721-5c09-8439-5598ae6f7fdd":{"name":"Fragment of woven linen.","description":"A textile fragment of plain-woven linen with tapestry-woven decorative bands executed in silk, the pattern comprising three horizontal, superposed decorative bands, each separated by areas of plain weaving. The uppermost band, flanked by golden scrolling borders with red outlines and blue detailing, contains a zigzag band with a simple scroll outlined in red on a golden ground. Blue trident-like motifs fill the remaining spaces above and below the zigzag pattern. Below this is a slightly narrower decorative stripe that has a cursive inscription set against a deep-red background, flanked by stylised split-palmette borders above and below. The third and narrowest band has a central wavy green strip on a gold background, and two gold palmette-scroll borders set on a red ground.  \n  \nThis textile fragment is a good example of the artistic influence that the Coptic communities who settled in Egypt had on textile production during the Fatimid period. There remains to this day a sizeable Coptic population in Egypt.","short_description":"Islamic Egypt was famed for the production of sophisticated wool, linen and silk textiles made in specialist workshops. These were manned by Coptic Christian textile workers as well as Muslims. This textile was collected by Henry Wallis (1830–1916), a famous painter and expert on Middle Eastern ceramics.","type":"Fatimid textile, woven linen, tapestry silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira 6th century / AD 12th century.","location":"Edinburgh","province":"Scotland","dimensions":"Height 33.02 cm, width 33.02 cm.","method_for_datation":"This textile has been tentatively dated to the 6th/12th century on the basis of general similarities with other textiles of the Fatimid period.","method_for_provenance":"It is assumed that textile fragments with this type of decoration and epigraphic detail were produced in Fatimid Egypt. This is due to so many having been found in burials and excavations throughout Upper Egypt in particular.","provenance":"From a tomb at al-Drounka, Egypt.","obtention":"This textile together with several other Fatimid textile fragments were acquired by NMS in 1898 from Henry Wallis, a famous Pre-Raphaelite painter, who travelled and painted extensively in Egypt and elsewhere. Subsequently he became a highly respected expert on Egyptian and Persian ceramics.","dynasty":"Fatimid","materials":["Plain-woven linen, and tapestry-woven silk."],"keywords":["Al-Drounka; linen; silk; Henry Wallis; Fatimid textiles; textile"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"b7aafb59-ff4c-5242-9b12-fb975a73f3bf":{"name":"*Zellij* panel.","description":"This *zellij* panel, which covered the entrance wall of the Bouinaniya Madrasa, is decorated with *testirs*, geometric motifs often used in earthenware tile facings.  \nEach element is known by a particular name, and the stucco craftsmen memorised the particular proportions, motifs and dimensions corresponding to each figure. The motifs were first drawn on the tile then carved using a mallet. They were carved in the fired clay beneath the glaze so as to give each piece a corner-shaped profile. Once assembled, they created a polychrome mosaic with large and simple motifs dominated by white, yellow ochre and black. The panel includes a thick white line tracing rectilinear knotwork, a method introduced in the AH 7th / AD 13th century by the Almohads in their architectural decoration, and polychrome filling made up of small elements whose specific shapes are matched exactly to the voids left in the design. This knotwork rises from small white columns encircled with a green band and finishes in half knots. It encloses a network of concentric diamonds made up of elements in yellow ochre, violet black and emerald green or yellow ochre, black and lavender blue, all with a black piece in the centre.  \nThis fragment illustrates the mastery of the *zellij* craftsmen in the Marinid era who, like their Nasrid counterparts, produced op art masterpieces before their time.","short_description":"This *zellij* panel covered the entrance wall to the *madrasa*. It is decorated with *testirs*, or geometric patterns that are the pre-eminent decorative motif for earthenware-tile facings. It consists of a network of lozenges surrounded by an interlacing design.","type":"Panel, tile, earthenware","holder":"Batha Museum.","initial_owner":"*Habus* (endowment).","dates":"Hegira 751–7 / AD 1351–6.","location":"Fez.","dimensions":"Height 160 cm, length 77 cm.","method_for_datation":"The panel comes from the Buinaniya Madrasa (AH 751–7 / AD 1351–6).","method_for_provenance":"The panel was salvaged during the restoration of the monument in the 20th century.","provenance":"Buinaniya Madrasa, Fez.","obtention":"Salvaged following the restoration of the monument.","bibliography":"Marçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nPaccard, A., *Le Maroc et l'artisanat traditionnel islamique dans l'architecture*, Vol. 1, Paris, 1979.  \nTerrasse, Ch., *Médersas du Maroc*, Paris, 1927.  \nTerrasse, H. and Hainaut, J., *Les arts décoratifs au Maroc*, Paris, 1925.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6, p.232.","dynasty":"Marinid","linkcatalogs":"IAM_MA_EN_001","materials":["Glazed earthenware tiles."],"keywords":["religious monument; geometric decoration; tilework; tile panel"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"b8ecf061-5f47-5eb8-bd73-a5714784eff0":{"name":"Plate.","description":"A ceramic plate decorated with geometric designs in yellow pigment on a brown background and under a transparent glaze.  \n  \nThe inner surface is divided into four zones, each pair corresponding with each other. One pair consists of curved triangles filled with crossed lines forming, net-like, small indented squares; the other two zones show crisscrossed curved lines which form an arrow–head design.","short_description":"Ceramic plate from Tall Hisban, decorated with geometric designs in yellow pigment on a brown background and under a transparent glaze. The inner surface is divided into four zones, forming two pairs of crisscrossed curved designs.","type":"Plate, ceramic","holder":"Jordan Archaeological Museum.","dates":"Hegira 7th century / AD 13th century.","location":"Amman","dimensions":"Height 8.8 cm, diameter 30.3 cm, diameter (of base) 10.7cm.","method_for_datation":"The plate was dated by its stratigraphic context in the archaeological excavation.","method_for_provenance":"The plate was recovered from Tall Hisban during an archaeological excavation.","provenance":"Tall Hisban, Jordan.","obtention":"The plate was recovered during the course of an archaeological excavation carried out at Tall Hisban in 1993.","bibliography":"ساري. صالح، الفخار الأيوبي المملوكي في بلاد الشام 567-923 ه / 1171-1517 م، رسالة ماجستير، الجامعة الأردنية، 1979، ص 178-179، شكل 73، 74.  \n  \nBienkowski, P., The Art of Jordan, Glasgow, 1991, p.85, cat. no. 101.  \n  \nBoras, R., and Geraty, L., Heshbon 1976, Andrews University Seminary Studies, Miami, 16.1, 1978, pp.1–17.  \n  \n*La voie royale: 9000 ans d'art au royaume de Jordanie*, exhibition catalogue, Paris, 1986, p.283, cat. no. 385.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Glazed ceramic."],"keywords":["Geometric decoration"],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"bba9a6eb-34f8-578b-b58b-ae4a8784d89d":{"name":"Leather binding.","description":"Back-board. Italian format. The red-brown dye of the leather has turned black at the edges.  \nThe panel is covered with wicker-like strap-work tooled with fringe markings enclosing roundels. The central rope is twisted into three knots. The border consists of four linear frames. The second frame is decorated with a twisted rope motif and a fringe with roundels. The leather covers a panel of what appears to be poplar, on the back of which is glued a piece of parchment.  \nThe decoration applied to this binding follows the style in fashion at the time in Ifriqiya. Twisted rope, plaiting, curled interlacing and chequer-work are all in fact used in the *minbar* (preacher's chair) of the Great Mosque at Kairouan, which bears the stamp of Syrian Umayyad art, with its heritage of Byzantine themes, and which also evokes Abbasid art with its profound Sassanid influences. However, these arguments do not allow us to conclude that the Kairouan bookbinding was influenced by Syria. Several links in the chain are missing. Furthermore, the books bound at Kairouan seem to borrow their decoration from a repertoire that was familiar to the Christians and which the Copts used to extraordinary effect. In fact, it is likely that the binding is one of the acquisitions through which Christian Egypt contributed to the enrichment the Muslim world.","short_description":"Brown binding from Kairouan separated from the Qur'an to which it belonged. It is decorated with twists, braids, interlacing loops and squares, also found on the pulpit of the Great Mosque of Kairouan, which was strongly influenced by Syrian Umayyad art.","type":"Binding, leather","holder":"Museum of Islamic Art.","dates":"Hegira, end of the 3rd–beginning of 4th centuries / AD 9th–10th centuries.","location":"Raqqada.","province":"Kairouan.","dimensions":"Length 17.2 cm, width 8 cm, thickness 0.6 cm.","method_for_datation":"Other identical bindings have been found still glued to the volumes of the Qur'ans to which they had belonged. Palaeographic study of their writing dates them very accurately from the end of the 3rd to the beginning of the 4th century (9th / 10th). Moreover, a Damascene binding definitely dating from the year 270 (883) shows a remarkable resemblance to this Kairouanese binding.","method_for_provenance":"This binding belonged to the old library of the Great Mosque of Kairouan which was left abandoned in the *maqsura* of the prayer hall. During the 1930s it was re-classified after being discovered by some well-informed visitors. Most of the bindings were separated from the Qur'ans to which they belonged and this one suffered the same fate. This and the other bindings are almost certainly Kairouanese, since the town was a great centre of book production at the time.","provenance":"Kairouan.","obtention":"After the abolition of the *habus* foundation in Tunisia, this binding board was obtained by the Museum of the Great Mosque of Kairouan in 1963. It has been displayed in the Museum of Islamic Art at Raqqada since 1986.","bibliography":"*De Carthage a Kairouan* (exhibition catalogue), 1982, p.234, cat. no. 319.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.228.  \n*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.262.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, I, Tunis-Paris, 1948, p.116, plate VI B.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62, 182–3.","dynasty":"Aghlabid, Fatimid","materials":["Poplar-wood press-board covered with decorated leather."],"keywords":["Floral decoration"],"author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"cc2e6597-5498-5c64-94ac-0ecb6099dcdd":{"name":"Lustre bowl.","description":"The inner surface of the bowl is decorated with two patterns: symmetrical arabesques and bands of intertwining *kufic* calligraphy. Both motifs are framed within eight separate boxes, and the two patterns alternate with each other. Both are painted in golden brown lustre over a white glaze. The surrounding space is covered in dots or small entwining scrolls. The outer surface is decorated with hastily painted flutings and a braided band, over a light blue glaze. The bowl is one of the most important examples of Nasrid ceramics given its display of painstaking paintwork and the fact that the place where it was made is noted on its ring-base.","short_description":"The technique of lustre-ware pottery was introduced to al-Andalus from Egypt and outstanding quality was soon attained. This bowl with a design of geometrical and vegetal panels has an inscription on the foot stating that it was made in the Spanish city of Malaga.","type":"Bowl, ceramic","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"W. von Bode, F. Sarre.","dates":"Hegira mid-8th century / AD mid-14th century.","location":"Berlin","dimensions":"Height 8.5 cm, diameter 23 cm.","method_for_datation":"The production of lustre-ware in Andalusia began in the 6th / 12th century. In 750 / 1350, the Arab chronicler Ibn Battuta noted the production of ceramics in his writings on Malaga. This bowl is the only intact item by which the source may be verified. Overall the decoration also corresponds to other branches of the arts and crafts of that period, an example being the decorative patterns used in textiles.","method_for_provenance":"There is an inscription in cursive Arabic script on the bowl’s base stating that it was made in Malaqa (Málaga). Thus the bowl acts as an important marker for the identification and dating of the entire collection of Spanish lustre-ware from the same period.","provenance":"Malaga, Spain.","obtention":"A gift donated by Friedrich Sarre. The bowl was bought in 1901 in Italy by W. v. Bode and was given to Sarre as a gift, which he later donated to the museum.","bibliography":"*Islamische Keramik*, Catalogue, Düsseldorf, 1973, no. 470.  \nMartin, F. R. and Sarre, F. (eds.), *Die Ausstellung von Meisterwerken Muhammedanischer Kunst München 1910*, Munich, 1912, Vol. 2, no. 1610, pl. 117.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1973–9, no. 342.  \nSarre, F., “Die Spanisch-Maurischen Lüsterfayencen und ihre Herstellung in Malaga”, *Jahrbuch der Preußischen Kunstsammlungen* 24, 1903, 103–30.  \n*Schätze der Alhambra: Islamische Kunst aus Andalusien*, Catalogue, Berlin, 1995, no. 122.","dynasty":"Nasrid","materials":["Ceramic with lustre painting."],"keywords":["luster; Malaga; Andalusia; Nasrid"],"author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen"},"cf2da5c2-0d20-5dbf-a2aa-c9244ad7d708":{"name":"Half of the Holy Qur’an.","description":"A large manuscript containing half of the Qur'an. It includes 325 pages written in *thuluth* script. The first page is decorated with coloured and gilded geometric and stylised vegetal motifs showing very high levels of precision and skill. Surrounding the basic text of the Qur'an are marginal notes recorded in blue, red, and black ink addressing Qur'anic recitation, interpretation, and grammar.  \nThe verses of the Qur'an are underlined by threads of wavy blue and separated by small golden circles that number the holy phrases. The entire text is surrounded by a thick, opulent frame of geometric and astral tessellations outlined in blue and abundantly gilded. Three large gilded circular and triangular medallions branch out beyond the gilded frame towards the edge of the page.  \nAn Arabic text dealing with the dedication of this copy of the Qur'an is found on the third page. It may be translated as follows: “This is a *waqf* to al-Amir al-Kabir al-Sarim Ibrahim bin al-Amir al-Nasari Muhammad bin al-Amir al-Sarimi Ibrahim bin al-Sayfi Manjak, may God grant them shelter in his mercy and contentedness, and settle them in his paradises, Amen, and has made the dwelling of this Qur'an in the mosque of his father, the Aqsab Mosque, outside Damascus the Protected, praise be to God only”.  \nThe text specifies that the person who established this Qur'an as a charitable endowment is the Mamluk Prince Ibrahim bin Muhammad bin Ibrahim al-Sayfi Manjak. He was one of the grandchildren of Prince Manjak, who twice served as the Mamluk governor of Damascus.","short_description":"The abundance and intricacy of gold-leaf decoration found on this illuminated Qur'an is typical of the Mamluks' patronage of religious arts. The use of gold was also popular on Mamluk mosque lamps and was usually symbolic of 'divine light'.","type":"Manuscript, Qur'an, paper","holder":"National Museum of Damascus","initial_owner":"Ibrahim bin Muhammad Ibrahim al-Saifi Manjak (d. AH 9th / AD 15th century), grandson of the Mamluk Ibrahim Manjak who was twice governor of Damascus during the second half of the AH 8th / AD 14th century.","dates":"Hegira 8th–9th century / AD 14th–15th century.","location":"Damascus","dimensions":"Length 50 cm, width 35 cm, depth 7 cm.","method_for_datation":"The donor is the grandson of the Mamluk Prince Manjak, who served his first term as ruler of Damascus in 759 / 1357, and his second in 770 / 1368. It is possible that this Qur'an dates generally to this period. However, his grandson Ibrahim may also have endowed the Qur'an to the mosque at a later date, during the 9th / 15th century.","method_for_provenance":"This Qur'an was dedicated to a mosque in Damascus, and was commissioned by the grandson of a Mamluk governor of Damascus. Though it was in all likelihood copied in Damascus, the text does not specifically state this, so it is possible that it was copied elsewhere, for example in Cairo.","provenance":"Damascus, Syria.","obtention":"The piece was confiscated by security forces in the year 1959.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus*, Damascus, 1969.  \nCluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994, pp.410–12.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Ink on paper, gilded."],"keywords":["Qur’an; manuscript; ink; paper; gilding; Damascus; Ibrahim bin Muhammad Ibrahim bin Manjak; religious manuscript"],"author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez"},"d1d438f0-83d2-5fda-b51d-574d3965aaa9":{"name":"Silk textile with geometric pattern.","description":"A silk textile with a lampas weave, satin ground and weft-faced tabby pattern. Yellow strap-work bands on a red background create a dazzling geometric interlace design in which eight-pointed stars figure prominently. Other colours, such as pink, green, and a silvery blue, are used to create contrasts and highlights. Textiles like this one were made in the Nasrid period in southern Spain and North Africa. They continued to be valued throughout Europe long after the fall of the Nasrid dynasty; this particular example was hanging behind a statue of the Virgin Mary in Florence, Italy as late as the 19th century.","short_description":"A silk textile woven with an elaborate geometric pattern based on eight-pointed stars. Textiles like this were woven in southern Spain and North Africa during the Nasrid period. This example may have served as a hanging to enliven an architectural setting.","type":"Woven silk textile","holder":"Victoria and Albert Museum.","dates":"Hegira 8th–9th / AD 14th–15th century.","location":"London","province":"England","dimensions":"Length 56 cm, width 47.5 cm.","method_for_datation":"Comparison with other Spanish and North African textiles.","method_for_provenance":"The Nasrids ruled in Spain.","provenance":"Spain.","obtention":"Received from Dr Bock in 1864.","bibliography":"Arts Council of Great Britain, The Arts of Islam, London, 1976, p.81, cat. no. 18.","dynasty":"Nasrid","materials":["Woven silk textile."],"keywords":["geometric decoration"],"author":"Barry Wood","copy_editor":"Mandi Gomez"},"d4475f08-ea5a-5e67-84a3-3e7f04581e4b":{"name":"Bookbinding.","description":"A tooled leather bookbinding with ornament added in gold. The front and back covers feature a design composed around a central circular medallion. Within it, an arabesque pattern grows out of a geometric interlace to fill the circular space; on the other side of a wide border decorated with linked flowers, 12 scallops form a sunburst motif. Large spade-like motifs project from the top and bottom scallops. The corners of the front and back covers are filled with related arabesque designs, as is the binding's flap, itself further ornamented with a dense field of freely rendered flowers. The gilded tooling is further highlighted in some areas by the addition of light-blue pigment, creating a subtle and pleasing contrast. This binding was thought for many years to be a work of early Ottoman times but recently it has been re-attributed to the late Mamluk period. It is unknown which book this binding was used to protect, but given the quality of the workmanship it seems likely that it was a Qur'an.","short_description":"A tooled leather bookbinding with ornament in gold and light-blue pigment. Details of the design are similar to other bookbindings from the late Mamluk period. Such a fine binding was most likely used to cover a Qur’an.","type":"Painted leather, paper manuscript","holder":"Victoria and Albert Museum.","dates":"Probably late hegira 9th / 15th century.","location":"London","province":"England","dimensions":"Height 31.2 cm, width 21 cm","method_for_datation":"Details of the decoration are similar to those on bindings known to have been made for the Mamluk Sultans Qatbay (r. 872–901 / 1468–96) and Qansuh al-Ghuri (r. 906–22 / 1500–1516).","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1983.","bibliography":"Haldane, D., Islamic Bookbindings in the Victoria and Albert Museum, London, 1983, pp.142–3 (listed as early Ottoman).  \n  \nRaby, J. and Tanındı, Z., Turkish Bookbindings in the Fifteenth Century, London, 1993, p.11.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Gilded and painted leather over paper."],"keywords":["floral decoration"],"author":"Barry Wood","copy_editor":"Mandi Gomez"},"d73ce677-c4d9-526d-a784-55d5db6b9325":{"name":"Storage jar.","description":"A small, dark-gray storage jar of beautiful form, with a ribbed body and linear geometric pattern, painted with a single and a multiple-headed brush prior to firing, which covers the entire vessel. The extent of decoration on this jar means that it was probably a costly item.  \n  \nThe jar has a triangular rim, two loop handles and a round umbilical base. It was made of two parts joined by pressing the clay together, as there is a flange between the shoulder and the ribbed body. The jar was broken into pieces when recovered and has been subsequently mended.","short_description":"A small storage jar from the nymphaeum at Umm Qays with a geometric pattern painted before firing. It was made of two parts, joined at the flange between the shoulder and body. The extent of decoration probably made it a costly item.","type":"Jar, ceramic","holder":"Umm Qays Archaeological Museum.","dates":"Hegira, second half of the 1st century / AD 2nd half of the 7th century.","location":"Umm Qays","dimensions":"Height 47.5 cm, diameter (of rim) 10 cm; diameter (of base) 22 cm.","method_for_datation":"The jar was dated by stratigraphic context and comparison with similar vessels uncovered at other sites.","method_for_provenance":"The jar was found at the nymphaeum of Umm-Qays during excavation, but the original place of production is not known.","provenance":"Umm Qays, Jordan.","obtention":"The jar was uncovered in the course of an archaeological excavation carried out at the nymphaeum (a pleasure garden) at Umm-Qays in 2001.","bibliography":"Harding, G. L., 'Excavations on the Citadel, Amman', *Annual of the Department of Antiquities of Jordan*, Vol. I, 1951, pp.7–16, fig. 4.41 (for similar jars).  \n  \nSmith, R. H., *Pella of the Decapolis*, Vol. I, London 1973, p.233, object no. 281, plate 45, photo 85 (for similar jars).","dynasty":"Early Umayyad","linkcatalogs":"IAM_JO_EN_001","materials":["Wheel-thrown ceramic."],"keywords":["Luxury ware; nymphaeum; pottery."],"author":"Aida Naghawy","copy_editor":"Mandi Gomez"},"da6f318d-80ce-5330-b287-e6ae140c2ff0":{"name":"Frontispiece of a Qur’an.","description":"The first page is decorated with a particularly brilliant illumination. It consists of a rectangular field gilded and stippled with red and black dots and framed by two plaited strips. In the axial plane is a central circle equidistant from two semi-circles. The whole is separated by four half-lozenges. Each one of these contains a stylised, five-lobed, vine-leaf motif inscribed in a circle from which two half-leaves emerge. A palm-leaf motif with abundant floral decoration projects towards the edge of the page.  \nThese different motifs come from the Ifriqiyan decorative repertoire of the classical period: AH 3rd–5th centuries / AD 9th–11th.  \nThe second page contains a Qur'anic text taken from the tenth *sura*, Yunis (Jonas, verses 70-1). The lively gilded *kufic* script is framed in brown. The vowels are indicated by red dot diacritics, with two vertically arranged dots for the *tanwin* and green and blue dots respectively for the *hamza* and the *shadda*, after the method established by Abi al-Aswad. Short diagonal lines are also used for the vowel points.  \nThe divisions between the verses are marked by gilt rosettes inside blue circles. The fifth verse is marked by a gilded roundel with a blue centre and a red circumference. The tenth verse is marked in the margin by a roundel covered with gilded petals. An ornate inner circle contains a gilded inscription on a red background.","short_description":"The first page bears an uncommonly bright illumination. The second page contains a Qur'anic text taken from the *sura* Yunis. The *kufic* script is gold and outlined in brown.","type":"Manuscript, Qur'an, parchment","holder":"Museum of Islamic Art.","dates":"Hegira 4th century / AD 10th century (second half).","location":"Raqqada.","province":"Kairouan.","dimensions":"Length 21 cm, width 15 cm.","method_for_datation":"Palaeographic study reveals that the lettering is identical to that of Qur'ans belonging to the library of the Great Mosque of Kairouan and dated thanks to their deed of gift (*habus*) from the 4th / 10th century. Furthermore, a *fatwa* issued by the great Maliki jurist of Kairouan, Abdullah ibn Abi Zayd (d. 386 / 996) (d. 386 / 996) appears to mention this gilt-inscribed Qur'an, thus narrowing the dating to the second half of the 4th / 10th century.","provenance":"Probably Kairouan.","obtention":"After the abolition of the *habus* foundation in Tunisia, this Qur'an was obtained by the National Library in 1967, and transferred in 1983 to the Centre of Islamic Art and Civilisation at Raqqada. It has been displayed in the Museum of Islamic Art at Raqqada since 1986.","bibliography":"*30 ans au service du patrimoine* (exhibition catalogue), 1986, p.209.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.219.  \n*Tunisie: du christianisme a l'islam* (exhibition catalogue), Lattes, 2001, p.193.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62 and 182–3.","dynasty":"Fatimid–Zirid","materials":["Illuminated and decorated parchment."],"keywords":["Calligraphy; floral decoration; habus;  religious manuscript"],"author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez"},"df881eea-95c8-5db6-825d-d04360d53ffd":{"name":"Mamluk *mashaf*","alternate_name":"Qur’anic manuscript, No. 16.","description":"A *mashaf* (Qur'anic manuscript) bound in deep-brown leather, made up of two covers (front and back) and a library marker. The ornamentation on this binding is reminiscent of Mamluk *mashafs* in that the intertwining geometric lines, by intersecting with each other, create fields of different sizes that are filled with embossed details. The margins of both sides of the binding are delineated with different decorative frames. The inside of the binding is also decorated with an embossed medium-sized circle surrounded by semi-circles.  \nFolio 1b–2a is composed of two pages written in *thuluth* script in black ink; the lettering branching out into illumination. There are 10 lines to each page; each line is surrounded by strokes that encircle the text. Folio 2b–3a forms the frontispiece of the *mashaf.* It comprises two pages that contain two identical panels covering most of the spread, and is composed of decoration made up of intersecting geometric lines. The lines encompass between them fields of varying sizes, and each field holds a golden blossom within it. Each blossom varies in size to fit the geometric zone that contains it. The decorative panels finish at the top and bottom with illuminated bands that include text from the Qur'an “al-Waqi'ah” (“The Event, The Inevitable” 56: 76–82). Vegetal decoration surrounds the bands and panels in gold and blue, framing all four sides of the pages.  \nFolio 3b–4a contains the opening pages of the *mashaf*. Both pages are identically decorated and are written in illuminated *thuluth* script composed of five lines. Ornamentation of climbing vegetal motifs, framing broad rectangular areas, is placed above and below the text as well as on the sides. On the remaining pages the text is written in *thuluth* script in black ink. The pause marks assume the shape of flowers in gold, blue and brown. The name “Majesty” (*al-Jalala)* and the *Basmala* (In the name of Allah, Most Gracious, Most Merciful) are written in gold. The chapter and verse number is white outlined in black; it sits on a wavy gold background on blue, or occasionally red, within a wide gold strip that forms a rectangular frame. The last two pages of the *mashaf*, which contain the last three chapters of the Qur'an, are written in gold.","short_description":"A complete Mamluk Qur’an in two covers of leather with intertwining geometric lines. At the beginning are two identical decorative panels with two blossoms. The text is written in *thuluth* script in black ink. The pause marks assume the shape of flowers in gold, blue and brown. Illumination is used especially in chapter names, a number of verses and where the word ‘Majesty’ appears.","type":"Mashaf, paper, manuscript","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"*Qadi* (Judge) Taj al-Din Abi Ishaq al-Maliki (d. AH 771 / AD 1369).","dates":"Before hegira 771 / AD 1369; during the lifetime of the original owner.","location":"Jerusalem","dimensions":"Length 47 cm, width 32 cm, depth 11 cm.","method_for_datation":"The dating of this *mashaf* is supported by the knowledge of the life-span of the original owner, *Qadi* (Judge) Taj al-Din Abi Ishaq al-Maliki (d. 771 / 1369).","method_for_provenance":"Egypt was narrowed down as the place where the *mashaf* was copied due to the style of the script, the decoration used, as well as the leather binding. The *mashaf* is fairly typical of Egyptian manuscripts of this sort produced in the same period.","provenance":"Egypt.","obtention":"The *mashaf* was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) where it had been endowed by its owner for recitation, to the Islamic Museum in 1927.","bibliography":"Al-'Asqalani, Ahmad bin 'Ali bin Hajar (d. 852 / 1448), *Al-Durar al-Kamina fi al-A'yan al-Mi'a al-Thamina \\[The Valuable Jewellery of the Personalities of the Eighth Century\\],* Vols. 1 and 6, Hyderabad, 1972.  \nSalameh, K., *Al-Makhtutat al-Qur'aniya fi al-Muthaf al-Islamu fi al-Haram al-Sharif \\[Qur'anic Manuscripts in the Islamic Museum in al-Haram al-Sharif*\\], Paris, 2003.  \nAl-Maqrizi, Taqi al-Din, A., (d. 845 / 1442), *Al-Suluk li Marifat Duwal al-Muluk \\[The Right Ways to Know the Lands of the Rulers*\\], Vols. 2 and 3, Cairo, 1970.  \nal-Shaja'i, Shams al-Din, *Al-Malik al-Nasir Muhammad bin Qalawun Salihi wa Awladahu \\[The Ruler, al-Nasir Muhammad bin Qalawun Salihi and his Sons*\\], Fisbadan, 1978.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["Coloured inks on paper with gilding; the binding, embossed leather."],"keywords":["Illumination; leather binding; thuluth; embossed decoration; vegetal decoration; geometric decoration; Qur’an; mashaf; paper; religious manuscript"],"author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez"},"e499d19d-1cd3-574e-b40c-b7a8dc83a218":{"name":"Qur’an.","description":"This Qur’an is written in Mamluk *naskhi* script on sheets of finished (*aharli*) paper with gilding outlined in black. The pages do not have any marginal lines. The leather binding has a flap. The Qur’an opens with an illuminated double-page spread plate, laid out in geometric fashion, in the centre of which is an eight-pointed star containing a Qur’anic verse (*sura* 41, verse 42). All the polygons formed by the geometric decoration are filled with arabesque motifs. The background of the border framing the geometric decoration is painted in black. The border is filled with arabesques and palmettes containing rosebud-like motifs in fading shades of pink, green and blue. This style of painting is known in Mamluk illumination as the 'Sandal style'.  \n  \nThe beginning of each chapter (*sura*) is written in *kufic* calligraphy, while the ends of verses are separated with interlacing rosettes in gold and blue. Every five and ten verses there appear illuminated medallions containing *kufic* script on the margin of the page. This Qur'an was prepared for the Treasury of the Mamluk Sultan Nasir al-Din Muhammad, who ruled three times AH 692–4, 698–708, 709–42 / AD 1293–4, 1299–1309, 1310–41).  \n  \nThe Qur'an was transcribed by the calligrapher Shadi bin Muhammad bin Shadi bin Dawud bin Isa bin Abu Bakr bin Ayyub, a descendent of Saladin (Salah al-Din), founder of the Ayyubid state, in Ramadan 713 / December 1313. The illumination was done by Aydoğdu bin Abdullah al-Badri and Ali bin Muhammad al-Rassam.  \n  \nThis Qur’an is a work of art of the highest quality, produced for presentation to the sultan at a time when the most exquisite and refined works were being produced in all branches of art, a period which may even be called the Renaissance of Islamic art in Egypt.","short_description":"The names of its calligrapher, its illuminator and the person it was presented to make up three important features that stress the artistic value of a Qur’an. A masterpiece of Mamluk book arts, this Qur’an was written in gold with an illumination establishing a school and it bears the name of the sultan it was presented to.","type":"Manuscript, paper","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"The Mamluk Sultan Nasir al-Din Muhammad, (he ascended the throne three times: AH 692–4, 698–708, 709–42 / AD 1293–4, 1299–1309, 1310–41).","dates":"Hegira Ramadan 713 / AD December 1313.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 35 cm, width 26.5 cm.","method_for_datation":"The colophon gives the date as Ramadan 713 / December 1313.","method_for_provenance":"The work bears the hallmarks of the Mamluk style and was produced by court masters of the Mamluk palace in Cairo; therefore, it is highly likely that it was produced in Cairo.","provenance":"Cairo, Egypt.","obtention":"The work was transferred to the Museum in 1914 from the tomb of Sultan Selim II (974–82 / 1566–74) in the Ayasofya Mosque, Istanbul.","bibliography":"Aksoy, Ş., “Der Prachtkoran”, *Die Koranbestände des Museums für Türkische Kunst in Istanbul*, Berlin, 1999, pp.111–23.  \n  \nJames, D., “Some Observation on the Calligrapher and Illuminators of the Koran of Rukn al-Din Baybars al-Jashnagir”, *Muqarnas*, 3, 1984, pp.147–57.  \n  \nJames, D., *Qur'ans of the Mamluks*, London, 1988, pp.58–63.  \n  \nÖlçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.176–9.","artist":"Calligrapher: Shadi bin Muhammad bin Shadi bin Dawud bin Isa bin Abu Bakr bin Ayyub; illuminators: Aydoğdu bin Abdullah al-Badri and Ali bin Muhammad al-Rassam.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","materials":["finished (aharlı) paper, ink, gilding, leather (binding)."],"keywords":["Calligraphy; geometric decoration; leather (binding) religious objects; religious manuscript."],"author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"eb481f86-d60b-5344-8c63-a9deba6327fa":{"name":"Buinaniya Madrasa.","description":"This monument from the AH 8th / AD 14th century is distinctive from the other *madrasas* (religious schools) in Fez because of its great mosque, endowed with a minaret and a *minbar*, nowadays exhibited at the Batha Museum, as well as its two classrooms located opposite one another, its large ablutions hall and its hydraulic clock located opposite the main gateway of the *madrasa*.  \nOn the north side of the *madrasa*, two adjacent doors open onto al-Tal'a Lakbira street, and a third door opens on the south side onto al-Tal'a Sghira street. Each door gives access to a hallway that leads to a staircase. The hallway on the south side is bent. The stairs in the two north hallways give access to a courtyard, around which the different elements of the building stand. The rectangular courtyard is paved entirely with marble and at its centre are the remains of a basin.  \nThe Wadi Lamtiyyin, one of the branches of the Wadi Fez, crosses the south side of the courtyard and separates it from the mosque. The main façades of the courtyard lead to a classroom covered by a sculpted wood dome. The east and west galleries extend behind the two classrooms. They are separated from a courtyard by *mashrabiyya* (wooden lattice screens) set between the pillars.  \nTwo small bridges, built on either side of the wadi, give access to the rectangular prayer room. Its north side opens out onto the courtyard through five large openings. The mosque is divided into two rows parallel to the south wall. The arcade that separates them is made up of five arches supported by six yellow-white marble columns. The *mihrab* set in the middle of the south wall is richly decorated. The square minaret rises from the northwest corner.  \nOpposite the main doorway of the *madrasa*, on the other side of the Tal'a Lakbira road, is the entrance to the *dar al-wudu* (ablutions house). The famous *magana* (hydraulic clock) is on the wall overlooking the road.  \nThe *madrasa* has been restored several times since the AH 11th / AD 17th century following the earthquake suffered by the town. At the end of the AH 12th / AD 18th century, during the reign of the 'Alawid Sultan Mulay Sliman (r. AH 1207–38 / AD 1792–1822) entire sections were reconstructed, and in the 20th century, major restoration work was carried out to the load-bearing structure and the plaster, wood and *zellij* (small tiles) decoration.","short_description":"Built in Fez in AH 751 / AD 1351 by Abu Inan to train his administrators and theologians, this is the largest and most beautiful of the *madrasas* built by the Marinids. The complex of buildings includes a mosque, two classrooms, one large ablutions room and an outbuilding known as the 'House of Clocks' (Dar Almagana). The courtyard of the *madrasa* is paved entirely in marble, with a basin at its centre, of which little has survived. It has been restored on several occasions, with the latest project being completed in 2004.","dates":"Hegira 751–6 / AD 1351–6.","location":"Fez (Old Town / medina).","method_for_datation":"The *madrasa* has been dated using an inscription included in the *zellij* that cover the interior walls. The inscription bears the name of Abu 'Inan and the date of its inauguration in 756 / 1357.","bibliography":"Bel., A., *Inscriptions arabes de Fès*, offprint of *Journal Asiatique* 1917–1919, Paris.  \nGolvin, L., “La medersa Bouinaniya”, in *Fès médiévale* (ed. M. Mezzine), Paris 1992, pp.92–9.  \nPérétié, M. A., “Les madrasas de Fas”, *Archives marocaines*, Vol. 18, 1912.  \nTerrasse, C., *Médersas du Maroc*, Paris, 1927.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.124–6.","patrons":"Founded by Abu ‘Inan (AH 751–6 / AD 1351–6).","dynasty":"Marinid.","materials":[],"keywords":["Madrasa; mosque; stucco; mosaic"],"author":"Mohamed Mezzine","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"eb797dee-46d6-5927-9b28-91cd43374b40":{"name":"Kutubiya Mosque.","description":"Two 'mosques of Kutubiya' (the booksellers' quarter) were constructed in the space of a few years by 'Abd al-Mu'min. The later of the two has survived to our times. The two buildings were connected at a slight angle, and consequently the surviving Kutubiya is a trapezium shape and not a rectangle, as one of its outer walls belonged to its twin.  \nThe size of the building is impressive: its sides measure around 92 m and 90 m lengthways and 66 m and 57 m widthways.  \nThe internal layout follows a classical Almohad pattern: the axial nave and the nave that runs along the *qibla* are wider than the others and form a T shape.  \nThere are eight naves on either side of the axial nave. The last four extend to the opposite wall on either side of the very wide and shallow courtyard, to which a very long gallery has been added to maintain a regular shape. The centre of the courtyard is occupied by a circular ablutions basin.  \nStone and brick have been used variously: on the east side, the gateways are all in brick, while the gateways on the west side are made of brick and stone. The pillars that determine the shape of the structures are cruciform or semi-cruciform and they are made of brick covered with a thick coat of plaster. They are flanked by false engaged columns with floral capitals. The transverse nave that runs alongside the *qibla* is noteworthy for its large *muqarnas* (honeycomb) arches resting on simple columns, and for its five domes: one before the *mihrab*, two at the ends and two in between.  \nThese domes have deep, smaller cupolas and extensive *muqarnas*.  \nThe *mihrab* niche is behind a very high, very large horseshoe arch surrounded by two concentric arches decorated with knotwork beading. The spandrels carved in relief support a 16-lobe cupola. A large band of polygonal knotwork frames the decorated arch and the spandrels.  \nAbove the *minbar*, a five-arcature (blind arcade) frieze is crowned with a wide band of polygonal knotwork.  \nThis delicately finished decorative ensemble gives a strong impression of equilibrium, power and serenity.  \nThe minaret, with it square base and sides 12.80 m long, rises to a total height of 77 m to the top of the spire. It is made of large stones mixed with brick in the lantern.  \nThe four sides of the tower are decorated differently, with large panels of complex and luxurious arcatures at various different heights that bring together different combinations of arches and knotwork. Like the minaret, the lantern is crowned with indented tapered merlons around a platform filled with a thick-ribbed dome.  \nThe Kutubiya is one of the most important vestiges of the Almohad dynasty.","short_description":"The current, imposing Kutubiya is the second mosque of this name built by the Almohad 'Abd al-Mu'min, the first destroyed as it was wrongly oriented.  \nThe building consists of 17 naves running lengthways, and the transverse nave beside the *qibla* wall has five large arches and five *muqarnas* (honeycomb) cupolas. The vast *mihrab* arch is sumptuously decorated. The rectangular courtyard has a circular ablutions basin. The square-plan minaret rises 77 m and is decorated differently on each face. In both architecture and decoration, this is one of the crowning achievements of Islamic art in the West.","dates":"Hegira 6th century / AD 12th century.","location":"Marrakesh.","method_for_datation":"Ibn Bashkuwal, quoted by al-Maqqari (*c.* 1592–1632) after he related the story of the transfer of the 'Uthman Qur'an from Córdoba to Marrakesh in 1157, adds: 'During this time, 'Abd al-Mu'min ordered the building of the Great Mosque of the capital at Marrakesh. Work started in the first days of Rabi II 553 \\[2–10 May 1158\\]. It was inaugurated with Friday prayers on 15 Shaban as indicated above \\[11 September 1158\\]' (cited by Deverdun, 1959).","bibliography":"Basset, H. et Terrasse, H., “Sanctuaires et forteresses almohades”, *Hespéris*, 1924.  \nDeverdun, G., “*Marrakech, des origines à 1912*”, Rabat, 1959, pp.172–94.  \nMarçais, G., *L'Architecture musulmane d'Occident*, Paris, 1954, pp.206, 244.  \nAl-Maqqari, *Nafh at-tib min ghosn al-andalus* (Analects on the History and Literature of the Arabs in Spain), Leiden, 1855–61.","patrons":"Caliph ‘Abd al-Mu’min (r. AH 524–58 / AD 1130–63).","dynasty":"Almohad.","materials":[],"keywords":["Place of worship; stone; brick; floral decoration; geometric decoration; muqarnas."],"author":"Kamal Lakhdar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"f396e33d-9645-55ac-affd-ff0c3b5c089a":{"name":"Page from a Qur’an.","description":"This Qur'an was written in gilt *kufic* script outlined in brown ink (sepia) on gazelle skin. The verses on the page shown (112: 3– 113: 1) are set in a richly illuminated frame, also gilded and outlined in brown ink. There are no diacritical marks. Vowel marks are shown as red or black dots. The beginning of a new chapter (*sura*) is only indicated by the *basmala* (the formula: 'In the Name of God, the Compassionate, the Merciful'). Three diagonal lines are placed at the end of the verses.  \n  \nThe Qur'an page is framed by a wide border delineated by narrow bands. The rectangles formed by the border bands form joining sections. The large spaces within these rectangles are filled with decoration including spiralling tendrils with leaves and flowers.  \n  \nOnly five leaves remain to us from this Qur'an, which was made in the AH 3rd–4th / AD 9th–10th centuries in or . Written in *kufic* script, gilded and richly illuminated, it must have been made for an important mosque or ruler.","short_description":"Calligraphy developed as a result of careful copying of the Holy Qur'an in order to make it accessible to the masses. This page is written in *kufic* script, named after the calligraphic centre in the city of Kufa, and its character is plain and rigid yet striking.","type":"Manuscript, Qur'an, gazelle skin","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 3rd–4th centuries / AD 9th–10th centuries.","location":"Sultanahmet","province":"Istanbul.","dimensions":"Height 27 cm, width 39 cm.","method_for_datation":"The style of writing, the lack of diacritic marks, and the designs used in the illumination all suggest a date of the 3rd–4th / AD 9th–10th centuries.","method_for_provenance":"The Abbasid Empire was centred in Baghdad, and one of its most important regions was Syria. For this reason the object is thought to have been produced either in Iraq or in Syria.","provenance":"Iraq or Syria.","obtention":"Ismet Bey, the mayor of Istanbul and a member of the board of directors of the Museum of Islamic Foundations (the old name for the Museum of Turkish and Islamic Arts), visited the Umayyad Mosque in Damascus while travelling. He had a number of items in the collection at *Qubbat al-Hazine* (Treasury) of the mosque, including this Qur'an, transferred to the Museum where they were registered in the inventory in around 1332 / 1914.","bibliography":"ölçer, N. *et al*, *In Pursuit of Excellence: Works of Art from the Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.15.  \n  \nölçer, N. *et al*, *Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.44–5.","dynasty":"Abbasid","materials":["Gazelle skin with gilding, the writing in brown ink (sepia)."],"keywords":["Floral decoration; gold (gilding); leather; parchment; religious object; religious manuscript"],"author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez"},"f68ad2e3-66ed-57d2-8adb-c0e1504537b3":{"name":"Glazed bowl.","description":"Glazed bowl with rounded everted rim, circular mouth, semi-oval body and flat base. The object has an exterior finish in honey-coloured monochrome glaze, and a polychrome glaze of white, green and purple in the interior, representing a plant motif consisting of a radial composition of eight lotus flowers topped by another set of eight oval lotus flowers. On the rim is a composition in four parts with alternating semi-circles and phytomorphic motifs. It has a defect at the bottom caused by the glaze coming into contact with another object in the kiln. The object has been restored.","short_description":"Glazed bowl with a plant motif consisting of a radial composition of eight triangular lotus flowers each topped with an oval lotus flower. This piece is similar to others found in Madinat al-Zahra and probably came from the Córdoba region.","type":"Bowl, ceramic","holder":"Museum of Mértola.","dates":"Hegira 339–90 / AD 950–1000.","location":"Mértola.","province":"Beja.","dimensions":"Height 6 cm, maximum diameter 29 cm, diameter (of base) 17 cm.","method_for_datation":"The stratigraphic context in which the object was found was very disordered, which led to its being dated to the second half of the 4th / 10th century, by comparison with objects of identical form found in Madinat al-Zahra (Córdoba, Spain).","method_for_provenance":"The shape, ornamental theme and type of paste used are very similar to ceramics from the Córdoba area.","provenance":"Probably Córdoba (Spain).","obtention":"Found in the archaeological excavations carried out by the Campo Arqueológico de Mértola in the citadel of the Castle of Mértola.","bibliography":"Gómez Martínez, S., “Catálogo da Cerâmica”, in *Museu de Mértola. Arte Islâmica*, ed. S. Macias, Mértola, 2001, p.111.  \nGómez Martínez, S., “La Cerámica de Verde y Morado de Mértola”, *Arqueologia Medieval*, no. 3, 1994, p.125.  \nTorres, C. and Gómez, S., “Le Vert et Brun au Portugal”, in *Le Vert et le Brun de Kairouan à Avignon: Céramiques du Xe au XVe Siècle*,exhibition catalogue, Marseilles, 1995, pp.98–102.  \nTorres, C. and Macias, S. (eds.), *O Portugal Islâmico*, Lisbon, 1998, p.97.","dynasty":"Umayyad al-Andalus / caliphate period","linkcatalogs":"IAM_PT_EN_001","materials":["Glazed ceramic made with compact pink paste, modelled on a wheel, fired in an oxidising atmosphere and decorated in green and purple."],"keywords":["floral decoration; tableware"],"author":"Susana Gómez Martínez","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"},"fa91a1b4-7f04-56f0-8661-0bd4d58ccac8":{"name":"Qur’an binding.","description":"This binding for a single-volume Almohad Qur'an transcribed in Andalusian cursive characters on parchment has the same square format as the manuscript that it protects. It consists of two sides joined by hinges and closed by an embossed red-leather flap reinforced with card. It is decorated with abundant geometric and floral patterns.  \nThe central composition of the sides consists of an eight-pointed star radiating a variety of polygons formed by geometric knotwork whose lines are decorated using a gilded groove pattern. It is surrounded by three superposed frames of different widths decorated with knotwork, double braids and mixtilinear knotwork lines whose interstices are filled with small, finely gilt-tooled stylised fleurons. The hinges, which closely fit the volume, are decorated with bouquets of roses and fleurons inscribed within the knots of a small interlaced chain.  \nThe density of the decoration suggests that this binding is unlikely to be a contemporary of the Qur'an that it protects, and probably was not made before the Marinid period. It has also undoubtedly been restored subsequently, as suggested by its state of preservation and the oriental floral motifs painted on the back of the hinges. Indeed, these Turco-Persian rose bouquets did not become part of the Moroccan artistic repertoire until the beginning of the AH 11th / AD 17th century.","short_description":"This binding, like the Almohad Qur'an that it protects, is square-shaped, although they were not made at the same time. It includes traditional geometric motifs as well as floral motifs, including rosettes of Eastern inspiration, a late addition to the Moroccan decorative repertoire.","type":"Qur'an, binding, leather","holder":"Royal Library","initial_owner":"*Habus* (endowment).","dates":"Binding: Hegira 7th–8th centuries / AD 13th–14th centuries, Qur'an: Hegira 531 / AD 1178.","location":"Rabat.","dimensions":"Height 16.2 cm, width 15.5 cm","method_for_datation":"Through comparison with other bindings from the Almohad period and later held in Moroccan museums. For the Qur'an, the final page of the manuscript bears the date on which it was copied.","method_for_provenance":"The decorative style on the binding is Moroccan.","provenance":"Morocco.","bibliography":"Al-Razi, J. and Varichon, A., *6000 ans d'art au Maroc*, catalogue, Paris, 1990.  \nRicard, P., “Reliures marocaines du XIIIe siècle”, *Hespéris* XVII, 1933, pp.109–27.  \nSefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, Vol. 6, Rabat, 1987, p.65.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.108–9.","dynasty":"Almohad","linkcatalogs":"IAM_MA_EN_001","materials":["Embossed leather with gilt tooling."],"keywords":["religious object; calligraphy; geometric decoration; floral decoration"],"author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen"},"fbf4d4a8-5487-5f14-80a9-c326b47bc923":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with staggered rows of diagonally ascending zigzag bands set at regular intervals, in red, which are further enhanced by a pattern, in miniature, of ‘tiger stripes’ and three circles (known as *chintamani*), rendered in green. The *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Silk brocades like the one used for this fragmented child kaftan were made in the Ottoman empire between the AH 10th and 11th / AD 16th and 17th centuries, first in the imperial workshops at Bursa. Later in the 10th- / 16th-century court workshops were also set up in Istanbul, the Ottoman capital.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh","province":"Scotland","dimensions":"Length 82.5 cm, width 77.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of similar Ottoman textiles).","dynasty":"Ottoman","materials":["Silk, cotton and silver brocade (*kemha*)."],"keywords":["Kemha; costume; Ottoman costume; textile; cintamani"],"author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez"},"feee4da0-04af-5864-b229-a94005de718d":{"name":"Glazed bowl.","description":"Glazed bowl with rounded rim, circular mouth, slightly carinate hemispherical body and convex base with diagonal foot-ring. The exterior is glazed in honey-coloured monochrome and the interior is decorated in the *cuerda seca* technique in which the white, green and honey colours of the glaze are separated by lines of manganese. The decorative theme is a large flower created by a radial geometric composition which occupies all of the decorated space and which may correspond to a lotus flower viewed from above. Examples identical to this object have been found in various parts of the western Mediterranean, in particular in the citadel of Málaga, in Cartagena, Palma de Mallorca (Spain), Pisa (Italy) and Ceuta (Morocco). The object has been restored.","short_description":"Bowl decorated entirely using *cuerda seca* and decorated with a large flower created by a geometric radial pattern that occupies all of the decorative space. The central motif is a lotus flower seen from above. Similar pieces have been found around the western Mediterranean.","type":"Bowl, ceramic","holder":"Museum of Mértola.","dates":"Hegira 6th century / AD 12th century.","location":"Mértola.","province":"Beja.","dimensions":"Height 8.5 cm, diameter (of mouth) 26 cm, diameter (of base) 10.5 cm.","method_for_datation":"The stratigraphic context in which the object was found was very disordered, which led to its being dated to the 6th / 12th century by comparison with objects of similar shape and decorative technique from Málaga and Almería.","method_for_provenance":"The abundance of this type of ceramic in Málaga and Almería (Spain), where kilns have been found in which they were made, has led researchers to attribute its production to these towns.","provenance":"Almería or Málaga, Spain.","obtention":"Found in the archaeological excavations carried out by the Campo Arqueológico de Mértola in the citadel of the Castle of Mértola.","bibliography":"Gómez Martínez, S., *A Cerâmica em Corda Seca de Mértola*, Mértola, 2002.  \nTorres, C., “Um Lote Cerâmico da Mértola Islâmica”, in *I Congreso de Arqueología Medieval Española. Huesca, 1985*, vol. IV, Saragossa, 1986, pp.193–228 .  \nTorres, C. and Gómez, S., “Le Vert et Brun au Portugal”, in *Le Vert et le Brun de Kairouan à Avignon: Céramiques du Xe au XVe Siècle*,exhibition catalogue, Marseilles, 1995, pp.98–102.  \nTorres, C. and Macias, S. (eds.), *O Portugal Islâmico*, Lisbon, 1998, p.92.","dynasty":"Almoravid or Almohad","linkcatalogs":"IAM_PT_EN_001","materials":["Ceramic made from medium-grained orange-coloured paste, modelled on a potter’s wheel, fired in an oxidising atmosphere and glazed using the cuerda seca technique throughout."],"keywords":["cuerda seca; ceramic; trade"],"author":"Susana Gómez Martínez","translator":"Gilla Evans","translation_copy_editor":"Monica Allen"}}