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+{"025b84b0-d00d-5c21-a749-98f3596f9d77":{"name":"Boots","description":"Men’s leather riding boots. The applications of leather in different colours, with representation of geometric patterns, follow the customs and superstitions of the Hausa. The Hausa possessed, in every community, workshops for producing and dyeing articles of leather, though the most out-standing locations are those of Kano and Sokoto in Nigeria; places producing, since the medieval times, the thinnest skins used in Europe. The skins are those of goat, preferably of the males, and the dye receives the local name of *bagaruwa*. This product is usually processed by women, and it is also used for treating dysentery. The products of the Hausa are distributed, by trade, across wide zones of the Sahel and Subsaharian Africa.","type":"Leather","holder":"National Museum of Anthropology","dates":"20th century","location":"Madrid","copy_editor":"Anne Dowell"},"02df0b83-09c3-55cc-a244-0af5e21a856d":{"name":"Lacquer-painted pen box signed by Hajji Muhammad","short_description":"The exterior of the lid is painted with three Persian couples, shown in various stages of amorous dalliance, and set against a background with trees and European-style buildings. Two female musicians are at the right-hand end. A brilliant bird-and-flower study, painted against a gold-leaf background, is on the inside of the lid. The sides of the box are painted with four landscapes of European inspiration, separated by bust-portraits in oval medallions. The red base is painted with vine scrolls in gold.  \nThe top of the lid bears a signature and a date, but these appear to have been deliberately defaced. Although the name Muhammad and the word *sana* are what remains now, in the 1970s the signature was read in full by Chahryar Adle as *raqimuhu hajji Muhammad* (‘painted by Hajji Muhammad’) and the date as 1124.  \nIn his study of this pen box, Chahryar Adle has suggested that the three couples represent the triumph of mystic love over mere carnality.","type":"Pen box; papier mâché; lacquer-painting","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Dated Hejira 1124 / AD 1712–13","location":"London","dimensions":"36.5 x 8.8 x 8.2cm","method_for_datation":"Object is signed and dated.","provenance":"Iran, Isfahan","bibliography":"Adle, C., *Ecriture de l’union: Reflets du temps des troubles. Œuvre picturale (1083–1124/ 1673–1712) de Hâjî Mohammad*, Paris: Librairie de Nobele, 1980: 9–28.  \nKhalili, N.D., Robinson, B.W., and Stanley, T., *Lacquer of the Islamic Lands*, London: The Nasser D. Khalili Collection of Islamic Art, volume 23, Part One, 1996: 54–6, 58–9, cat.26.","keywords":["European influence","Iran","lacquerwork","musicians","papier mâché","Safavid"],"materials":["all lined with leather","Papier-mâché body and lift-off lid","with a lift-out inner compartment"]},"07b4eba1-8a24-5d6c-a1d8-4b6bac14fb25":{"name":"Qur’an in 30 volumes","short_description":"It is a tradition for Qur’an *mushaf*s in China to be bound in 30 separate *juz’* (volumes). Each volume of this particular Qur’an is bound in dark varnished leather decorated in gold with lotus blossoms and cloud scroll foliage. The traditional Chinese decorative motifs frame a calligraphic roundel, inscribed with a verse from the Qur'an: \"None shall touch but those who are clean\" (56:79) It is written in *Sini* script in black ink with polychrome and gold verse markers. Each folio displays five lines of text. The border decoration identifies with both Islamic and Chinese concepts. Arabic script was incorporated within designs such as half moons and flags, inspired by the Chinese culture and heritage. The border decorations extend into the margins from the ornamental frame, in a manner popular to Chinese Qur’ans produced during the Qing dynasty. The high quality of this set suggests that it was probably owned by a nobleman or a wealthy individual.","type":"Manuscript","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1100 /c. AD 1700","location":"Kuala Lumpur","dimensions":"27 x 19.5 x 3cm","provenance":"China","bibliography":"Islamic Arts Museum Malaysia, *Mightier than the Sword*, Kuala Lumpur: IAMM Publications, 2004: 138, 140, 141.  \n*Islamic Arts Museum Malaysia*, Volume I, Kuala Lumpur: IAMM Publications, 2002: 162, 164, 165. Islamic Arts Museum Malaysia, *Al-Quran: The Sacred Art Of Revelation*, Kuala Lumpur: IAMM Publications, 2006 & 2014.","materials":["Paper bound in dark varnished leather in 30-separated juz’"]},"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.","linkcatalogs":"IAM_EG_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["geometric decoration","geometric patterns","gilding","Qur’an binding"],"materials":["embossed","gilded and painted leather."]},"15311622-4522-596a-a0dc-620f3b4687fe":{"name":"Knife in leather sheath","short_description":"The Kunstkammer of Rudolf II contained over 100 Turkish knives and daggers. This is a particularly sumptuous example of these knives used mainly as flatware; its iron handle is decorated with gold damascene work. The leather scabbard is embellished with rubies, turquoises and Arab inscriptions.","type":"Tableware","holder":"Kunsthistorisches Museum","dates":"Hegira 11th century / AD 17th century","location":"Vienna","dimensions":"Length: 24.9cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Listed in the AD 1875 inventory of the imperial treasury in Vienna","provenance":"Turkey?","obtention":"Imperial treasury","bibliography":"Leitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.","copy_editor":"Liz Cooper","keywords":["damascening","epigraphic decoration","Habsburg","inscription","kitchenware","military object","Ottoman army","Ottoman-Austrian relations","Rudolf II","weapon"],"materials":["Gold damascening on iron","leather","rubies","tourqoises"]},"18eaab56-4106-57be-8e1b-519c5c4f9546":{"name":"Arrow quiver","short_description":"This arrow quiver was in the collection of Archduke Ferdinand II of Tyrol (AD 1529–95) at Ambras Castle near Innsbruck. The quiver is edged in red and decorated all over with delicate vines made of white leather set with dark-blue lamellae (scales).","type":"Arms","holder":"Kunsthistorisches Museum","dates":"Hegira c. 956–957 / AD c. 1550","location":"Vienna","dimensions":"Height: 42cm, Width: 26cm","method_for_datation":"Collection Ambras Castle, Inventory AD 1583","method_for_provenance":"Collection Ambras Castle, Inventory AD 1583","provenance":"Turkey?","obtention":"Collection Ambras Castle, Inventory AD 1583","bibliography":"Beaufort-Spontin, Christian and Pfaffenbichler, Matthias, *Meisterwerke der Hofjagd- und Rüstkammer*, Wien: Kunsthistorisches Museum Wien, 2005.  \nGamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nGamber, Ortwin, Thomas, Bruno and Schedelmann, Hans, *Armi e Armature Europee*, Milan: Bramante, 1974.  \nThomas, Bruno, \"Aus der Waffensammlung in der Neuen Burg zu Wien: Orientalische Kostbarkeiten\", *Bustan*, 4 : 5 (1963/64).","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["armours","arms","collection","military object","military wear","Ottoman arms","ottoman empire","quiver","weapon"],"materials":["Coloured leather","Linen"]},"19148556-ea6b-5b21-8cbd-bc83909a1343":{"name":"Binding/Book cover","description":"Arabian leather binding bought for the Museum of Applied Arts in Vienna.","type":"Leatherwork","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"17th century","location":"Vienna","provenance":"Arabian Peninsula (?)","copy_editor":"Daniel de la Vega"},"1eb2a94c-9bbe-50cd-9506-87b470659f68":{"name":"Moorish shield (*adarga*)","short_description":"The shape of this shield is derived from North African and Moorish models. The name of this kidney-shaped shield also informed the name of an oval shield popular in the Occident, the *Tartsche*. The *adarga* is covered with colourful silk embroidery, suggesting a high-ranking owner. The shield, now in Vienna, probably entered the Habsburg collections when Juana I of Castile (AD 1479–1555) married Philip I (Philip the Handsome) (AD 1478–1506). In the late 16th century the shield was in the collection of Archduke Ferdinand II (AD 1529–95) at Ambras Castle near Innsbruck.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira before 897 / AD before 1492","location":"Vienna","dimensions":"Height: 89cm, Width: 75cm","method_for_datation":"Craftsmanship","method_for_provenance":"Castle Ambras inventory","provenance":"Spain","obtention":"Most likely Battle of Lucena in AD 1483 and from there through Philip I or Charles V to Austria","bibliography":"Beaufort-Spontin, Christian and Pfaffenbichler, Matthias, *Meisterwerke der Hofjagd- und Rüstkammer*, Wien: Kunsthistorisches Museum Wien, 2005.  \nDodds, Jerrilynn (ed), *Al-Andalus. Las artes islamicas en espana/The Art of Islamic Spain*, New York: The Metropolitan Museum, 1992.  \nThomas, Bruno, \"Aus der Waffensammlung in der Neuen Burg zu Wien: Orientalische Kostbarkeiten\", *Bustan*, 4 : 5 (1963/64).  \nThomas, Bruno and Gamber, Ortwin, *Katalog der Leibrüstkammer I. Teil. Der Zeitraum von 500 bis 1530*, Wien: Verlag Anton Schroll & Co, 1976.","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["arms","collection","embroidery","Grenada","military object","Moorish","Muslim Spain","shield","silk","targe","weapon"],"materials":["coloured silk embroidery","Natural coloured calf leather"]},"25c0e794-1eb1-5442-a5fb-745b80a3d212":{"name":"Beaker","alternate_name":"The Luck of Edenhall","short_description":"This enamelled glass beaker was made in Egypt or Syria around the 13th or 14th century. In this region lustre painted decoration gave way to enamelled glass, where brightly coloured glass in reds, blues, blacks, greens, whites and yellows was ground with oil and painted on to the glass surface. Once refired this mixture would fuse to the surface creating elaborate patterned decoration.  \n  \nThe beaker arrived in Europe from Syria soon after it was made, possibly in the possession of a knight returning from the crusades. A protective leather case was made for it and it was preserved in the country seat of the Musgrave family, Edenhall in north-west England. By the 18th century the beaker had attained a mythic status, where it was thought to have been left behind by a group of revelling fairies. Supposedly, upon being disturbed in their reveries, the fairies placed a charm on the beaker, stating 'If this cup should break or fall, farewell the luck of Edenhall!', giving the beaker its familiar title.","holder":"Victoria & Albert Museum","dates":"13th/14th century","location":"London","dimensions":"Height: 16cm","provenance":"Probably Egypt or Syria","obtention":"Recorded as in the possession of the Musgrave family of Edenhall, Cumberland from the 18th century, but it may have been with them for a number of centuries beforehand. It was acquired by the V&A in 1959 after being on long-term loan since 1926.","bibliography":"Ayers, J., *Oriental Art in the Victoria and Albert Museum*, London: V&A Publications, 1983: 114.  \nDavies, Glyn, \"New Light on the Luck of Edenhall\", *The Burlington Magazine*, CLII (2010): 4-7.  \nLiefkes, Reino (ed), *Glass*, London: V&A Publications, 1997: 30.  \nStanley, Tim, et al (eds), *Palace and Mosque: Islamic Art from the Middle East*, London: V&A Publications, 2004.","author":"Simon Spier","materials":["enamelled and gilded","Glass beaker","with tooled leather case"]},"325839a7-fb82-5966-967a-24ba19b0f99a":{"name":"Book binding","short_description":"This leather book binding is decorated with gold and silver lacquer painting. Made in a 16th-century Persian court workshop, the binding demonstrates the immense importance of book art in Islamic cultures. The lacquer paintings on leather depict a paradisal landscape: bird fly amongst the clouds in the sky and sit in the tree and surrounding bushes. A cheetah fights another animal to the left, a tiger battles a deer on the right, and two dragons duel beneath the tree.  \nMythic and fantastical animals such as the phoenix, qilin, and dragons, along with the clouds and cranes in the sky, reveal the Chinese influence on this artwork. The lacquer painting technique also originated in China. Lacquer book binding, however, is a Persian invention from late 15th-century Iran where illumination and book bindery merge, turning the protective cover into a work of pictorial art. The fighting animals are a pre-Islamic motif, which can indicate Paradise. The delicacy and vividness of the painting make this cover an outstanding example of Persian book binding paintings.","type":"Book binding","holder":"MKG Museum for Applied Arts","dates":"Hegira 11th century / AD 16th century","location":"Hamburg","dimensions":"Height: 18cm, Length: 33cm","method_for_datation":"The decoration and technique are similar to book bindings produced in 16th century in Iran.","method_for_provenance":"Purchased from D. Kélékian, Paris.","provenance":"Iran, probably Isfahan","obtention":"Purchased in 1894.","bibliography":"Ellis, C., \"Islamische Lüsterkeramik und Minai-Ware in der Sammlung des Museums für Kunst und Gewerbe,\" *Jahrbuch des Museums für Kunst und Gewerbe Hamburg*, 14 (1995): 15-28.  \nKohlhausen, H., *Islamische Kleinkunst*, Hamburg: Museum für Kunst und Gewerbe Hamburg, 1930.","copy_editor":"Caitlin Link","keywords":["Bookbinding","Chinese influence"],"materials":["Gold","lacquer painting","leather","Silver"]},"3db5f07f-85de-5f83-b35f-8ab272489650":{"name":"Qur’an","short_description":"According to the colophon, this *mushaf* was completed in 1112/1700 by Ahmad al-Nayrizi, one of the most prolific calligraphers of the late Safavid period. Al-Nayrizi ranks among the greatest Iranian masters of *naskhi* script. The illumination, a later addition, was completed in 1237/1821, and is dedicated to Fath Ali Shah, the second ruler of the Qajar dynasty; this is mentioned in the colophon and further evidenced by the presence throughout the manuscript of his seal-like cartouches.","type":"Manuscript","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 1237 / AD 1821","location":"Kuala Lumpur","dimensions":"41.9 x 27.4 x 6.5cm","provenance":"Persia","bibliography":"Islamic Arts Museum Malaysia, *Al-Quran: The Sacred Art of Revelation*, Kuala Lumpur: IAMM Publications, 2004: 254–259.","materials":["bound in leather with blind stamping","Paper written in black ink within cloud bands against gold ground"]},"3e1aef10-1e63-5ce9-8823-475ed9609e87":{"name":"Qur’an *Mushaf*","short_description":"This Ottoman Qur’an is attributed to the master calligrapher, Hafiz Uthman (Hafiz Osman, d. 1698), writing in the style of his mentor, Shaykh Hamd Allah (Šeyh Hamdullah). The opening pages are lavishly illuminated, with white Thuluth Sura headings on gold rectangular grounds; polychrome floral composition creating zigzag border frame; and text enclosed in a cloud band, surrounded by a variety of floral units. A further embellishment is the flap-fitted case decorated in rococo style with silk and metal thread. At its centre stands the *tuğra* or imperial monogram of Sultan ʽAbd al-Majid I (1823–1861).","type":"Manuscript","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 1111 / AD 1700","location":"Kuala Lumpur","dimensions":"25.5 x 17.2 x 5.1cm","provenance":"Turkey","bibliography":"Islamic Arts Museum Malaysia, *Al-Quran: The Sacred Art of Revelation*, Kuala Lumpur: IAMM Publications, 2004: 190-195.","materials":["Paper bound in leather with gold-stamping"]},"4161509c-5db0-57a2-b378-312463a1e2f2":{"name":"Qur’an Bag","short_description":"This Moroccan leather bag would encase a copy of a Qur’an or other religious texts to protect the manuscripts against dust, moisture and dirt. Silver thread embroiders the Islamic Star known as *Rub Al Hizb* with two overlapping squares, floral vines and Arabic calligraphy in the ancient Moroccan style. The calligraphy reads \"Prophet Muhammed - Peace Be Upon Him\".  \n  \nThe silver thread and calligraphy transform the leather bag into a talismanic object, casting protection upon the Qur’an and the owner. North African Qur’an cases often embodied a twofold protective function: book cover and talisman.  \n  \nFurthermore, the case exemplifies the craftsmanship of Maghrebi artisans, including the traditional skills of leatherwork and metal-stitching.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 13cm, Width: 14cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","provenance":"Morocco","obtention":"Purchase","bibliography":"Bernasek, L., *Artistry of the Everyday (Vol. 2)*, Harvard: Harvard University Press, 2008.  \nCohen, Anouk, \"The Quran in Practice in Morocco\", *Material Religion*, 17: 1 (2021): 124–127.  \nMichon, J., \"Traditional arts and crafts in morocco\", *Islamic Quarterly*, 26: 2 (1982): 67.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco","North Africa","Quran case"],"materials":["embroidery","leather","Silver","Wood"]},"4b89be48-3d71-5264-8d56-23a74fdd63ff":{"name":"Water-bottle with stoppers","alternate_name":"water-bottle; stopper (two)","description":"Pilgrim's water-bottle made of brown leather with stitched leather elements in red and green. Also includes an iron chain for suspension and two turned wooden stoppers (b-c). Used by pilgrims travelling from Damascus to Mecca.","type":"Bottle","holder":"The British Museum","owner":"The British Museum","dates":"19th century","location":"London","dimensions":"Bottle: Height: 42cm, width: 25cm; Each stopper: Height: 13cm, weight: 900 g","place_of_production":"Syria","provenance":"Syria","obtention":"Bequeathed by Henry Christy in 1865","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_As-4247-a-c","keywords":["bottle","Mecca","Pilgrim","travel","water"],"materials":["Iron","leather","Wood"]},"59e106e1-b0a2-5505-af4e-7abfde04a90a":{"name":"Belt","description":"Leather belt embellished with silver pieces decorated in niello with patterns and symbols at the end. Two silver rosette buckles at the end form a locking mechanism. This is an object produced by Circassian craftsmen. The immigration of the Circassians to the Ottoman Empire started in the middle of 19th century and continued until 1900. The Circassian communities migrated mostly to the eastern Arab countries, with which they had spiritual and religious links. They brought with them their traditional activities, crafts and decorative patterns. All these elements soon mingled with the local Arab society and became part of the social and economic landscape of the Arab countries.","type":"Clothing ornament; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"5aeb09f1-07de-5c77-8e6d-0fafbac68af4":{"name":"Binding.","description":"Back board. Italian format. In the centre of the panel is a magnificent nine-lobed fleuron, enclosed within three rings. From these rings emerge two symmetrical spear motifs set along the longitudinal axis and four furled, tri-lobed leaves pointing towards each corner. There is a simple border of lines, each 4 mm wide. This type of floral design is found on many funerary stones in Kairouan from the AH mid-4th / AD 10th century to the middle of the 5th / 11th century and probably gives us a first clue to the date of the binding. The stylised, multi-lobed vine-leaf motif, furled or spread, is one of the most typical elements of the decorative repertoire of mediaeval Kairouan, which confirms that the panel belongs to the Kairouan School of bookbinding. Moreover, during the 4th and 5th centuries (10th and 11th) Ifriqiya was a great centre of book production, exporting to Egypt, Syria and Spain. The leather is most probably goatskin and the relief is obtained by applying thin wire under the leather at the places where the ornamentation is drawn. The whole panel is then placed on a piece of wood covered in copper. This technique may well have been inherited from Copts living in the Muslim world.","short_description":"Decorated in relief with ridges formed by string tracing the line of the motifs. The poly-lobed stylised vine leaf, furled or opened, is one of the most characteristic elements of the Kairouanese decorative repertoire of the Middle Ages.","type":"Binding, leather","holder":"Museum of Islamic Art.","dates":"Hegira 4th century / AD 10th century.","location":"Raqqada., Kairouan.","dimensions":"Length 17.6 cm, width 11.5 cm, thickness 0.5 cm.","method_for_datation":"Other identical bindings have been found still glued to the volumes of the Qur'ans to which they belonged. Palaeographic study of their writing dates them very accurately to the 4th / 10th century.","method_for_provenance":"This binding was certainly produced at Kairouan which was an important centre for book production at that time.","provenance":"Kairouan.","obtention":"After the abolition of the *habus* foundation in Tunisia, this binding 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":"*30 ans au service du patrimoine* (exhibition catalogue), 1986, p.224.  \n*De Carthage a Kairouan* (exhibition catalogue), 1982, p.239, cat. no. 324.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, I, Tunis-Paris, 1948, p.233, plate 26.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.227.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62, 182–3.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration"],"materials":["Black leather with a grainy surface."]},"65ef6d27-a41c-53d2-98a2-dab87b965982":{"name":"Boot","short_description":"The leg of each boot is decorated with floral and geometrical designs cut into the leather and then pressed up or out from the inside to appear in relief like repoussé work. Dyed dark brown, these details are set off by the punched yellow-brown leather of the boots.","type":"Clothing","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Height: 60cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Probably Ambras Castle AD  1596; 1875 Ambr. Sammlg., XV, 78a, S. 320; 1869 aus Ambras (Verz. d. Tauschobjekte Nr. 64)","provenance":"Turkey?","obtention":"Collection Ambras Castle","bibliography":"Sandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.  \nScheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.  \nSeipel, Wilfried (ed), *Dracula. Woiwode und Vampir*, exh. cat., Wien: Kunsthistorisches Museum, 2008.","author":"Veronika Sandbichler","copy_editor":"Liz Cooper","keywords":["costume","floral decoration","geometric decoration","military object","military wear","Ottoman army"],"materials":["Bronze","Gold","leather","Silver"]},"6ba08a0e-aff8-5310-8058-e535621f5827":{"name":"Bookcover","short_description":"The exterior cover of this binding is made from brown leather with gilded motif. The main panel of the binding is decorated with scalloped almond-shaped medallion with two pendants decorated with arabesque and *hatayi* motifs, and cloud scrolls. Four angulated corner-pieces demarcate the panel with similar decorations. A finely gilded border with S-shaped motif edge the binding. The fore-edge flap is decorated with four cartouches painted in gold lines with small floral decoration. Part of the decoration on the binding is repeated on the flap with a smaller medallion sits at the apex. The inner part of the binding is decorated in simple designs, yet retain the feel of the centre and corner-piece concept. An obloid-shaped medallion, a variant, adorns the centre of the inner cover with a set of pendants. The medallion, with scalloped edge, is filled with gold dust, as so the pendants. Edging the binding is similar motif as found on the outer cover. The same goes to the decorative piece on the inner part of the flap, which has a small scalloped almond-shaped medallion at the meeting point filled with gold dust. Contacts between dynasties were known to affect artistic developments. Turkish bindings followed the Persian decorative theme; central medallion, corner-pieces and a decorated border until the 17th century. Nevertheless, the artists created their own particular and combination motifs identifiable as Turkish.","type":"Bookbinding","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1000-1200 / c. AD 1600-1801","location":"Kuala Lumpur","dimensions":"35.3 x 24cm","provenance":"Turkey","bibliography":"Haldane, D., *Islamic bookbindings in the Victoria and Albert Museum*, London: World of Islam Festival Trust in association with the Victoria and Albert Museum, 1983: 137.  \nSarre, Friedrich Paul Theodor, *Islamic bookbindings*, London: Kegan Paul, 1923.  \nScheper, Karin, *The technique of Islamic bookbinding methods, materials and regional varieties*, Leiden: Brill, 2015.","materials":["Gold stamped leather"]},"7bd69e56-64c4-54c8-b4e5-165a5855dba0":{"name":"Bookcover","short_description":"This book cover fragment is striking for its contrast in brown and gold, also for the balance of ornamentation. The deep-tooled central and corner motifs of the central field are formed of Chinese cloud and knot motifs, while the surrounding decorative borders form vine scroll motifs with the zigzag *saz* leaf. The *horror vacui* in the gold medallions is enhanced all the more for being surrounded by the emptiness of the non-ornamental spaces. The sweeping dynamism of the motifs corresponds to the decoration in book illumination and textile art, and in architectural ceramics.","type":"Leatherwork, bookcover","holder":"MAK – Museum of Applied Arts","dates":"AD 1560–1570","location":"Vienna","dimensions":"Height: 28cm, Width: 17.7cm","provenance":"Turkey, Istanbul","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global:Lab: Kunst als Botschaft. Asien und Europa 1500-1700, Exh. cat. Museum of Applied Arts Vienna*, Ostfildern: Hatje Cantz, 2009.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-53525","author":"Mio Wakita-Elis","keywords":["Chinese motifs","gilding","Manuscript ornamentations","Saz style","vine scrolls"],"materials":["Leatherwork with pressed and gilt decorations"]},"81cca8bd-a23c-5550-8e7e-c79af7a76159":{"name":"Flask","short_description":"This pouch-shaped flask is made of stiff auburn leather; its exterior is embroidered with gold and silver tendrils and rosettes. The screwed-on stopper is made of wood. Conical leather flasks were popular in the Ottoman Empire and were mainly used as water flasks.","type":"Vessel","holder":"Kunsthistorisches Museum","dates":"Undated","location":"Vienna","dimensions":"Height: 32cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 5","provenance":"Turkey?","obtention":"Collection of Ambras castle; documented since AD 1882","bibliography":"Scheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","author":"Veronika Sandbichler","copy_editor":"Liz Cooper","keywords":["bottle","Drinking flask","embroidery","flask","leather","military object","ottoman empire","receptacles","vessels"],"materials":["leather"]},"8a11b8a8-3b2f-5ba0-8118-5ec32059a75d":{"name":"Book cover","description":"This book cover from Rabat is decorated with a red and gold moulded pattern. The central medallion contains various florets, with two teardrops in a similar pattern emanating from it. The rectangular borders are made of a geometric interlaced pattern, whereas the four concave corners are surrounded by a curved border and floral motifs. This cover is evidence of the influence of the Ottoman school on Tunisian book covers.","type":"Reliure","holder":"Musée des Arts Islamiques de Kairouan","dates":"19th century","location":"Kairouan","provenance":"La zaouia de Sidi Sahbi, Kairouan","translator":"Flaminia Baldwin"},"8cab8001-579e-56bf-aa5a-648db5c8268e":{"name":"Writing set.","description":"The pen-cutting slab (*makta*) is made of very finely carved ivory. The upper section features a depiction of a Mevlevi dervish's headdress on a pedestal, while the lower section has a tree in a flowerpot. The craftsman included the headdress of the Mevlevi order, of which he was a member. The burnishing tool (*mühre*) is made of glass. It is large enough to fill the palm of one's hand. The cutting edge of the knife (*kalemtraş*) is of metal, while the handle, made of bone, terminates in the motif of a hand with its fingers closed. The scissors (*makas*) are made of iron. The entire surface is decorated with vegetal motifs inlaid with gold. The handle of the scissors is in the form of two facing inscriptions reading 'Ya Fattah' ('O He Who opens!'), one of the 99 Names of God meaning 'God is the opener of all doors'. The case (*kubur*) is cylindrical and made of thick cardboard with black leather stretched over it. In the base there is a brass inkwell. The outer surface of the case is decorated in the naturalistic Turkish Baroque-Rococo style with spiralling branches and flowers in various colours and gilding executed in a lacquer technique known as *Edirnekari* .The case was made by Ali Üsküdari; its distinguishing characteristic is that it contains a reservoir for ink.  \n  \nCalligraphy is one of the greatest fields in which Islamic art has expressed itself. The Ottoman sultans in particular took lessons in calligraphy and created their own examples. Among the sultans proficient in the art of calligraphy might be counted Ahmed III, Mustafa II, Mahmud II and Abdülmecid I.  \n  \nThe calligrapher would use these tools thus: he cut the paper he was going to use with scissors, and applied a finish to the paper to make it shine, this he did with the burnishing tool; the paper was then placed in the case to protect it. He took his bamboo-reed pen and placed it on the pen-cutting slab; he then trimmed it to the desired thickness with the knife. Then he wrote with his calligraphic pen, using the ink he kept in the inkwell. All these tools were kept as a group in a writing box. Calligrapher's tools themselves became works of art, decorated according to the taste of the age in which they were made. Symbolic images often embellished writing tools, as is seen on the pen-cutting slab from this ensemble, reflecting the dervish order to which the calligrapher belonged.","short_description":"As the art of calligraphy continued to flourish, the tools and implements used for its creation became works of art themselves. Knives and slabs for shaving pens, paper scissors and cases to carry the tools deservedly assumed fame in their own right in Islamic art.","type":"Glass, iron, gold, cardboard, leather, metal","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Pen-cutting slab (*makta*): Leyla Turgut (one of the first female Turkish architects); burnishing tool (*mühre*): Necmeddin Okyay (calligrapher, AD 1883–1976)  \n  \nKnife (*kalemtraş*): ibn al-Emin Mahmud Kemal (writer and former director of the Museum of Turkish and Islamic Art)  \n  \nScissors (*makas*): Süleyman Şevket Bey (of the Foreign Affairs Ministry)  \n  \nCase (*kubur*): Sadi Belger (former arms dealer, 20th century)","dates":"Pen-cutting slab (*makta*), burnishing tool (*mühre*) and knife (*kalemtraş*): hegira 12th–13th century / AD 18th–19th century; Scissors (*makas*): hegira 13th / AD 19th century; case (*kubur*): dated hegira 1131 (AD 1718).","location":"Sultanahmet, Istanbul.","dimensions":"Pen-cutting slab (*makta*): length 19 cm; burnishing tool (*mühre*): length 16 cm; knife (*kalemtraş*): length 19.5 cm; scissors (*makas*): length 22.2 cm; case (*kubur*): length 32 cm, diameter (at base) 4 cm.","method_for_datation":"The pen-cutting slab (*makta*) was dated on the basis of its craftsmanship and the designs on it because decoration with gold inlaid into metal is frequently encountered in the 12th–13th / 18th–19th centuries. Burnishing tools (*mühre*) were generally made of wood and seashells. Examples made of glass are encountered in the 12th and 13th / 18th and 19th centuries. The knife (*kalemtraş*) is dated on the basis of its craftsmanship. The pair of scissors (*makas*) is dated on the basis of both the craftsmanship and the design, especially the inscription 'Ya Fattah' which is seen in the 13th / 19th century. The case (*kubur*) is dated in an inscription stating that it was made by Ali Üsküdari of Istanbul in AH 1131 / AD 1718.","method_for_provenance":"These objects are thought to have been made in Istanbul, which was the centre of Ottoman calligraphy. The case was made by an artist from Istanbul, which suggests that it was made in Istanbul as well.","provenance":"Probably Istanbul, Turkey.","obtention":"Pen-cutting slab (*makta*): Part of the estate of the architect Leyla Turgut, which was donated to the Museum of Turkish and Islamic Art in 1990.  \nBurnishing tool (*mühre*): Gift to the Museum from the calligrapher Necmeddin Okyay in 1921.  \nKnife (*kalemtraş*): Donated to the Museum by Ibn al-Emin Mahmud Kemal, former Director of the Museum, in 1919.  \nScissors (*makas*): Gift to the Museum from Süleyman Şevket Bey of the Foreign Affairs Ministry in 1919.  \nCase (*kubur*): Purchased in 1986 from the estate of Sadi Belger.","bibliography":"ölçer, N. et al, *In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, pp.70–73.  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.318.  \nçağman, F., and Aksoy, Ş., *Osmanlı Sanatında Hat*, Istanbul 1998, pp.18–32.  \n(The case has not been published).","linkcatalogs":"IAM_TR_EN_001","author":"Şule Aksoy","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["calligraphy","inlay","iron","Ottoman Baroque.","silver","tu?ra","vegetal decoration","writing"],"materials":["burnishing tool (mühre): glass","case (kubur): cardboard","knife (kalemtraş): carved bone and metal","leather","metal.","Pen-cutting slab (makta): Carved ivory","scissors (makas): iron inlaid with gold"]},"9487e20d-9d1a-5f88-8e17-a1dad5b04484":{"name":"Saddle","short_description":"This saddle comprises a wooden base covered with leather cushions and semi-circular saddle-bags. Note the elaborate lacquer painting: intertwined gold vines and blue flowers and red carnations on a black ground, and red-gold Chinese cloud motifs. In the 16th century this Oriental saddle was at Ambras Castle near Innsbruck and was probably part of the Turkish booty bought back by Archduke Ferdinand II of Tyrol (AD 1529–95) in AD 1556.","type":"Saddle","holder":"Kunsthistorisches Museum","dates":"Hegira c. 957–957 / AD c. 1550","location":"Vienna","method_for_datation":"Collection Ambras Castle","method_for_provenance":"Collection Ambras Castle","provenance":"Turkey?","obtention":"Trophies of Archduke Ferdinand of Tyrol in AD 1556, Collection Ambras Castle","bibliography":"Gamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nLuchner, Laurin, *Denkmal eines Renaissancefürsten. Versuch einer Rekonstruktion des Ambraser Museums von 1583*, Wien: Schroll, 1958.","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["Chinese motifs","floral decoration","floral motifs","horsemanship","military object","Ottoman army","ottoman empire","Saddle"],"materials":["deer leather","lacquer painting","parchment","thick brown felt","Wood"]},"9ff5077e-cf93-5273-8105-87762d317700":{"name":"*Ihram* belt","short_description":"This *ihram* belt would have been worn by a male pilgrim, and used for carrying valuables while performing the Hajj rites. The *ihram* garment for men consists of two pieces of unstitched white cloth. One cloth (the *rida’*) is worn around the upper body while the other (the *izar*) would be worn wrapped around the lower body. This belt would have been worn around the waist on top of the *izar*. The inscription upon the belt wishes the wearer good health.  \nAs well as referring to ritual clothing, *ihram* also donates a state of mind in which a Muslim must enter in order to embark on Hajj. During this period, pilgrims must adhere to certain rules, for instance men and women are both forbidden from killing animals, uprooting trees, or cutting their nails or hair.","type":"Belt; clothing; money; *ihram*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"118x8cm","method_for_datation":"Provenance and date are based on stylistic grounds","provenance":"Turkey","author":"Qaisra Khan","keywords":["Belt","Clothing","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrimage","prayer","Prophet Muhammad","Religion","travel"],"materials":["leather","silk and linen with metal fittings"]},"a46e6bab-37d1-5f3c-a753-4f870c27eaf0":{"name":"Babouches [slippers] given to the King of Italy by an Ambassador from Morocco visiting Italy in 1890","description":"In 1890, the Sultan of Morocco sent Hagi El Maati el Mazamizi as an ambassador to Italy. The Ambassador landed in Naples on June 7th and arrived by train in Rome on June 13th. At the railway station he was received by the Mayor or Rome, the Prefect, and other authorities. A military band was playing and military men in high uniform were paraded in the station to greet the Ambassador.  \nOutside the station, three of the King’s gala carriages were waiting for the Ambassador and a military unit was paraded in his honour. Some carabinieri in high uniform escorted the Ambassador to the hotel.  \nHagi El Maati el Mazamizi presented the King with gifts, including some superb horses that the King immensely appreciated. The King presented the Ambassador with a magnificent small gold and diamond box and a hunting rifle and gave gold watches to the members of his escort.","type":"Babouches","holder":"National Museum of Prehistory and Ethnography","dates":"Late 19th century","location":"Rome","author":"Vito Lattanzi","copy_editor":"Anne Dowell"},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","description":"Shadow play consists of solid figures being shown and moved behind a semi-transparent screen. The characters of Hacivat and Karagöz plays reflect the multi-ethnic makeup of the Ottoman Empire. They are represented with a high level of detail through their figures, attitudes, dances, etc. Shadow play received its basic character in the 17th century and developed further in the following centuries, eventually becoming one of the most popular traditional forms of entertainment among Turks. It was performed by a single artist that is called a *hayali* (imaginary person) or *hayalbaz*. One of the main characteristics of shadow play is that the *hayali* changes his voice and manner of speaking depending on the character he was animating.","type":"Puppet","holder":"Bursa Karagöz Museum","location":"Bursa","copy_editor":"Daniel de la Vega"},"b2cb8a2c-1f55-57a0-adad-cfa00604a828":{"name":"Bookcover","short_description":"The all-over pattern adorning this gilded binding highlights the design and decoration of the central field. The busy central field displays at its centre a scalloped medallion and pendants filled with arabesque and *hatayi* scrolls, Chinese cloud scrolls, rosettes and leaves. Similar pattern decorates the corner-pieces. The main panel is surrounded by four L-shaped lobed cartouches that are decorated similarly decorated with vegetal scrolls. This all-over pattern is brushed over with gold paint – creating a shining surface. The common Persian \"Lachak Toranj\" (medallion and corner-pieces) design was developed in Persia for book covers and ornamental book illuminations in the 15th century, and it was integrated into carpet designs in the 10th/16th century. A similar motif can be found on two Persian carpets adorned with similar arrangement of medallion and corner-pieces with a symmetrical pattern occupying the centre of the field.","type":"Bookbinding","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1000-1200 / c. AD 1600-1800","location":"Kuala Lumpur","dimensions":"35.3 x 24cm","provenance":"Iran","bibliography":"Ford, P.R.J., *Oriental Carpet Design*, London: Thames & Hudson Ltd., 1981.","materials":["Gold stamped leather with decoupe (paper filigri)"]},"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., 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.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration"],"materials":["Poplar-wood press-board covered with decorated leather."]},"c459a176-0e4a-594b-8d6b-aef9b0bf8dea":{"name":"Milking bowl","short_description":"The Mahra are not typical Bedouin people. They feed their camels with dried sardines and they do not speak Arabic. They do not use black tents but seek protection and shelter beneath bushes or overhanging rocks. Their material culture is sparse. In 1901, the Viennese ethnologist Wilhelm Hein fulfilled his childhood dream and travelled on behalf of the Academy of Sciences to Yemen with his wife Marie. They journeyed from Aden to the harbour town of Muqalla in the east of the country, however, they had to  immediately leave because they feared for their safety. They continued to Qishn, the main site of the Mahra Bedouins, to study their language which was hardly known at the time. Hoping for ransom money, the sultan of the Mahra placed both of them under house arrest. Despite extremely adverse conditions, the Heins recorded songs, fables and stories in the language of the Mahra, and documented their material culture for the first time.","type":"Household item","holder":"Weltmuseum Wien","dates":"1902","location":"Vienna","dimensions":"H: 9cm, Diameter: 20cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Yemen, Qishn","obtention":"Catalog entry: \"Collected on behalf of the  Austrian Academy of Sciences by [curator] Dr. Wilhelm Hein during his journey in southern Arabia 1901/02, 1902.\"","bibliography":"Janata, Alfred, et al., \"Die Kultur der Mahra. Die Sammlung Marie und Wilhelm Hein\", in Alfred Janata (ed), *Jemen. Im Land der Königin von Saba, exhibition catalogue*, Vienna: Museum für Völkerkunde, 1989: 229-254.  \nSteinmann, Axel, \"Ethnographie treiben, heißt scheitern lernen. Wilhelm und Maria Hein\", in Wilfried Seipel (ed), *Die Entdeckung der Welt. Die Welt der Entdeckungen. Österreichische Forscher, Sammler, Abenteurer, exhibition catalogue*, Vienna: KHM Künstlerhaus, 2001: 413-421.","materials":["leather","Palm leaf strips"]},"c7491ee6-13a8-5366-b740-046d09dd4772":{"name":"*Khamsa* by Nizami","short_description":"This is a lavishly illustrated and illuminated manuscript of Nizami’s *Khamsa* in a painterly Turkoman style that was produced in Iran in AH 904-5 (AD 1498-99). The *Khamsa* is a quintet book composed by Abu Muhammad Ilyas ibn Yusuf ibn Mu’ayyad (AH 535–605 / AD 1141–1209) known as Nizami, who is one of the greatest romantic poets of Persian literature. It is written in rhyming couplets known as *masnavi*. Nizami’s quintet consists of didactic work and four romances, whose heroes have a historical origin. The stories are as follow: *Makhzan al-Asrar* (The Treasury of Secrets), *Khusraw va Shirin* (Khusraw and Shirin), *Layla va Majnun* (Layla and Majnun), *Haft Paykar* (The Seven Beauties) and *Iskandarnama* (The Story of Iskandar).","type":"Manuscript","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 904-5 / AD 1498-9","location":"Kuala Lumpur","dimensions":"27.6 x 16cm","provenance":"Persia","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015: 18-19, 162-163.  \nIslamic Arts Museum Malaysia, *Al-Quran: The Sacred Art of Revelation*, Kuala Lumpur: IAMM Publications, 2004: 104–107. Islamic Arts Museum Malaysia, *IAMM Guide Book*, Kuala Lumpur: IAMM Publications, 2014: 32.","materials":["Paper bound in leather with gilt-stamping"]},"cf314a7e-b71e-5876-a94f-3e498400a91f":{"name":"Persian flask","short_description":"This elaborate flask dates from the late 16th century. Its wooden body is covered with a linen and chalk ground that was gilded and painted where we see lovers and musicians in a garden filled with flowers.","type":"Flask","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Height: 25.5cm, Width: 23.5cm, Depth: 12cm, Diameter at the neck: 2.3cm","method_for_datation":"Collection Ambras Castle","method_for_provenance":"Collection Ambras Castle","provenance":"Iran?","obtention":"Collection Ambras Castle, obtained in AD 1869","bibliography":"Gamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nThomas, Bruno, \"Aus der Waffensammlung in der Neuen Burg zu Wien: Orientalische Kostbarkeiten\", *Bustan*, 4 : 5 (1963/64).","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["court life","Drinking flask","figurative decoration","flask","floral decoration","garden","music","poetry","receptacles","vessels"],"materials":["handle: silk and silver thread","Leather with chalk ground and gold leaf paint","wood painted to imitate leather"]},"d15ffe8d-34f8-5858-a65c-dab3c355ec75":{"name":"Ottoman leather flask","short_description":"This Ottoman leather bottle (*matara*) is made of several layers of sturdy leather. The outside decoration consists of grained leather and a yellow silk cord for carrying. The bottle is decorated with a floral motif and a seal of Solomon, a protective sign, in a lighter brown.  \nLeather water bottles were a standard part of equestrian equipment for ordinary soldiers or officers and were popular among the Ottomans. Collections in Germany, Austria, and Hungary based on spoils from the Ottoman-Habsburg wars possess similar flasks.","type":"Bottle","holder":"MKG Museum for Applied Arts","dates":"Hegira 10th century / AD 16th century","location":"Hamburg","dimensions":"Height: 24cm, Width: 22cm","method_for_datation":"Similar objects found in Karlsruhe \"Türkenbeute\" war spoils from the Ottoman-Habsburg wars.","method_for_provenance":"Gift from Alfred Beit, London, who bought it at Auction Spitzer.","provenance":"Turkey","obtention":"Endowment.","bibliography":"Faroqi, S., *A Cultural History of the Ottomans: The Imperial Elite and Its Artefacts*, London: I. B. Tauris, 2016.  \nSpitzer, F., *Catalogue des objets d'art et de haute curiosité antiques, du moyen-âge et de la renaissance composant la Collection Spitzer, dont la vente publique aura lieu à Paris*, Paris: Imprint de l’Art, 1893.","copy_editor":"Caitlin Link","keywords":["leather"],"materials":["Carved leather"]},"d3ddaba2-605a-593a-84dc-d55cd6a60174":{"name":"Pearl Diver’s Finger Protectors","description":"These finger guards are known as khabt (pl. khabta). They were an essential part of a pearl-diver's equipment, as they protected his finger tips from the sharp oyster shells and other unexpected dangerous objects the pearl-diver might brush his fingers against while searching the murky seabed. Much of his work had to rely on touch, as visibility was minimal and few dangers could be anticipated by sight alone. When not used, the finger guards were kept in a container filled with water to keep them supple.","type":"15 leather finger protectors with cotton bag","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"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, 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.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration"],"materials":["Gilded and painted leather over paper."]},"ddff3430-26f0-5eab-9cc1-197b9177efbc":{"name":"Qur’an *Mushaf*","short_description":"This Qur’an has visibly undergone successive stages of rewriting and redecoration, and there are inscriptions which provide dates for some of these. The earliest and the most important inscription in the Qur’an is the one-line colophon, dated Hegira 690/ AD 1291, stating that it was copied by Yaqut al-Musta’simi (d. 1298 AD), one of the most renowned of all Muslim calligraphers. At that time, Yaqut was working for the Mongol Ilkhanid Sultan. Unfortunately, few of the original folios have survived; but, the restoration work, undertaken at the later stage, is beautiful and was executed with great skill. In this *mushaf*, the opening, middle and end double-page openings are illuminated. The use of bold blue and red pigments on the gold ground continued for centuries, even into the late Qajar period (AH early 14th century / AD 20th century). The wide margins are decorated with stencilled flower and foliage scrolls in gold. The beginning of each *juz’* and *hizb* is marked by a decorative device. The rectangular panels of the Sura headings contain small polychrome lobed arches, which extend into the margin.","type":"Manuscript","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 690 / AD 1291","location":"Kuala Lumpur","dimensions":"25.2 x 17cm","provenance":"Iran","bibliography":"Islamic Arts Museum Malaysia, *Al-Quran: The Sacred Art of Revelation*, Kuala Lumpur: IAMM Publications, 2004: 104 – 107.  \nIslamic Arts Museum Malaysia, *IAMM Guide Book*, Kuala Lumpur: IAMM Publications, 2014: 32.","materials":["Paper bound in leather and gold stamping"]},"e3f7d3b9-509a-5b0d-8591-95270af03e15":{"name":"Horse tack.","description":"This full set of horse tack includes a saddle, cloth, bridle, collar, stirrups, saddlebags and girths. These elements, which used numerous different materials and trades in their manufacture, were the work of many craftsmen and women employed by the master saddler.  \nThe wooden tree (the frame of the saddle) is covered with a camel-skin shabraque (saddle-cloth). It differs from European saddles with its two very high arches. The saddle cloth, which was placed on top of the shabraque, brow band, visor, collar, girth and breast strap that kept the saddle on the horse's back, as well as the two saddlebags attached with a strap, were made of leather and black serge embroidered with gold thread. These items were further embellished with trim, thick braids and fringes in black and yellow silk. The breast strap is embellished with two large oval leather studs decorated with floral motifs in champlevé enamel. The iron stirrups are damascened in gold.  \nThe decoration on the saddle uses vegetal and plant motifs, foliage, palms and fleurons arranged within compartments framed by the foliage. Intertwined plant designs are used on the backs of the high arches of the saddle, as is the five-pointed star, which is stamped on the front of the saddlebags. The gold-thread decoration on the harness would have been designed by the saddlers and embroidered by women, who would also have woven the silk cords and braids at home.  \nThis type of sumptuous saddle would have adorned horses in the town and in the country during festival days and parades, in particular for the *fantasias* that took place on certain important religious or national occasions.","short_description":"This type of luxury harness and saddle was worn by horses on feast days and parades, in particular the *fantasia* tournaments that were held on certain important religious or national events. The saddle is different from European saddles as it has a tree with two high arches.","type":"Horse tack, wood, leather","holder":"Museum of the Udayas.","dates":"Late Hegira 13th / AD 19th century.","location":"Rabat.","dimensions":"Height 89 cm, length 100 cm.","method_for_datation":"By the type of embroidery used.","method_for_provenance":"The town of Fez was reputed for its saddlery.","provenance":"Fez, Morocco.","obtention":"Purchased.","bibliography":"Sefriou, A., \"Les métiers traditionnels\", *La grande encyclopédie du Maroc*, Vol. 6, Rabat, 1987, pp.125–6.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","geometric decoration","military object","military wear","War","warfare"],"materials":["damascened iron.","gold embroidery","leather","serge and felt","trim","Wood"]},"e88ac084-acaa-583b-abc2-fa8a32e7027e":{"name":"Qur’anic manuscript of Sultan Bayazid.","description":"A Qur'anic manuscript with an embossed and gilded binding made up of two covers (front and back) and a library marker. In the centre of each cover is a long medallion with palmette shaped extensions. Surrounding the medallion, in all four corners of the cover, are four cornerpieces. The bands create a broad frame that encompasses within it decorative cartouches. The library marker has part of the same decoration of the covers. The decorative motifs on the bands of the cover, as well as the medallion, are composed of gilded vegetal stems and blossoms. The inside cover is framed by an illuminated spiral decoration and, inside the frame, by decorative forms in the shape of cartouches surrounding a medallion.  \nFolio 1b is the *waqf* charter of the Qur'anic manuscript. Folio 3b–4a forms the frontispiece composed of two identically decorated pages that form the axial junction of the volume. The margins of the spread are decorated with depictions of vegetal stems and blossoms as well as geometric lines, all of which are gilded. Following the margins on the inside, are decorative bands that surround each page on three sides, and which are decorated with confronting pyramidal shapes in gold and blue. These bands are separated from the written text by frames in successive colours. Following them on the inside, are bands decorated with ornamentation similar to the previous bands, but these are smaller in size. The text on these two pages is written in illuminated *thuluth* script, with six lines on each page. The lines are separated by motifs of violet-coloured clouds.  \nEach of the remaining folios is divided into five rectangular sections, each with a single line from the Qur'an, written in illuminated *rihani* script figuring in the first, third and fifth rectangular area. Four lines in *naskhi* script are written in the second and the forth rectangular section. Two sides of each of these rectangles are appropriated as two long sections embellished with illuminated spiralling vegetal decoration. The markers for every fifth and tenth part are symbolised by decorative forms in the margin; formed of a circular disk with an illuminated circumference, the centre of which is a circle with a blue background. The name of the chapter, the verse number and the place where they appear are accentuated in gold within an illuminated frame that has a blue background.","short_description":"This Qur’an was donated by Amir Bayazid, son of Sultan Suleyman the Magnificent, to the Dome of the Rock. It is bound with decorated and embossed leather. The beginning of the manuscript is decorated with vegetal and geometric forms. The pages are divided into five rectangles, three of which are written in illuminated rihani  script and the rest in naskhi script.","type":"Manuscript, leather, paper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Amir Bayazid, son of Sultan Sulayman the Magnificent.","dates":"Hegira 964 / AD 1556.","location":"Jerusalem","dimensions":"Length 37.5 cm, width 26.5 cm, depth 7 cm.","method_for_datation":"This Qur'an is dated.","method_for_provenance":"It is likely that this Qur'an was copied in Istanbul, where the endower resided, or in Kütahya the hometown of the scribe who endowed the manuscript, and who was also the *Qadi* (Judge) of Kütahya. His name is on the first page of the Qur'an.","provenance":"Istanbul or Kütahya, Turkey.","obtention":"The Qur'an manuscript was transferred from the Dome of the Rock to the Islamic Museum at an unknown date.","bibliography":"Farid, M., *Tarikh al-Daula al-'Aliya al-'Uthmaniya \\[History of the Ottoman Empire\\],* Paris, 1981.  \nKalo, A., *Al-Sultan Sulayman al-Qanuni \\[Sultan Sulayman the Magnificent\\],* Beirut, 1991.  \nNofal, N. A., *Kashaf al-Litham 'an Mahiya al-Hukuma wa al-Ihkam fi iqlimi Misr wa barr al-Sham \\[The Uncovering of the Veil from the Façade of Government and Rule in the Regions of Egypt and Syria\\],* Tripoli, 1990.  \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.","linkcatalogs":"IAM_TR_EN_001","author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["geometric decoration","illumination","leather","mashaf","naskhi","Paper","Qur’an","religious manuscript.","rihani","Thuluth","vegetal decoration"],"materials":["Coloured ink on paper","illumination. The binding decorated with embossed and coloured leather."]},"ea8bbe97-c193-5f18-8fc1-bff27b21d5c0":{"name":"Qur’an binding.","description":"The decoration on both the exterior and interior of the deep-red leather binding is achieved by moulding. On the outer and inner covers, a wide border frames a sunken oval medallion with palmette pendants and corner-pieces. The edges of the medallion, pendants and corner-pieces are tooled and gilded. There are two differences between the outer covers and the doublures: On the doublures all the decoration is executed in gold on a black background, with the exception of the main ground of the medallion, which is gilded. The border of the doublures has an inscription of Qur'anic verses, while the borders on the outer binding hold a floral composition. The floral compositions both inside and outside are in the so called *saz* style, distinguished by its fantastical serrated leaves, and painted with gilding. On the doublures, in between oval medallions filled with floral compositions, the 'Throne Verse' (2: 255) is written in *thuluth* script with gilding. The flap of the binding is inscribed with *sura* 56, verses 77–9. The balance maintained between decorated and undecorated areas of the binding, as well as the surface differences in the decorated areas, lend the surface a sense of depth.  \n  \nThis binding is a fine example of how the style of the famous AH 10th / AD 16th-century bookbinder Mehmed çelebi and his school continued to exert influence in the Ottoman court workshops of the AH mid-11th / AD 17th century, seen in details such as the *saz* style floral decoration and the sunken medallions and corner-pieces.","short_description":"This Qur'an binding was made in the Ottoman palace ateliers. It is an important example of the AH 11th / AD 17th century, displaying all the characteristics of Turkish bookbinding art with great proficiency.","type":"Paper, ink, leather binding","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 1054 / AD 1644.","location":"Sultanahmet, Istanbul.","dimensions":"Height 66 cm, width 47 cm.","method_for_datation":"According to the colophon it was written in AH 1054 / AD 1644. Although the name of the bookbinder is not known, the style of the floral composition on the binding suggests that it is from the same period as the calligraphy.","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.","provenance":"Istanbul, Turkey.","obtention":"Transferred to the Museum in 1911 from the tomb of Sultan Ahmed I.","bibliography":"Ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.296.","linkcatalogs":"IAM_TR_EN_001","author":"Sevgi Kutluay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["gilding","ink","leather","painting","Paper","Saz style","tooling","watercolour"],"materials":["Finished (aharli) paper","Ink","the leather binding tooled and gilded.","watercolour"]},"ec198745-bf85-5cf3-a025-264676b49e2d":{"name":"*Histoire de la Princesse Boudour (Conte des mille et une nuits)*, Translation by J.C. Mardrus of *The Story of the Princess Boudour: Tales of a Thousand and One Nights*","description":"François-Louis Schmied (1873–1941) and Jean Dunand (1877–1942) worked together on *Histoire de la Princess Boudour*, the French translation of one of the tales from *The Arabian Nights* by J.-C- Mardrus. The painter, illustrator, engraver, bookbinder and publisher François-Louis Schmied was primarily responsible for producing the graphic design and handling of the text, the illustrations and their wood interpretations. Dunand produced a lacquered metal plaque that transmitted the eroticism and voluptuousness revealed throughout the text. Using warm colours, Princess Boudour is portrayed on a red ground sprinkled with gold, and appears as a very elongated, tubular figure holding a flower with both hands. It’s a limited edition, just twenty copies, it’s a extremely rare Art Deco book.","type":"Book","holder":"Calouste Gulbenkian Museum","dates":"Paris: F.L. Schmied, 1926","location":"Lisbon","author":"Manuela Fidalgo"},"f5333242-70b4-5fe4-9f5e-dc940c6ab649":{"name":"Flask","short_description":"This exquisite example of Turkish craftsmanship was probably among the gifts that Sultan Murad III (AD 1546–95) sent to Rudolf II (AD 1552–1612) with an invitation to attend the circumcision of his son. Emperor Rudolf in turn presented the Turkish emissary with a chain and several cups valued at 4,000 guilders for the Sultan.","type":"Flask","holder":"Kunsthistorisches Museum","dates":"Hegira before 988–989 / AD before 1581","location":"Vienna","dimensions":"Height: 30.5cm, Width: 26cm, Depth: 13.5cm","method_for_datation":"Gift from Sultan Murad III (AD 1564-95) to Emperor Rudolf II","method_for_provenance":"Gift from Sultan Murad III (AD 1564-95) to Emperor Rudolf II","provenance":"Turkey?","obtention":"Gift from Sultan Murad III (AD 1564-95) to Emperor Rudolf II","bibliography":"Beaufort-Spontin, Christian and Pfaffenbichler, Matthias, *Meisterwerke der Hofjagd- und Rüstkammer*, Wien: Kunsthistorisches Museum Wien, 2005.  \nGamber, Ortwin, Thomas, Bruno and Schedelmann, Hans, *Armi e Armature Europee*, Milan: Bramante, 1974.","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["diplomacy","Drinking flask","flask","gift","Habsburg","Murad III","Ottoman-Austrian relations","Ottomans","receptacles","Rudolf II","vessels"],"materials":["Bone","fish skin","horn","Iron","leather","silk"]},"f6a4d871-3bbf-5f91-943b-4fb7cd618871":{"name":"Saddle (*serj*)","description":"A saddle (*serj*) crafted in Rabat in the 19th century, but making use of British imports such as velvet (*nta‘a*), leather and gold thread.","type":"Saddle","holder":"Dar Jamaï Museum","dates":"19th century","location":"Meknès"},"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.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["calligraphy","floral decoration","geometric decoration","religious object"],"materials":["Embossed leather with gilt tooling."]}}

package/translations/items.es.json

@@ -0,0 +1 @@
+{"0c7ae2f5-8281-57f4-81e0-6e63bc4e6a10":{"name":"Encuadernación de Corán.","description":"A juzgar por su gran tamaño, esta encuadernación de Corán con decoración geométrica debió de estar relacionada con la corte. Se ignora qué manuscrito de Corán en concreto encuadernaba, aunque se cree que fue un regalo del sultán mameluco al-Ashraf Shaban II (r. 764–778 / 1363–1376) a una de sus fundaciones piadosas. En la Biblioteca Nacional de El Cairo se conservan varios manuscritos coránicos encargados por este sultán.  \nLa parte central de la cubierta está enmarcada por dos líneas delgadas entre las cuales se lee la aleya 255 (\"del trono\") de la sura II, dentro de cartuchos alargados que alternan con motivos cuadrifolios. La ornamentación geométrica del rectángulo central se compone de cinco estrellas de doce puntas. El diseño se repujó con formas muy precisas y después se pintó en dorado y azul. El borde de la estrellas se resaltó en blanco para evidenciar el trazado geométrico.  \nEn la elaboración de una encuadernación tan grande debieron de colaborar un calígrafo y un pintor. Para sujetar y tener abiertos durante la lectura coranes de este tamaño se hacían atriles especiales de preciados materiales.","short_description":"Encuadernación de cuero de un Corán cuyo borde está decorado con una apropiada inscripción, la aleya 255 de la sura II. Un diseño geométrico que repite las características estrellas mamelucas de 12 puntas decora el rectángulo central. El gran tamaño de esta encuadernación hace pensar que procede de ambientes cortesanos.","holder":"Museo de Arte Islámico del Museo Pergamon","dates":"Finales del siglo VIII de la Hégira / XIV d. C.","location":"Berlín","dimensions":"Alto 95 cm, ancho 67 cm.","method_for_datation":"Comparaciones estilísticas con otras encuadernaciones del periodo mameluco donadas por el sultán al-Ashraf Shaban y conservadas en la Biblioteca Nacional de El Cairo.","method_for_provenance":"Fue adquirida en El Cairo y presenta muchas similitudes con otras encuadernaciones egipcias, así que es muy posible que proceda de Egipto.","provenance":"Egipto.","obtention":"Obtenida en El Cairo en 1904, probablemente a través de B. Moritz.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, 1981, pp. 2–27, n.º 5–6.  \nBosch, G., Carswell, J., y Petherbridge, G., *Islamic Bindings and Bookmaking*, Chicago, 1981, pp. 112–13, n.º 19.  \n*Islamic Art in Egypt*, catálogo, El Cairo, 1969, p. 313, n.º 299, lámina 55.  \n*Museum für Islamische Kunst*, catálogo, Mainz, 2001, pp. 86–87, ilustración 87.  \nSarre, F., *Islamische Bucheinbände*, Berlín, 1928, pp. 12–13, ilustración 2.","author":"Annette Hagedorn","copy_editor":"Maria Vlotides","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["decoración geométrica","dorado a mano","encuadernación de Corán"],"materials":["Cuero repujado","dorado y pintado."]},"5aeb09f1-07de-5c77-8e6d-0fafbac68af4":{"name":"Encuadernación.","description":"Cubierta posterior de formato italiano. El magnífico florón de nueve lóbulos que ocupa la parte central está envuelto por una corona de la que dimanan dos motivos piriformes simétricos, dispuestos a lo largo del eje longitudinal, y cuatro hojas trilobuladas y replegadas, que adornan los cuatro ángulos. La orla, muy simple, incluye dos marcos de un espesor de 4 mm. Característico de las estelas funerarias kairuaníes desde mediados del siglo IV / X hasta mediados del V / XI, este motivo floral es un primer indicio para la datación de esta encuadernación. En efecto, el motivo de hoja de vid estilizada, doblada o abierta, y polilobulada, constituye uno de los elementos más característicos del repertorio ornamental kairuaní en la Edad Media, lo que confirma su pertenencia a esta escuela de encuadernación. Por otra parte, durante los siglos IV-V / X-XI , Ifriqiya fue un importante centro de producción de libros para los mercados de Egipto, Siria y España.  \nEl cuero, aparentemente de cabra, presenta un diseño en relieve cuyos nervios son fruto de la aplicación de tiras de cordón siguiendo el trazado de los adornos. El conjunto del panel se coloca sobre una plancha de madera cubierta por una lámina de cobre. Esta técnica forma parte, sin duda, de la herencia legada por los coptos al mundo musulmán.","short_description":"Encuadernación con un dibujo en relieve cuyos nervios son fruto de la aplicación de tiras de cordón siguiendo el trazado de los adornos. El motivo de hoja de vid estilizada, doblada o abierta, y polilobulada, constituye una de las temáticas más características del repertorio decorativo kairuaní de la Edad Media.","holder":"Museo de Arte Islámico.","dates":"Siglo IV de la Hégira / X d. C.","location":"Raqqada, Kairuán","dimensions":"Largo 17,6 cm; ancho 11,5 cm; grosor 0,5 cm.","method_for_datation":"Se han encontrado idénticas encuadernaciones adheridas a los volúmenes de sus respectivos coranes. El estudio paleográfico de su escritura permite concluir, con total precisión, que esta encuadernación data del siglo IV / X.","method_for_provenance":"Esta encuadernación fue seguramente producida en Kairuán, que era un importante centro de producción de libros en aquella época.","provenance":"Kairuán.","obtention":"Tras los decretos de abolición de la fundación de los habuses en Túnez, el museo de la Mezquita Mayor de Kairuán incorporó esta encuadernación a su colección en 1963. Desde 1986, se encuentra expuesta en el Museo de Arte Islámico de Raqqada.","bibliography":"*De Carthage à Kairouan* (catálogo de exposición), París, 1982, p. 239, n.° 324.  \nMarçais, G. y Poinssot, L., *Objets kairouanais*, tomo I, Túnez-París, 1948, p. 233, lám. 26.  \n*30 ans au service du patrimoine* (catálogo de exposición), Túnez, 1986, p. 224.  \n*Túnez, tierra de culturas* (catálogo de exposición), Valencia, 2004, p. 227.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración floral"],"materials":["Cuero negro de superficie granulada."]},"8cab8001-579e-56bf-aa5a-648db5c8268e":{"name":"Estuche y utensilios de escritura.","description":"La tablilla para cortar las plumas *(makta)* está hecha de marfil muy finamente tallado. La parte superior presenta la imagen de un tocado de derviche mevlevi (orden a la que pertenecía el artesano) sobre un pedestal y la parte inferior, un árbol que brota de una maceta. El bruñidor *(mühre)* está hecho de vidrio y tiene tamaño suficiente para sujetarlo en la palma de la mano. La hoja del cortaplumas *(kalemtraş)* es de metal; el extremo del mango, que es de hueso, tiene forma de mano con los dedos cerrados. Las tijeras *(makas)* son de hierro y tienen toda la superficie decorada con incrustaciones de oro con motivos vegetales. Los ojos de las tijeras tienen la forma de dos inscripciones afrontadas que dicen *Ya Fattah* ('el que abre'), uno de los 99 nombres de Dios, que significa \"Dios es el que abre todas las puertas\". El estuche *(kubur)* es cilíndrico y está fabricado con cartón grueso revestido de cuero negro. En la base tiene un tintero de bronce. La superficie exterior del estuche está decorada al estilo naturalista del barroco-rococó turco, con dorado, ramas en espiral y flores de colores, todo aplicado con la técnica de lacado *edirnekari*. El estuche fue fabricado por Ali Üsküdari; su rasgo característico es que lleva un tintero incorporado.  \nLa caligrafía es una de las principales formas de expresión del arte islámico. Los sultanes –sobre todo los otomanos– recibían clases de caligrafía y creaban sus propios modelos. Entre los sultanes expertos en este arte cabe destacar a Ahmed III, Mustafa II, Mahmud II y Abdülmecid I.  \nEl calígrafo usaba estos instrumentos de la siguiente forma: con las tijeras, cortaba el papel que iba a usar y le daba lustre con el bruñidor; luego lo guardaba en el estuche para protegerlo. Después, colocaba la pluma de caña de bambú sobre la tablilla, donde la tajaba con el cortaplumas hasta conseguir el grosor deseado. Finalmente escribía con la pluma usando la tinta almacenada en el tintero. Todos estos instrumentos, que se guardaban juntos en escribanías, llegaron a ser obras de arte en sí mismas, decoradas según gustos y épocas. A menudo se adornaban con imágenes simbólicas, como puede observarse en los adornos de la tablilla, que dejan patente la orden derviche a la que pertenecía el calígrafo.","short_description":"A medida que el arte de la caligrafía florecía, los útiles y accesorios de escritura se convirtieron en obras de arte en sí mismos. Los cortaplumas y las tablas sobre las que se cortaban las plumas, las tijeras para el papel y los estuches adquirieron una merecida fama dentro del arte islámico.","holder":"Museo de Arte Turco e Islámico.","initial_owner":"Tablilla para cortar plumas: Leyla Turgut (una de las primeras mujeres arquitecto de Turquía).  \nBruñidor: Necmeddin Okyay (calígrafo, 1883 / 1976).  \nCortaplumas: Ibn al-Emin Mahmud Kemal (escritor y antiguo director del Museo de Arte Turco e Islámico).  \nTijeras: Süleyman Şevket Bey (del Ministerio de Asuntos Exteriores).  \nEstuche: Sadi Belger (antiguo comerciante de armas, siglo XX).","dates":"Tablilla para cortar plumas *(makta)*, bruñidor *(mühre)* y cortaplumas *(kalemtraş)*: siglos XII-XIII de la Hégira / XVIII-XIX d. C.; estuche *(kubur)*: 1131 / 1718.","location":"Estambul","dimensions":"Tablilla: largo 19 cm; bruñidor: largo 16 cm; cortaplumas: largo 19,5 cm; tijeras: largo 22,2 cm; estuche: largo 32 cm, diámetro (de la base) 4 cm.","method_for_datation":"La tablilla se dató tomando como referencia la elaboración y la decoración, porque el metal con incrustaciones de oro se usó sobre todo en los siglos XII-XIII / XVIII-XIX. Los bruñidores solían hacerse de madera y conchas marinas. Se han hallado piezas de vidrio procedentes de los siglos XII y XIII / XVIII y XIX. Para la datación del cortaplumas se tuvo en cuenta la técnica de elaboración. La datación de las tijeras se basó en la factura y el diseño, y sobre todo en la inscripción *Ya Fattah*, frecuente en el siglo XIII / XIX. La fecha de fabricación del estuche se menciona en una inscripción en la que se indica que fue fabricado por Ali Üsküdari (de Estambul) en 1131 / 1718.","method_for_provenance":"Se cree que estos objetos se fabricaron en Estambul, que fue el principal centro de la caligrafía otomana. El estuche es obra de un artista de Estambul, lo que sugiere que también se produjo en dicha ciudad.","provenance":"Probablemente Estambul.","obtention":"Tablilla: formaba parte de los bienes de la arquitecto Leyla Turgut, que la donó al museo en 1990.  \nBruñidor: el calígrafo Necmeddin Okyay lo donó al museo en 1921.  \nCortaplumas: Ibn al-Emin Mahmud Kemal, antiguo director del museo, lo donó al museo en 1919.  \nTijeras: Süleyman Şevket Bey, del Ministerio de Asuntos Exteriores, las donó al museo en 1919.  \nEstuche: adquirido en 1986 a Sadi Belger.","bibliography":"Çağman, F., y Aksoy, Ş., *Osmanlı Sanatında Hat*, Estambul, 1998, pp. 18-32.  \nÖlçer, N., et al., *In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Estambul, 1993, pp. 70-73.  \nÖlçer, N. et al., *Museo de Arte Turco e Islámico*, Estambul, 2002, p. 318.  \n(El estuche no figura en ninguna publicación.)","author":"Şule Aksoy","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["barroco otomano.","caligrafía","decoración vegetal","escritura","hierro","incrustaciones de oro","plata","tuğra"],"materials":["bruñidor: vidrio","cortaplumas: hueso y metal tallados","cuero","estuche: cartón","metal.","Tablilla: marfil tallado","tijeras: hierro con incrustaciones de oro"]},"bba9a6eb-34f8-578b-b58b-ae4a8784d89d":{"name":"Encuadernación de cuero.","description":"Cubierta posterior de formato italiano. La tonalidad castaña con reflejos cobrizos del cuero está ennegrecida en los bordes. El ornamento consiste en un entrelazo en forma de mimbre decorado con un fleco, formado por una sucesión de rayas interrumpidas por un espacio medio, que adorna los galones y encierra unos círculos dentro de su malla. La parte central exhibe un trenzado de tres nudos. La orla incluye cuatro marcos; el segundo está formado por un trenzado adornado con un fleco, con círculos en su interior. Este cuero recubre una tabla que parece de álamo, en cuyo reverso se encuentra adherida una hoja de pergamino.  \nLa decoración de esta encuadernación se ajusta al estilo de moda en Ifriqiya. Trenzados, entrelazos con ondulaciones y cuadrículas se emplearon en la decoración del *minbar* de la Mezquita Mayor de Kairuán, que tiene la impronta del arte omeya de Siria, heredero de temas bizantinos, a la vez que evoca el arte abbasí, de influencia sasánida.  \nEstas interpretaciones no permiten, sin embargo, deducir que la encuadernación kairuaní haya recibido influencia siria. Quedan aún varios cabos sueltos por dilucidar, ya que las encuadernaciones confeccionadas en Kairuán se asemejarían al repertorio usual entre los decoradores cristianos, desarrollado de manera muy notable por los coptos. En efecto, es indudable que la encuadernación fue una de las mayores contribuciones del Egipto cristiano al enriquecimiento del mundo musulmán.","short_description":"Encuadernación kairuaní de tonalidad castaña, separada del volumen del Corán que protegía. La decoración está formada por trenzados, entrelazos con ondulaciones y cuadrículas, semejante a la ornamentación del *minbar* de la Mezquita Mayor de Kairuán, que muestra la impronta del arte omeya de Siria.","holder":"Museo de Arte Islámico.","dates":"Finales del siglo III-principios del IV de la Hégira / IX-X d. C.","location":"Raqqada, Kairuán","dimensions":"Largo 17,2 cm; ancho 8 cm; grosor 0,6 cm.","method_for_datation":"Se han encontrado idénticas encuadernaciones adheridas a los volúmenes de sus respectivos coranes. El estudio paleográfico de su escritura permite concluir, con total precisión, que esta encuadernación data de finales del siglo III-principios del IV (IX-X d. C.). Por otra parte, una encuadernación de Damasco, fechada en el año 270 / 883, muestra un parecido sorprendente con esta encuadernación kairuaní.","method_for_provenance":"Esta encuadernación, que pertenecía a la antigua biblioteca de la Mezquita Mayor de Kairuán, estaba abandonada en la *maqsura* del oratorio. Fue catalogada en la década de 1930, tras ser descubierta por unos visitantes expertos. Como la mayoría de las encuadernaciones, ésta también fue separada del Corán al que pertenecía.","provenance":"Kairuán","obtention":"Tras los decretos de abolición de la fundación de habuses en Túnez, la Mezquita Mayor de Kairuán incorporó esta encuadernación a su colección en 1963. Desde 1986, se encuentra expuesta en el Museo de Arte Islámico de Raqqada.","bibliography":"*De Carthage à Kairouan* (catálogo de exposición), París, 1982, p. 234, n.° 319.  \nMarçais, G. y Poinssot, L., *Objets kairouanais*, tomo I, Túnez-París, 1948, p. 116, pl. VI B.  \n*Túnez, tierra de culturas* (catálogo de exposición), Valencia, 2004, p. 228.  \n*Tunisie, terre de rencontres et de civilisation* (catálogo de la exposición de Sevilla), Túnez, 1992, p. 262.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración floral"],"materials":["cuero decorado.","Tabla de madera de álamo"]},"d4475f08-ea5a-5e67-84a3-3e7f04581e4b":{"name":"Encuadernación","description":"Encuadernación de cuero labrado, con adornos en oro. El frente y el dorso están decorados con un dibujo que tiene un medallón en su centro; dentro de este, un arabesco que parte de un entrelazado geométrico llena el espacio circular. Rodean los círculos doce festones decorados con flores y que forman un sol radiante. De los festones superior e inferior salen motivos en forma de pala. Los ángulos están decorados con arabescos y la solapa de cierre, con un denso diseño floral. Para destacar aún más el labrado dorado, en algunas partes se ha añadido un pigmento azul claro que crea un contraste sutil y agradable. Durante muchos años se creyó que esta encuadernación era un trabajo de la primera época otomana, pero recientemente se ha atribuido a los últimos años del periodo mameluco. Se ignora qué libro protegía, pero, dada su calidad, probablemente fuera un Corán.","short_description":"Encuadernación de cuero labrado decorada con oro y pintura azul claro. Los detalles de su diseño recuerdan a los de otras encuadernaciones de finales del periodo mameluco. Dada la calidad de la obra, lo más probable es que fuera la encuadernación de un Corán.","holder":"Museo Victoria & Albert.","dates":"Probablemente finales del siglo IX de la Hégira / XV d. C.","location":"Londres","dimensions":"Alto 31,2 cm; ancho 21cm.","method_for_datation":"Algunos detalles decorativos de esta pieza son semejantes a los de encuadernaciones hechas para los sultanes Qaytbay (r. 872–901 /1446–1496) y Qansuh al-Guri (r. 906–922 / 1500–1516).","method_for_provenance":"Durante el periodo mameluco, El Cairo y Damasco fueron los dos centros productores de arte más importantes.","provenance":"El Cairo o Damasco.","obtention":"Adquirida en 1983.","bibliography":"Haldane, D., *Islamic Bookbindings in the Victoria and Albert Museum*, Londres, 1983, pp. 142–43 (objeto incluido en el primer arte otomano).  \nRaby, J., y Tanindi, Z., *Turkish Bookbindings in the Fifteenth Century*, Londres, 1993, p. 11.","author":"Barry Wood","copy_editor":"Mandi Gomez","translator":"Lucía Arias","translation_copy_editor":"Miguel Garcia","keywords":["decoración floral"],"materials":["Cuero pintado y dorado sobre papel."]},"e3f7d3b9-509a-5b0d-8591-95270af03e15":{"name":"Arreos de caballo.","description":"Esta montura completa de caballo consta de: silla, faldón, bridas, horcajo, estribos, alforjas y cinchas. En la fabricación de estos elementos se empleaban varios materiales e intervinieron distintas categorías de oficios. El maestro sillero recurría al trabajo de numerosos artesanos, hombres y mujeres.  \nEl armazón de la silla está recubierto con una *chabraca* de cuero de camello. Dos arcadas salientes la diferencian de la silla europea. El faldón de la silla, la funda de la *chabraca*, la frontalera, la visera, los estribos, la barriguera y la pechera que sujetan la silla al lomo del caballo, junto con las dos alforjas unidas en bandolera, están fabricados en cuero y sarga negra bordada con hilo de oro; pasamanerías, gruesas cuerdas y flecos de seda negra realzan estas piezas.  \nDos gruesos calamones ovales de cuero, decorados con temas florales esmaltados a buril adornan la pechera. Los estribos de hierro presentan damasquinado de oro. La ornamentación del recubrimiento de la silla consiste en motivos vegetales y florales, ramajes, palmas, florones organizados en el interior de los compartimentos acotados por ramajes.  \nUn entrelazo vegetal luce en los respaldos de las protuberantes arcadas de la silla; una estrella de cinco puntas está estampada en las alforjas. Los talabarteros dibujaban el diseño de damasquinado de oro que embellecía los arreos, bordados después por las mujeres, que también trenzaban, a domicilio, los cordones y los flecos de seda.  \nEste suntuoso modelo de silla enjaezaba los caballos de la ciudad o del campo durante las fiestas y los desfiles, en particular los festivales de las fantasías organizados para celebrar señalados acontecimientos religiosos o nacionales.","short_description":"Este suntuoso modelo de silla enjaezaba los caballos durante las fiestas y los desfiles, en particular los festejos de fantasía organizados para celebrar señalados acontecimientos religiosos o nacionales. Dos arcadas muy salientes la diferencian de la silla europea.","holder":"Museo de los Udayas.","dates":"Finales del siglo XIII de la Hégira/XIX d. C.","location":"Rabat","dimensions":"Alto 89 cm; largo 100 cm.","method_for_datation":"Por el tipo de bordado.","method_for_provenance":"La ciudad de Fez era famosa por el trabajo de talabartería.","provenance":"Fez.","obtention":"Adquisición.","bibliography":"Sefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, vol. 6, Rabat, 1987, pp. 125-126.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["bordados de hilo de oro","cuero","hierro damasquinado.","madera","pasamanería","sarga y fieltro"]},"e88ac084-acaa-583b-abc2-fa8a32e7027e":{"name":"Corán manuscrito del sultán Bayezid.","description":"Corán manuscrito con una encuadernación de cuero coloreado y repujado compuesta por dos tapas (anverso y reverso) y una solapa de cierre. En el centro de cada cubierta hay un medallón alargado prolongado arriba y abajo por dos extensiones en forma de palmeta. En los ángulos, alrededor del medallón, hay cuatro bandas que se extienden hasta los bordes, creando marcos anchos que contienen cartuchos decorativos. La solapa de cierre presenta medios elementos decorativos iguales a los que aparecen en una de las tapas de la encuadernación. La decoración del medallón central y de las cenefas consta de flores y tallos iluminados. La parte interior de la portada presenta un marco de decoración en espiral que encierra adornos en forma de cartuchos dispuestos en torno a un medallón de tamaño mediano; el fondo es de color azul.  \nEl folio 1b es la escritura de *waqf* (donación benéfica) del Corán. El folio 3b-4a forma el frontispicio, compuesto por dos páginas de decoración idéntica. Los márgenes del pliego están decorados con imágenes de tallos, flores y líneas geométricas, todos ellos dorados. En la parte interior de los márgenes se ven cenefas decorativas que rodean cada página por tres lados, decoradas con formas piramidales enfrentadas y coloreadas en azul y dorado. Dentro de estas cenefas, hacia el texto, se ven varios marcos sucesivos de colores. En el interior de estos marcos hay otras cenefas similares a las anteriores, pero más pequeñas. En cada página hay seis renglones de texto en letra *zuluz*, separados por nubes de color violeta.  \nLos demás folios del manuscrito están divididos en cinco secciones rectangulares. La primera, la tercera y la quinta contienen una sola línea de texto en letra *rihani* iluminada. La segunda y la cuarta presentan cuatro renglones de texto en letra *nasji*. Los lados alargados de los rectángulos están decorados con espirales de motivos vegetales iluminados. Cada cinco y diez versículos hay una señal al margen compuesta por discos ornamentales iluminados con un círculo central sobre fondo azul. El título de la sura, el número de la aleya y el lugar donde aparecen están destacados en dorado dentro de un marco iluminado sobre un fondo azul.","short_description":"El emir Bayezid, hijo del sultan Suleyman el Magnífico, donó este Corán a la Cúpula de la Roca. Está encuadernado en cuero repujado. El principio está decorado con formas vegetales y geométricas. Las páginas se dividen en cinco rectángulos, tres de los cuales están iluminados y escritos en letra *rihani* y el resto, en *nasji*.","holder":"Museo Islámico (Mezquita al-Aqsa, al-Haram al-Sharif).","initial_owner":"Bayezid, hijo del sultán Suleyman el Magnífico.","dates":"964 de la Hégira / 1556 d. C.","location":"Jerusalén","dimensions":"Largo 37,5 cm; ancho 26,5 cm; fondo 7 cm.","method_for_datation":"El Corán está fechado.","method_for_provenance":"Es probable que este Corán se copiara en Estambul, donde vivía el patrocinador de la obra, o en Kütahya, ciudad natal del escriba y patrocinador, que también era cadí de Kütahya. Su nombre figura en la primera página del Corán.","provenance":"Estambul o Kütahya (Turquía).","obtention":"El Corán manuscrito pasó de la Cúpula de la Roca al Museo Islámico en fecha desconocida.","bibliography":"Farid, M., *Tarij al-Dawla al-Aliya al-Uzmaniya \\[Historia del imperio otomano\\]*, París, 1981.  \nKalo, A., *Al-Sultan Sulayman al-Qanuni \\[El sultán Suleyman el Magnífico\\]*, Beirut, 1991.  \nNofal, N. A., *Kashaf al-Lizam an Mahiya al-Hukuma wa al-Ihkam fi iqlimi Misr wa barr al-Sham \\[El descubrimiento del velo de la fachada del gobierno y la ley en las regiones de Egipto y Siria\\]*, Trípoli, 1990.  \nSalameh, K., *Al-Majtutat al-Quraniya fi al-Muthaf al-Islamu fi al-Haram al-Sharif \\[Coranes manuscritos del Museo Islámico del al-Haram al-Sharif\\]*, París, 2003.","author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Lucía Arias","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Corán","Cuero","decoración geométrica","decoración vegetal","escritura nasji","escritura rihani","escritura zuluz","iluminación","mashaf","papel."],"materials":["encuadernación de cuero repujado y teñido.","iluminaciones","Tinta de colores sobre papel"]},"ea8bbe97-c193-5f18-8fc1-bff27b21d5c0":{"name":"Encuadernación de Corán.","description":"La decoración exterior e interior de esta encuadernación de cuero rojo oscuro se realizó con moldes. Las cubiertas externas e internas presentan un borde ancho que enmarca un medallón ovalado y hundido, decorado con arracadas de palmetas y adornos en los ángulos. Los bordes del medallón, las arracadas y los adornos están estampados y pintados en dorado. La encuadernación no es igual por fuera que por dentro. Por dentro, toda la decoración está ejecutada en dorado sobre fondo negro, con la excepción del fondo principal del medallón, que es dorado. Los bordes interiores de la encuadernación tienen una inscripción con versículos coránicos, mientras que los bordes exteriores presentan una composición floral. Las composiciones florales, tanto del interior como del exterior, son de estilo *saz* –que se caracteriza por sus fantásticas hojas dentadas– pintadas en dorado. En la parte interior, entre los medallones ovalados con composiciones florales, aparece el versículo \"del Trono\" (sura 2, aleya 255) escrito en caracteres *zuluz* dorados. La solapa presenta una inscripción de la sura 56, aleyas 77-79. El perfecto equilibrio existente entre las zonas decoradas y las lisas, así como las diferencias de superficie en las zonas decoradas, producen efecto de profundidad.  \nEsta obra pone de manifiesto que el estilo del famoso encuadernador Mehmed Çelebi y su escuela, del siglo X / XVI, continuaba vigente en los talleres de la corte otomana a mediados del sigo XI / XVII, como puede apreciarse en detalles como el estilo *saz* de la decoración floral, los medallones hundidos y los adornos de las esquinas.","short_description":"Esta encuadernación de Corán se realizó en los talleres del palacio otomano. Es un importante ejemplar del siglo XI / XVII que representa, con gran destreza, todas las características del arte turco de la encuadernación.","holder":"Museo de Arte Turco e Islámico.","initial_owner":"Se desconoce el propietario original de este Corán, pero se trasladó al museo desde la tumba del sultán Ahmed I, lo cual demuestra que se donó para su lectura en dicha tumba.","dates":"1054 de la Hégira / 1644 d. C.","location":"Estambul","dimensions":"Alto 66 cm, ancho 47 cm.","method_for_datation":"Según el colofón, el Corán se copió en 1054 / 1644. Aunque el nombre del encuadernador se desconoce, el estilo de la composición floral de la encuadernación sugiere que pertenece al mismo periodo que la caligrafía.","method_for_provenance":"La calidad de la caligrafía, la encuadernación y la iluminación sugieren que esta obra se produjo en el taller de palacio, en Estambul.","provenance":"Estambul.","obtention":"Se trasladó al museo en 1911 desde la tumba del sultán Ahmed I.","bibliography":"Ölçer, N. et al., *Museo de Arte Turco e Islámico*, Estambul, 2002, p. 296.","author":"Sevgi Kutluay","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["acuarela","Cuero","dorado","estampación","estilo saz.","papel","pintura","tinta"],"materials":["Acuarela","encuadernación en cuero labrado y dorado.","Papel trabajado (aharli)","Tinta"]},"fa91a1b4-7f04-56f0-8661-0bd4d58ccac8":{"name":"Encuadernación de Corán.","description":"Esta encuadernación de un Corán almohade en un único volumen transcrito en cursiva andalusí sobre pergamino presenta idéntico formato cuadrado que el manuscrito que protege. Consta de dos tapas unidas por un lomo y cerradas por una solapa de cuero rojo estampado y reforzado con cartón. Exhibe una frondosa decoración geométrica y floral.  \nLa composición central de las tapas está constituida por un cuadrado estrellado de ocho puntas que irradia diversas figuras poligonales, con lacerías cubiertas por un motivo dorado estriado. Está rodeada por tres marcos superpuestos de diversa amplitud, adornados con entrelazos, trenzados de dos ramas y lazos mixtilíneos con pequeños florones estilizados y estampados ocupando los intersticios. Las lomeras, del grosor del volumen, presentan una decoración de rosetas rematadas con florones y agrupadas en pequeños ramos inscritos entre los nudos de una cadena entrelazada.  \nDada la profusión de su decoración, se piensa que esta encuadernación probablemente no sea contemporánea del Corán que protege, ni tampoco debió ser realizada antes de la época meriní. De su estado de conservación y de los motivos florales de estilo oriental pintados en las lomeras, se concluye que fue objeto de ulteriores renovaciones. En efecto, los ramos de rosetas de raigambre turco-persa no se introdujeron en el repertorio decorativo marroquí hasta principios del siglo XI/XVII.","short_description":"Esta encuadernación de formato cuadrado no es contemporánea del Corán que protege. A pesar de estar ornada con motivos geométricos tradicionales, contiene motivos florales –rosetas de inspiración oriental– introducidos tardíamente en el repertorio decorativo marroquí.","holder":"Biblioteca Real.","dates":"Encuadernación: siglo VII-VIII de la Hégira/XIII-XIV d. C. Corán: 531/1178.","location":"Rabat","dimensions":"Alto 16,2 cm; ancho 15,5 cm","method_for_datation":"Comparación con otras encuadernaciones, de épocas almohade y posteriores, conservadas en los museos marroquíes. (Corán: la última página del manuscrito contiene la fecha en que fue copiado.)","method_for_provenance":"El estilo decorativo de la encuadernación es marroquí.","provenance":"Marruecos.","bibliography":"Al-Razi, J. y Varichon, A., *6000 ans d’art au Maroc* (catálogo), París, 1990.  \nRicard, P., “Reliures marocaines du XIIIe siècle”, *Hespéris* XVII, 1933, pp. 109-127.  \nSefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, vol. 6, Rabat, 1987, p. 65.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["cuero","dorado al hierro.","estampado"]}}

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+{"0c7ae2f5-8281-57f4-81e0-6e63bc4e6a10":{"name":"Reliure de coran.","description":"Par sa taille, cette reliure d'un coran en un volume, entièrement couverte d'un décor géométrique, est certainement à mettre en relation avec les milieux de cour. Elle n'a pu jusqu'à présent être attribuée à aucun manuscrit précis. On a supposé qu'il pouvait s'agir d'une donation du sultan mamelouk al-Achraf Chaaban II (764-778 H / 1363-1376 J.-C.) à l'une de ses fondations. Plusieurs manuscrits coraniques de ce commanditaire sont conservés à la Bibliothèque nationale du Caire.  \nLe champ central est encadré d'une étroite bordure remplie d'une citation du verset 255 de la sourate II. L'inscription est insérée dans des cartouches longitudinaux qui alternent avec des quadrilobes. Cinq étoiles à douze branches meublent le champ intérieur. Le décor a été d'abord été estampillé puis doré et peint en bleu. Les filets blancs qui cernent des étoiles accentuent l'effet géométrique de l'ensemble. La réalisation de cette reliure de grandes dimensions a sans doute nécessité le concours d'un calligraphe et d'un coloriste.  \nLa taille de ce type de manuscrit coranique obligeait à utiliser un pupitre spécial, réalisé en matériaux très précieux, sur lequel était posé le livre dont on faisait la lecture.","short_description":"Une inscription du verset 255 de la sourate II a été choisie de manière très appropriée pour la bordure de cette reliure en cuir d'un coran. Le champ intérieur montre une partie d'un motif géométrique répété d'une étoile à douze branches typique des œuvres d'art ou d'architecture mameloukes. Sa grande taille indique une relation avec les milieux de la cour.","holder":"Museum für Islamische Kunst","dates":"Fin du VIIIe siècle H (XIVe siècle J.-C.).","location":"Berlin","dimensions":"H. 95 cm, l. 67 cm.","method_for_datation":"Les analyses comparatives avec d'autres reliures mameloukes données à des fondations par le sultan al-Achraf Chaaban II et conservées à la Bibliothèque nationale du Caire permettent de dater l'objet de l'époque mamelouke.","method_for_provenance":"L'achat a été fait au Caire et l'exemplaire est strictement similaire à d'autres reliures égyptiennes.","provenance":"Égypte.","obtention":"Probablement acheté par B. Moritz au Caire en 1904.","bibliography":"Atil, E., *Renaissance of Islam. Art of the Mamluks,* Washington, 1981, pp. 2-27, n° 5-6.  \nBosch, G., Carswell, J., Petherbridge, G., *Islamic Bindings and Bookmaking*, Chicago, 1981, pp. 112-113, n° 19.  \n*Islamic Art in Egypt* (catalogue),Le Caire, 1969, p. 313, n° 299, pl. 55.  \n*Museum für Islamische Kunst* (catalogue),Mayence, 2001, pp. 86-87, ill. 87.  \nSarre, F., *Islamische Bucheinbände,* Berlin, 1928, pp. 12-13, ill. 2.","linkcatalogs":"IAM_EG_FR_001","author":"Annette Hagedorn","translator":"Arlette Camion(de l’allemand).","translation_copy_editor":"Margot Cortez","keywords":["décoration géométrique","dorure à la main","reliure de coran"],"materials":["Cuir avec impression","dorure et peinture."]},"5aeb09f1-07de-5c77-8e6d-0fafbac68af4":{"name":"Reliure.","description":"Plat inférieur. Format à l'italienne. Un magnifique fleuron à neuf lobes occupe le centre du panneau ; il est enveloppé par une couronne d'où émanent deux motifs piriformes symétriques, disposés sur l'axe longitudinal du plat. Cette même couronne laisse échapper quatre feuilles repliées, à trois lobes, meublant les quatre angles du panneau. Très simple, la bordure comprend deux encadrements larges de 4 mm. Ce motif floral se retrouve, du milieu du IVe siècle H (Xe siècle J.-C.) au milieu du Ve siècle H (XIe siècle J.-C.), sur de nombreuses stèles funéraires kairouanaises ; il est probable qu'il nous offre, pour ce cas précis, un premier indice de datation. Le motif de la feuille de vigne stylisée repliée ou ouverte et à plusieurs lobes constitue un des éléments les plus caractéristiques du répertoire décoratif kairouanais du Moyen âge, ce qui confirme son appartenance à l'école kairouanaise de reliure. D'ailleurs, l'Ifriqiya était, au cours des IVe et Ve siècles H (Xe et XIe siècles J.-C.), un grand centre de production de livres exportant vers l'égypte, la Syrie et l'Espagne. Le cuir, très vraisemblablement de chèvre, offre un décor en relief dont les nervures sont dues à la présence, sous le cuivre, de ficelles appliquées aux tracés des ornements. Le tout est placé sur une planchette en bois que couvre le cuivre. Cette technique constitue, très probablement, un héritage légué par les coptes au monde musulman.","short_description":"Elle présente un décor en relief dont les nervures sont dues à la présence de ficelles appliquées aux tracés des ornements. Le motif de la feuille de vigne stylisée, repliée ou ouverte et à plusieurs lobes, constitue un des éléments les plus caractéristiques du répertoire décoratif kairouanais du Moyen âge.","holder":"Musée des arts islamiques.","dates":"IVe siècle de l’Hégire (Xe siècle J.-C.).","location":"Raqqada, Kairouan","dimensions":"L. 17,6 cm, H. 11,5 cm, ép. 0,5 cm.","method_for_datation":"D'autres reliures identiques ont été retrouvées encore collées aux volumes des corans auxquels elles appartiennent. L'étude paléographique de leur écriture permet de les dater, sans risque d'erreur, du IVe/Xe siècle.","method_for_provenance":"Cette reliure fut sans doute exécutée à Kairouan, qui était à l'époque un grand centre de production livresque.","provenance":"Sans doute, Kairouan.","obtention":"Suite à l'abolition de la fondation des habous en Tunisie, cette reliure a été récupérée par le musée de la Grande Mosquée de Kairouan, en 1963. Depuis 1986, elle est exposée au musée des arts islamiques de Raqqada (Kairouan).","bibliography":"30 ans au service du patrimoine (catalogue d'exposition), Tunis, 1986, p. 224.  \n  \nDe Carthage à Kairouan (catalogue d'exposition), Paris, 1982, p. 239, n° 324.  \n  \nMarçais, G. et Poinssot, L., Objets kairouanais, I, Tunis-Paris, 1948, p. 233, pl. 26.  \n  \nTúnez, Tierra de Culturas (catalogue d'exposition), Valence (Esp.), 2004, p. 227.","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["décoration florale"],"materials":["Cuir noir à surface grenue."]},"8a11b8a8-3b2f-5ba0-8118-5ec32059a75d":{"name":"Reliure","description":"C’est une reliure à rabat ornée d’un décor rouge et doré obtenu par pressage dans une matrice. Le médaillon central enferme des fleurettes. Deux pendentifs au décor similaire émanent du médaillon. Les bordures rectangulaires offrent un décor d’entrelacs géométriques alors que les quatre écoinçons concaves, délimités par une bordure chantournée, sont meublés de bandes arquées et de motifs floraux. Cette reliure atteste l’influence de l’école ottomane sur les relieurs tunisois.","type":"Reliure","holder":"Musée des Arts islamiques de Kairouan","dates":"XIXe siècle","location":"Kairouan","provenance":"La zaouia de Sidi Sahbi, Kairouan"},"8cab8001-579e-56bf-aa5a-648db5c8268e":{"name":"Nécessaire à écriture.","description":"La plaquette de taille du roseau (*makta*) est en ivoire très finement sculpté. Sa partie supérieure comporte une représentation de coiffure de derviche Mevlevi (dont l'artisan était membre) sur un piédestal ; sur sa partie inférieure figure un arbre en pot. Le polissoir (*mühre*) en verre est de taille suffisante pour tenir aisément dans la paume de la main. La lame du couteau (*kalemtraş*) est en fer, sa poignée en os se termine par un motif de main aux doigts refermés. Les ciseaux (*makas*) sont en fer décoré sur toute la surface de motifs végétaux incrustés d'or. Leur poignée comporte deux inscriptions face à face se lisant : “Ya Fattah” (À celui qui ouvre!” – l'un des 99 noms de Dieu signifiant “Dieu est celui qui ouvre toutes les âmes”). L'étui (*kubur*) cylindrique est en carton fort gainé de cuir. Sa base renferme un encrier qui fait toute son originalité. La surface extérieure est ornée en style naturaliste turc baroque-rococo de branches en spirales, de fleurs de couleurs variées et de dorures appliquées à la laque selon une technique appelée *Edirnekari*. Il a été fabriqué par Ali Üsküdari.  \nLa calligraphie est l'un des grands domaines dans lequel l'art islamique a exprimé toute sa personnalité. Les sultans ottomans, en particulier, apprenaient la calligraphie et écrivaient leurs propres textes. Parmi les sultans habiles dans cet art figurent Ahmed III, Moustafa II, Mahmoud II et Abdülcemid Ier.  \nLe calligraphe se servait de ces outils de la façon suivante. Il découpait le papier avec les ciseaux et appliquait une couche de finition pour le faire briller au polissoir. Le papier était ensuite roulé et placé dans l'étui pour y être protégé. La plume de roseau était appuyée sur une plaquette et taillée à l'épaisseur souhaitée avec le couteau. Puis commençait l'écriture à l'aide d'encre contenue dans un encrier. Tous ces outils étaient conservés dans un écritoire. Ils devinrent parfois de véritables œuvres d'art, décorés dans le style du temps et d'images symboliques comme sur la plaquette présentée ici, qui rappelle l'ordre de derviches auquel appartenait le calligraphe.","short_description":"Comme l’art de la calligraphie continuait à se développer, les outils et les instruments utilisés pour sa réalisation devinrent en eux-mêmes des œuvres d’art. Couteaux et plaquettes pour tailler les roseaux, ciseaux à papier et étuis pour transporter les ustensiles acquirent à juste titre une belle renommée dans l’art islamique.","holder":"Musée des arts turcs et islamiques.","dates":"Plaquette de taille, polissoir et couteau : XIIe-XIIIe siècle de l’Hégire (XVIIIe-XIXe siècle J.-C.) ; étui : 1131 H / 1718 J.-C.","location":"Sultanahmet, Istanbul","dimensions":"Plaquette de taille (*makta*) : L. 19 cm ; polissoir (*mühre*) : L. 16 cm ; couteau (*kalemtraş*) : L. 19,5 cm ; ciseaux (*makas*) : L. 22,2 cm ; étui : L. 32 cm, Ø (base) 4 cm.","method_for_datation":"Plaquette de taille du roseau (*makta*) : Analyse de la fabrication et des motifs en incrustation d'or, fréquents aux XIIe-XIIIe/XVIIIe-XIXe siècles.  \nPolissoir (*mühre*) : Ces outils étaient généralement en bois et coquillage ; les modèles en verre se rencontrent aux XIIe-XIIIe/XVIIIe-XIXe siècles.  \nCouteau (*kalemtra*ş) : Analyse de la qualité de la fabrication.  \nCiseaux (*makas*) : Analyse de la fabrication et de l'inscription “Ya Fattah” fréquente au XIIIe/XIXe siècle.  \nÉtui (*kubur*) : Présence de l'inscription donnant sa date de fabrication par Ali Üsküdari d'Istanbul en 1131 (1718).","method_for_provenance":"Ces objets ont probablement été fabriqués à Istanbul, centre de la calligraphie ottomane. Le boîtier a été réalisé par un artisan d'Istanbul.","provenance":"Istanbul, Turquie.","obtention":"Plaquette de taille du roseau (*makta*) : Élément figurant avec d'autres objets dans la succession de l'architecte Leyla Turgut, légués au musée en 1990.  \nPolissoir (*mühre*) : Donné au musée en 1921 par le calligraphe Necmeddin Okyay.  \nCouteau (*kalemtraş*) : Donné au musée en 1919 par Ibn al-Emin Mahmoud Kemal, ancien directeur du musée.  \nCiseaux (*makas*) : Donné au musée en 1919 par Süleyman Şevket Bey, du ministère des Affaires étrangères.  \nÉtui (*kubur*) : Acheté en 1986 auprès de la succession de Sadi Belger.","bibliography":"Ölçer, N., et al., *In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, pp. 70-73.  \nÖlçer, N., et al., *Museum of Turkish and Islamic Art*, Istanbul, 2002, p. 318.  \nÇağman, F. et Aksoy, Ş., *Osmanlı Sanatında Hat*, Istanbul, 1998, pp. 18-32.  \n*(L'étui n'a pas encore été publié.)*","linkcatalogs":"IAM_TR_FR_001","author":"Şule Aksoy","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["argent","baroque ottoman","calligraphie","décoration végétale","écriture","fer","incrustation d’or","tugra"],"materials":["ciseaux : fer incrusté d’or","couteau : os sculpté et métal","cuir et métal.","étui : carton","Plaquette de taille: ivoire sculpté","polissoir: verre"]},"bba9a6eb-34f8-578b-b58b-ae4a8784d89d":{"name":"Reliure en cuir.","description":"Plat inférieur. Format à l'italienne. La teinte brun roux du cuir a noirci sur les bords. Le panneau est occupé par un entrelacs de vannerie dont une chenille formée par une succession de barres, interrompues par un espace médian, meuble les galons et enserre dans ses mailles des rouelles. La partie médiane présente une torsade constituée par trois nœuds. La bordure comprend quatre encadrements, le deuxième est orné d'une torsade meublée par une chenille qui enserre des rouelles. Ce cuir recouvre une planchette qui semble en peuplier et au verso de laquelle est collée une feuille de parchemin. Le décor appliqué à cette reliure est conforme au style alors en vogue en Ifriqiya. Torsades, tresses, entrelacs à boucles et quadrillages trouvent d'ailleurs leur emploi dans le minbar (chaire) de la Grande Mosquée de Kairouan qui porte la marque de l'art omeyyade de Syrie, héritier des thèmes byzantins, tout en évoquant l'art abbasside, imprégné d'influences sassanides. Toutefois, ces arguments ne permettent pas de conclure que la reliure kairouanaise a subi l'influence de celle de Syrie ; plusieurs anneaux de la chaîne nous échappent encore, d'autant que les reliures réalisées à Kairouan semblent emprunter leur parure au répertoire familier aux décorateurs chrétiens et dont les coptes avaient fait un remarquable usage. En fait, il est vraisemblable que la reliure soit une des acquisitions dont l'égypte chrétienne contribua à enrichir le monde musulman.","short_description":"Reliure kairouanaise de teinte brune, séparée du volume de coran auquel elle appartenait. Torsades, tresses, entrelacs à boucles et quadrillages en composent le décor, qui se retrouve également sur le *minbar* (chaire) de la Grande Mosquée de Kairouan, fortement imprégnée par l'art omeyyade de Syrie.","holder":"Musée des arts islamiques","dates":"Fin IIIe-début IVe siècle de l’Hégire (fin IXe-début Xe siècle J.-C.).","location":"Raqqada, Kairouan","dimensions":"L. 17,2 cm, H. 8 cm, ép. 0,6 cm.","method_for_datation":"D'autres reliures identiques ont été retrouvées encore collées aux volumes de corans auxquels elles appartiennent. L'étude paléographique de leur écriture permet de les dater, sans risque d'erreur, de la fin du IIIe-début du IVe siècle H (fin IXe-début Xe siècle J.-C.). D'ailleurs, une reliure damasquine bien datée de l'an 270 H / 883 J.-C. offre d'étonnantes analogies avec cette reliure kairouanaise.","method_for_provenance":"Cette reliure appartenait à l'ancienne bibliothèque de la Grande Mosquée de Kairouan qui était abandonnée dans la maqsoura de la salle de prière. Signalée par des visiteurs avertis, elle fut inventoriée au cours des années 1930. La plupart des reliures, dont celle-ci, furent séparées des volumes de corans auxquels elles appartenaient. Tout semble confirmer que cette reliure, ainsi que les autres, sont de fabrication kairouanaise étant donné que la ville était, à l'époque, un grand centre de production livresque.","provenance":"Kairouan.","obtention":"Suite à l'abolition de la fondation des habous en Tunisie, cette reliure a été récupérée par le musée de la Grande Mosquée de Kairouan, en 1963. Depuis 1986, elle est exposée au Musée des arts islamiques de Raqqada (Kairouan).","bibliography":"De Carthage à Kairouan (catalogue d'exposition), Paris, 1982, p. 234, n. 319.  \n  \nTúnez, Tierra de Culturas (catalogue d'exposition), Valence (Esp.), 2004, p. 228.  \n  \nTunisie, terre de rencontres et de civilisation (catalogue de l'exposition de Séville), Tunis, 1992, p. 262.  \n  \nMarçais, G. et Poinssot, L., Objets kairouanais, T.I, Tunis et Paris, 1948, p. 116, pl. VI B.","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["décoration florale"],"materials":["Ais en bois de peuplier couvert de cuir décoré."]},"d4475f08-ea5a-5e67-84a3-3e7f04581e4b":{"name":"Reliure.","description":"Reliure de livre en cuir travaillé à ornementation dorée. Les plats recto et verso présentent une composition centrée autour d'un important médaillon circulaire central, à l'intérieur duquel un motif d'arabesques se développe à partir d'un entrelacs géométrique pour remplir tout l'espace. De sa large bordure à décor de fleurs liées partent 12 festons composant un soleil rayonnant. De grands motifs en forme d'épée prolongent les festons supérieurs et inférieurs de l'axe vertical. Les coins des plats sont occupés par des dessins d'arabesques, comme le rabat, lui-même ornementé par ailleurs d'un semis serré de fleurs de rendu libre. Le travail de dorure est rehaussé dans certaines zones d'un pigment bleu clair qui crée un contraste subtil et agréable. On a pensé pendant de nombreuses années que cette reliure datait du début de la période ottomane, mais elle a récemment été réattribuée à la fin de la période mamelouke.","short_description":"Reliure de livre en cuir travaillé, ornementation à l'or et au pigment bleu pâle. Les détails du motif sont similaires à d'autres reliures de la période mamelouke tardive. Une reliure d'une telle qualité ne pouvait qu'être destinée à un coran.","holder":"Victoria and Albert Museum.","dates":"probablement fin IXe siècle de l’Hégire (XVe siècle J.-C.).","location":"Londres","dimensions":"H. 31,2 cm, l. 21 cm.","method_for_datation":"Les détails du décor sont similaires à ceux de reliures dont on sait qu'elles ont été réalisées pour les sultans mamelouks Qaytbay, qui régna de 872 à 901 H (1468-1496 J.-C.), et Qansuh al-Ghuri (r. 906-922 H / 1500 à 1516 J.-C.).","method_for_provenance":"Le Caire et Damas étaient les deux plus importants centres de la production artistique sous les Mamelouks.","provenance":"Le Caire ou Damas.","obtention":"Acheté par le musée en 1983.","bibliography":"Haldane, D., *Islamic Bookbindings in the Victoria and Albert Museum,* Londres, 1983, pp. 142–143.  \nRaby, J. et Tanindi, Z., *Turkish Bookbindings in the Fifteenth Century,* Londres, 1993, p. 11.","linkcatalogs":"IAM_EG_FR_001","author":"Barry Wood","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["décor floral"],"materials":["Cuir doré et peint sur papier."]},"e3f7d3b9-509a-5b0d-8591-95270af03e15":{"name":"Harnachement de cheval.","description":"Ce harnachement complet de cheval est constitué de la selle, du tapis, des brides, du collier, des étriers, de sacoches et de sangles. Ces éléments, qui ont fait appel pour leur fabrication à plusieurs matériaux et à plusieurs corps de métiers, étaient l'œuvre de nombreux artisans, hommes et femmes, auxquels s'adressait le maître sellier.  \n  \nL*'arçon* en bois (carcasse de la selle) est recouvert d'une *chabraque* en cuir de chameau. Il se différencie de la selle européenne par ses deux arcades fortement saillantes. Le tapis de selle, la housse qui se pose sur la *chabraque*, le frontal, la visière, le collier, la sous-ventrière et le poitrail qui maintiennent la selle sur le dos du cheval, ainsi que les deux sacoches réunies par une bandoulière, sont réalisés en cuir et en serge noire brodée de fils d'or ; passementeries, grosses ganses et franges de soie noire et jaune rehaussent encore ces éléments. Deux gros cabochons ovales, en cuivre, décorés de motifs floraux en émaux champlevés ornent le poitrail. Les étriers en fer sont damasquinés d'or.  \n  \nLe décor couvrant de cette selle met en œuvre des motifs végétaux et floraux, rinceaux, palmes, fleurons distribués à l'intérieur de compartiments délimités par des rinceaux. L'entrelacs végétal est utilisé sur les dossiers des arcades saillantes de la selle, ainsi que l'étoile à cinq branches qui timbre la face des sacoches Les décors en fils d'or rehaussant le harnais étaient dessinés par les selliers et brodés par des femmes, qui tressaient également, à domicile, les ganses et les cordelettes de soie.  \n  \nCe genre de selle fastueuse harnachait les chevaux à la ville ou à la campagne les jours de fête et de parade, notamment pour les joutes des fantasias qui se déroulaient à certaines grandes occasions religieuses ou nationales.","short_description":"Ce genre de selle fastueuse harnachait les chevaux les jours de fête et de parade, notamment pour les joutes des fantasias qui se déroulent à certaines grandes occasions religieuses ou nationales. Elle se différencie de la selle européenne par l'arçon aux deux arcades fortement saillantes.","holder":"Musée des Oudayas.","dates":"Fin XIIIe siècle de l’Hégire (fin XIXe siècle J.-C.).","location":"Rabat.","dimensions":"H. 89 cm, L. 100 cm.","method_for_datation":"Par le type de broderie.","method_for_provenance":"La ville de Fès était réputée pour le travail de sellerie.","provenance":"Fès.","obtention":"Achat.","bibliography":"Sefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, vol. 6, Rabat, 1987, pp. 125-126.","linkcatalogs":"IAM_MA_FR_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique"],"materials":["bois","broderies de fils d’or","cuir","fer damasquiné.","passementeries","serge et feutrine"]},"e88ac084-acaa-583b-abc2-fa8a32e7027e":{"name":"Manuscrit coranique du sultan Bayézid.","description":"Coran manuscrit à couverture estampée et dorée composée d'un plat de recto, d'un plat de verso et d'un rabat de fermeture. Au centre de chaque plat figure un médaillon ovale polylobé à décor spiralé et extensions en palmettes. Une large bordure, à courte distance du bord, forme un cadre composé de 14 cartouches décoratifs dorés. à chaque angle intérieur figure un élément décoratif. Le décor du rabat est similaire. Ceux des cartouches et du médaillon se composent de tiges enluminées et de fleurs. L'intérieur de la couverture présente un cadre à décor en spirale enluminé à l'intérieur duquel se trouvent des cartouches entourant un médaillon.  \nLe folio 1b est la charte *waqf* de ce manuscrit. Le folio 3b-4a forme le frontispice, composé de deux pages de décor identique. Les marges de cette double page sont ornées de tiges, de fleurs et de filets dorés. Le texte de chaque page est ensuite cadré sur trois côtés par des bandeaux décoratifs décorés de formes pyramidales imbriquées tête-bêche en or et bleu. Ces bandeaux sont séparés du texte écrit par une succession d'encadrements de couleurs diverses. Un bandeau de décor similaire mais plus mince vient fermer la composition à la pliure de l'ouvrage. Le texte de six lignes par page est rédigé en écriture *thoulouth*. Chaque ligne est séparée de la suivante par des motifs de nuages violets.  \nLes autres folios sont divisés en cinq sections rectangulaires. La première, la troisième et la cinquième contiennent chacune une ligne de texte en écriture *rihani* enluminée. La deuxième et la cinquième contiennent quatre lignes du même style. Deux côtés de chacune de ces sections sont ornés d'une décoration végétale en spirale. Les marques de pause de chaque cinquième et dixième verset sont matérialisées par des éléments décoratifs en marge constitués d'un disque enluminé en circonférence qui contient en son centre un cercle à fond bleu. Le nom de la sourate, le numéro du verset et l'endroit où ils apparaissent sont rehaussés d'or dans un cadre enluminé à fond bleu.","short_description":"Ce coran fut légué par l’émir Bayézid, fils de Soliman le Magnifique au Dôme du Rocher. Il est relié en cuir estampé et décoré. Le début du manuscrit est orné de motifs végétaux et géométriques. Les pages sont divisées en cinq rectangles, trois d’entre eux étant rédigés en écriture *rihani* enluminée, les autres en *naskhi*.","holder":"Musée islamique, mosquée al-Aqsa / Haram al-Charif.","initial_owner":"Émir Bayézid, fils du sultan Soliman le Magnifique.","dates":"964 de l’Hégire / 1556 J.-C.","location":"Jérusalem","dimensions":"L. 37,5 cm, l. 26,5 cm, ép. 7 cm.","method_for_datation":"L'ouvrage est daté.","method_for_provenance":"Il est probable que ce coran a été copié à Istanbul, lieu de résidence du donateur, ou à Kütahya, ville natale du copiste qui reçut le manuscrit et était également cadi (juge) de Kütahya. Son nom figure à la première page de l'ouvrage.","provenance":"Istanbul ou Kütahya, Turquie.","obtention":"Ouvrage transféré du Dôme du Rocher au musée à une date inconnue.","bibliography":"Farid, M., *Tarikh al-Daoula al-'Oulya al-Othmaniya* \\[Histoire de l'empire ottoman\\], Beyrouth, 1981.  \nKalo, A., *Al-Sultan Sulayman al-Qanuni* \\[Le sultan Soliman le Magnifique\\], Beyrouth, 1991.  \nNofal, N. A., *Kashaf al-Litham 'an Mahiya al-Houkouma wa al-Ihkam fi iqlimi Misr wa barr al-*Cham \\[L'enlèvement du voile de la façade du gouvernement et la coutume dans les régions d'égypte et de Syrie\\], Tripoli, 1990.  \nSalameh, K., *Al-Makhtoutat al-Qor'aniya fi al-Mouthaf al-Islami fi al-Haram al-Charif, al-Qods* \\[Les manuscrits coraniques au Musée islamique du Haram al-Charif, Jérusalem\\], Paris, 2003.","linkcatalogs":"IAM_TR_FR_001","author":"Nazmi Al-Ju'beh","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["Coran","Cuir","décoration géométrique","décoration végétale","écriture nashki","écriture rihani","écriture thoulouth","enluminures","papiers"],"materials":["Encres de couleur sur papier","enluminure","reliure en cuir estampé et coloré."]},"ea8bbe97-c193-5f18-8fc1-bff27b21d5c0":{"name":"Reliure de coran.","description":"La décoration extérieure et intérieure de la reliure d'un rouge profond est obtenue par pressage dans une matrice. Sur les plats et contre-plats, une importante bordure à angles ornés encadre un médaillon ovale en creux à lambrequin en palmettes. L'intérieur et l'extérieur ne sont pas semblables. D'une part, la décoration des contre-plats est en noir, à l'exception du champ principal doré sur lequel se détache le médaillon. D'autre part, si les bordures des plats présentent une composition florale, celles des contre-plats reprennent une inscription de versets coraniques. Toutes les compositions de style *saz* sont peintes et dorées. Sur le plat, entre des médaillons ovales ornés de compositions florales, se détache le “verset du trône” (sourate II, verset 255) en style *thoulouth* à rehauts dorés. Sur le rabat figurent les versets 77-19 de la sourate LVI. L'équilibre maintenu entre les zones décorées et non décorées ainsi que les différences de traitement des surfaces dans les parties décorées créent une impression de profondeur.  \nCette reliure est un bel exemple de la manière dont le style du fameux relieur du Xe siècle H (XVIe siècle J.-C.) Mehmed çelebi et de son école (apparente dans des détails comme le style *saz* de décoration florale, les médaillons en creux et les angles) a continué à influencer les ateliers de la cour ottomane au milieu du Xe siècle H (XVIe siècle J.-C.).","short_description":"La reliure de ce coran a été fabriquée dans les ateliers du palais ottoman. C’est un exemple remarquable du XIe siècle H (XVIIe siècle J.-C.), portant, réalisées avec maestria, toutes les caractéristiques de l’art turc de la reliure.","holder":"Musée des arts turcs et islamiques.","initial_owner":"Le propriétaire initial est inconnu, mais le fait que ce coran ait été transféré au musée du tombeau du sultan Ahmed Ier montre qu’il avait été offert pour être lu sur sa tombe.","dates":"1054 de l’Hégire / 1645 J.-C.","location":"Sultanahmet, Istanbul","dimensions":"H. 66 cm, l. 47 cm.","method_for_datation":"Selon le colophon, ce coran a été copié en 1054/1645. Bien que le nom du relieur ne soit pas connu, le style des compositions florales montre qu'elles sont de la même période que la calligraphie.","method_for_provenance":"La qualité de la calligraphie, de la reliure et des enluminures suggère une production des ateliers du palais à Istanbul.","provenance":"Istanbul, Turquie.","obtention":"Transféré du tombeau du sultan Ahmed Ier en 1329/1911.","bibliography":"ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p. 296.","linkcatalogs":"IAM_TR_FR_001","author":"Sevgi Kutluay","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["aquarelle","Cuir","dorure","encre","gaufrage","papier","peinture"],"materials":["aquarelle","cuir","dorure","Encre","gaufrage.","Papier apprêté"]},"fa91a1b4-7f04-56f0-8661-0bd4d58ccac8":{"name":"Reliure de Coran.","description":"Cette reliure d'un coran almohade en un seul volume transcrit en caractères cursifs andalous sur parchemin revêt le même format carré que le manuscrit qu'elle protège. Elle est constituée de deux plats réunis par des charnières et fermés par un rabat en cuir rouge gaufré renforcé de carton. Elle est ornée d'un abondant décor géométrique et floral.  \n  \nLa composition centrale des plats est constituée d'un carré étoilé à huit branches d'où rayonnent diverses figures polygonales engendrées par un entrelacs géométrique dont les brins sont recouverts d'un motif doré strié. Elle est entourée de trois cadres superposés de largeurs différentes et meublés d'entrelacs, de tresses à deux branches et de brins d'entrelacs recti-curvilignes dont les interstices sont occupés par des petits fleurons stylisés dorés aux petits fers. Les charnières, qui épousent l'épaisseur du volume, sont décorées de rosaces sommées de fleurons et groupées en petits bouquets inscrits entre les nœuds d'une chaînette entrelacée.  \n  \nD'après la densité de son décor, cette reliure n'est vraisemblablement pas contemporaine du coran qu'elle protège et n'a pas dû être exécutée avant l'époque mérinide. Sans doute a-t-elle également fait l'objet de rénovations postérieures, comme le suggèrent son état de conservation et les motifs floraux de style oriental qui sont peints sur le dos des charnières. En effet, ces bouquets de rosaces d'inspiration turco-persane n'auraient été introduits dans le répertoire décoratif de l'art marocain qu'au début du XIe siècle H (XVIIe siècle J.-C.).","short_description":"Cette reliure de forme carrée, comme le coran almohade qu'elle protège, ne lui est pas contemporaine. Bien qu'ornée de motifs géométriques traditionnels, elle comporte des motifs floraux – dont des rosaces, d'inspiration orientale – introduits tardivement dans le répertoire décoratif marocain.","holder":"Bibliothèque royale.","initial_owner":"(Habous ?)","dates":"Reliure : VIIe-VIIIe siècle de l’Hégire (XIIIe-XIVe siècle J.-C.). Coran : 531 H / 1178 J.-C.","location":"Rabat.","dimensions":"H. 16, 2 cm, l. 15,5 cm.","method_for_datation":"Comparaison avec d'autres reliures, d'époques almohade et postérieures, conservées dans les musées marocains. (Coran : la dernière page du manuscrit porte la date à laquelle il a été copié.)","method_for_provenance":"Le style décoratif de la reliure est marocain.","provenance":"Maroc.","bibliography":"Al-Razi, J. et Varichon, A., *6000 ans d'art au Maroc* (catalogue), Paris, 1990.  \n  \nRicard, P., “Reliures marocaines du XIIIe siècle”, *Hespéris* XVII, 1933, pp. 109-127.  \n  \nSefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, vol. 6, Rabat, 1987, p. 65.","linkcatalogs":"IAM_MA_FR_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","keywords":["calligraphie","décoration florale","décoration géométrique","objet religieux"],"materials":["Cuir gaufré et doré au fer."]}}

package/translations/items.tr.json

@@ -0,0 +1 @@
+{"8cab8001-579e-56bf-aa5a-648db5c8268e":{"name":"Yazı takımı.","description":"Makta: Fildişinden yapılmış olan makta, çok ince oyma tekniğindedir. Maktanın üst kısmında bir kürsü üzerinde Mevlevi sikkesi, alt kısmında ise saksı içinde bir ağaç motifi bulunmaktadır. Usta, üyesi olduğu Mevlevi tarikatın sikkesini de işlemiştir.  \n  \nMühre: Camdan yapılmıştır. Avuç içini dolduracak büyüklüktedir.  \n  \nKalemtraş: Kesici kısmı maden olan eserin kemikten sap kısmı parmakları kapalı bir el şeklinde sonlanmaktadır.  \n  \nMakas: Demirden yapılmıştır. Tüm yüzeyi altın kakma bitkisel motiflerle bezenmiştir. Makasın tutma yeri karşılıklı olarak Allah'ın doksan dokuz güzel adından biri olan “Allah bütün kapıların açıcısıdır” anlamındaki “Ya Fettah” yazısı biçimindedir.  \n  \nKubur: Kalın karton üzerine siyah deri gerilmek suretiyle hazırlanmış kapaklı, silindirik bir kuburdur. Dip kısmında pirinç hokkası bulunmaktadır. Kuburun dış yüzeyi lake (Edirnekari) tekniğinde yapılmış altın yaldız ve çeşitli renklerde kıvrım dal ve çiçeklerle bezelidir. Ali Üsküdari'nin yaptığı kuburun özelliği mürekkep hokkasının bulunmasıdır.  \n  \nİslam sanatının kendini ifade ettiği en büyük alanlardan biri hat sanatıdır. Özellikle bazı Osmanlı sultanları da hat sanatında ders almış ve çalışmalar yapmıştır. Hat sanatında güzel eserler vermiş sultanlar arasında III. Ahmed, II. Mustafa, II. Mahmud ve I. Abdülmecid sayılabilir. Hattatların kullandığı eserler de birer sanat eseri haline gelmiştir. Kullanacağı kağıdı makasla kesen, aharlayıp mühre ile parlatan sanatçı kağıdını kuburlarda korumuştur. Makta üzerine koyduğu bambu kamış kalemini kalemtraşla istediği kalınlıkta inceltmiş, bu kalemle yazısını yazmış, mürekkebini hokkada saklamıştır. Hat sanatını icra etmek için kullandığı tüm bu aletleri yazı çekmecelerinde bir arada korumuştur. Tüm bu aletler yapıldıkları dönemin beğenisine uygun üslupta, kimi zaman tarikatlarını da yansıtan simgelerle bezenmiştir.","short_description":"Hat sanatı kendi kuralları içinde ürünler verirken, onun yaratılmasını sağlayan araç ve gereçler de birer sanat eserine dönüşmüştür. Kalemlerin ucunu kesmek için yapılan kalemtraş ve maktaalar, kâğıt makasları, bunların taşınmasını sağlayan divitler İslam sanatında haklı bir ün kazanmışlardır.","holder":"Türk ve İslam Eserleri Müzesi.","initial_owner":"Makta: Leyla Turgut (ilk Türk kadın mimarlardan, 20. yy); Mühre: Hattat Necmeddin Okyay (1883-1976); Kalemtraş: İbnü’l-Emin Mahmut Kemal (TİEM eski müdürü ve yazar); Makas: Dışişleri Bakanlığında görevli Süleyman Şevket Bey; Kubur: Sadi Belger (eski bir silah tüccarı, 20. yy).","dates":"Makta: 12.-13. / 18.-19. yüzyıl; Mühre: 12.-13. / 18.-19. yüzyıl; Kalemtraş: 12.-13. / 18.-19. yüzyıl; Makas: 13. / 19. yüzyıl; Kubur: H. 1131 / M. 1718 tarihlidir.","location":"Sultanahmet, İstanbul","dimensions":"Makta: uz: 19 cm.; Mühre: uz: 16 cm.; Kalemtraş: uz: 19.5 cm; Makas: uz: 22,2 cm.; Kubur: uz: 32 cm. dip çap: 4 cm.","method_for_datation":"Makta: Makta, işçiliği ve üzerindeki deseni dolayısıyla tarihlendirilmiştir çünkü maden üzerine altın kakma ile yapılan bezemeye 12.-13. / 18.-19. yüzyıllarda sıkça rastlanmaktadır. ; Mühre: Genelde mühreler ahşap ve deniz kabuğundan yapılırdı. Camdan yapılmış mührelere 18. ve 19. yüzyıllarda rastlanmaktadır. ; Kalemtraş: İşçiliği dolayısıyla tarihlendirilmiştir. ; Makas: Makas, işçiliği ve üzerindeki deseni, özellikle “Ya Fettah” yazısının 13. / 19. yüzyılda görülmesinden dolayı tarihlendirilmiştir. ; Kubur: Üzerinde İstanbul Üsküdarlı olan Ali Üsküdari tarafından 1131 / 1718 tarihinde yapıldığı yazılıdır.","method_for_provenance":"Bu eserlerin, Osmanlı hat sanatının merkezi olan İstanbul'da yapılmış olduğu düşünülmektedir. Kuburun sanatçısının İstanbullu olması da İstanbul'da üretildiğini akla getirmektedir.","provenance":"İstanbul.","obtention":"Makta: Y.Mimar Leyla Turgut'un Türk ve İslam Eserleri Müzesine bağışlanan terekesi ile 1990 da Müzeye getirilmiş ve kayda geçirilmiştir. ; Mühre: Hattat Necmeddin Okyay tarafından Rumi 15 Mart 1337 / H. 1339 / M. 1921 tarihinde hediye edilmiştir.; Kalemtraş: İbn ül-Emin Mahmut Kemaltarafından7 Mart 1919tarihinde müzeye bağışlanmıştır. ; Makas: Dışişleri Bakanlığında görevli Süleyman Şevket Bey tarafından 5 Nisan 1919 tarihinde Müzeye hediye edilmiştir. ; Kubur: Sadi Belger adlı şahsın terekesinden 18.11.1986 yılında satın alınmıştır.","bibliography":"Ölçer, N. vd, *In Pursuit of Excellence*, İstanbul, 1993, 70-73.  \n  \nÖlçer, N. vd, *Türk ve İslam Eserleri Müzesi,* İstanbul, 2002, 318.  \n  \nÇağman, F. – Aksoy, Ş. *Osmanlı Sanatında Hat*, İstanbul 1998, 18-32.  \n  \nKubur: yayınlanmamıştır.","linkcatalogs":"IAM_TR_TR_001","author":"Şule Aksoy","keywords":["altın kakma","Bitkisel bezeme","demir","gümüş","tuğra","Türk Barok-Rokokosu","Yazı"],"materials":["deri","Kalemtraş: kemik ve maden","Kubur: karton","maden.","Makas: demir üzerine altın kakma","Makta: Fildişi","Mühre: cam","oyma tekniği"]},"ea8bbe97-c193-5f18-8fc1-bff27b21d5c0":{"name":"Kur’an-ı Kerim Cildi.","description":"Bordo renkli deri cildinin dış ve iç kapaklarındaki bezemeler kalıp tekniği ile çalışılmıştır. Dış ve iç kapaklarda, geniş bir bordürle çerçevelenen palmet salbekli dilimli gömme oval şemse ve dilimli köşebentler yer almaktadır. Şemse, salbek ve köşebentlerin etrafına altın yaldızla tığ çekilmiştir. Dış ve iç kapaklar arasında iki fark bulunmaktadır: birincisi; iç kapaklarda şemsenin orta zemini dışında tüm bezemeler siyah, şemsenin ortası ise altın yaldız zemin üzerine yapılmış olmasıdır. İkincisi ise; dış kapaktaki bordürlerde bitkisel kompozisyon yer alırken iç kapakta ayet bulunmaktadır. Saz üslubundaki bitkisel kompozisyonların tümü altın yaldızla boyanmıştır. İç kapaklarda bitkisel kompozisyonlarla doldurulmuş oval madalyonlar arasına altın yaldız kullanılarak sülüs hatla “Ayet el-Kürsi” yazılmıştır. Sertabda ise LVI: 77-79 ayeti yer almaktadır. Cilt kapaklarında dolu (bezemeli) ve boş (bezemesiz) alanlar arasındaki denge ve bezemelerdeki yüzey farklılığı, yüzeyde derinlik meydana getirmiştir.  \n  \nEser, içleri saz üslubunda bitkisel bezemeli, gömme şemse ve köşebentleriyle 16. yüzyılın ünlü mücelliti Mehmed çelebi'nin Türk cilt sanatında bir ekol haline gelen özelliklerinin Osmanlı saray nakkaşhanesinde 17. yüzyıl ortalarında da devam ettiğini gösteren güzel bir örnektir.","short_description":"Osmanlı Saray Nakkaşhanesi'nde hazırlanmış olan eser, geleneksel Türk cilt sanatının tüm özelliklerinin büyük bir ustalıkla gözler önüne serildiği önemli bir 11. / 17. yüzyıl örneğidir.","holder":"Türk ve İslam Eserleri Müzesi.","initial_owner":"Asıl sahibi bilinmiyor. Ancak Kur’an’nın Sultan Ahmed Türbesi’nden 1911 yılında müzeye gelmiş olması, okunmak üzere bu türbeye vakf edildiğini göstermektedir.","dates":"H. 1054 / M. 1644.","location":"Sultanahmet, İstanbul","dimensions":"Boy: 66 cm. En: 47 cm.","method_for_datation":"Ketebesine göre H.1054 / M. 1644 yazılmıştır. Cilt ustasının adı bulunmamakla birlikte bitkisel kompozisyonların üslup özellikleri eserin hattı ile cildinin aynı dönemde hazırlandığını göstermektedir.","method_for_provenance":"Hattı, cildi ve tezhibindeki kalite eserin İstanbul'da saray nakkaşhanesinde hazırlanmış olabileceğini düşündürmektedir.","provenance":"İstanbul.","obtention":"1911 yılında Sultan Ahmed Türbesinden getirilmiştir.","bibliography":"ölçer, N. vd, *Türk ve İslam Eserleri Müzesi*, İstanbul, 2002, s. 296.","linkcatalogs":"IAM_TR_TR_001","author":"Sevgi Kutluay","keywords":["Altın (yaldız)","baskı","boyama.","deri","Kağıt","mürekkep","suluboya"],"materials":["Aharlı kağıt","altın yaldız","deri","deri ciltte baskı tekniği kullanılmıştır.","mürekkep","suluboya"]}}

package/translations/partners.ar.json

@@ -0,0 +1 @@
+{"01ed0e00-4aed-5afc-bdea-937514669d4b":{"name":"متحف فيكتوريا وألبرت","description":"فيكتوريا وألبرت (فيكتوريا وألبرت) هو المتحف الرائد في العالم للفنون والتصميم ، مع مجموعات لا مثيل لها في نطاقها وتنوعها. وعندما تم افتتاح المتحف للجمهور في عام 1852 ، كانت مهمته هي إعادة تشكيل التصميم من خلال إتاحة الأعمال الفنية للجميع ، وتحسين فهم الجمهور للموضوع وتوفير الإلهام للمصممين والمصنعين. واليوم ، تستمر مجموعات V & A ، التي تمتد لأكثر من 2000 عام من الإبداع البشري في كل وسيلة تقريبًا ومن أجزاء كثيرة من العالم ، في إثارة التفاهم والإلهام والإعلام.  \nتخصص فيكتوريا وألبرت في جمع الفن والتصميم من العالم الإسلامي منذ خمسينيات القرن التاسع عشر ، وكانت أول مؤسسة في العالم تجمع الفن الإسلامي بطريقة منهجية. ويعتقد مؤسسو المتحف أن الأفكار الإسلامية حول هيكلة الأنماط ومطابقة الزخرفة بالشكل والوظيفة يمكن أن تحسن التصميم البريطاني. وقد نمت المجموعة لتصبح الأكثر أهمية في مجالها. وتشمل الأعمال البارزة سجادة أردبيل الإيرانية من القرن العاشر / السادس عشر ، وإبريق من الكريستال الصخري من القرن الخامس / الحادي عشر في مصر ، وأكبر مجموعات الخزف الإسلامي في العالم. ويضم المتحف أيضًا المجموعة الوطنية للمنسوجات الإسلامية.","city":"لندن","address":"Cromwell Road  \nSouth Kensington  \nSW7 2RL  \nLondon  \nUnited Kingdom","website":"http://www.vam.ac.uk","phone":"+44 207 9422000"},"1232b5a2-7af1-5de4-a332-ff444943f8b0":{"name":"المتحف التمساوي للفنون التطبيقية / الفنون المعاصرة","description":"المتحف النمساوي للفنون التطبيقية MAK / الفن المعاصر هو أحد أوائل المتاحف من نوعه في العالم. ويقع بناؤه في شتوبنربنغ في المنطقة الأولى من فينا وقد أسس في عام 1863 تحت اسم المتحف الإمبراطوري الملكي النمساوي للفن والصناعة ) ويتضمن اليوم مجموعة فريدة من الفنون التطبيقية والتصاميم والعمارة والفن المعاصر.  \nوتتضمن مجموعة MAK فنون الزخرفة الأوربية والدولية التي تتراوح من بداية العصور الوسطى حتى الوقت الحاضر. ومقتنيات المتحف تتضمن الأقمشة ، الخزف ، الزجاج ، الأثاث ، والمشغولات المعدنية وأيضا القطع الخارجية من مشاغل فينا والفن الجديد . ومجموعته من السجاجيد الشرقية والفن الشرق آسيوي هي ذات الأهمية الأعلى على مستوى العالم.  \nومن بين القطع من العالم الإسلامي هناك مجموعة من السجاجيد الشرقية بارزة ويمتلك المتحف أكبر مجموعة في العالم من اللوحات من الحمزنامة من عصر الإمبراطور المغولي أكبر العظيم . والأمثلة المهمة للفنون التطبيقية محفوظة في مجموعة آسيا في MAK والتي تشمل بشكل خاص قطع من إيران والإمبراطورية العثمانية.","city":"فينا","address":"Stubenring, 5  \nA-1010 Vienna  \nAustria","website":"http://www.mak.at","phone":"+43 1 711 36-248","email":"office@MAK.at"},"2300bb0e-fc9f-55c5-ae2e-20f619a46cce":{"name":"متحف العالم","description":"متحف العالم في فينا – سابقا متحف الأعراق – يتضمن مجموعات شاملة من القطع العرقية والصور التاريخية والكتب حول الحضارات غير الأوربية مما يجعله واحدا من أهم المتاحف العرقية العالمية. وتعود جذوره لعام 1806 عندما أسست \"المجموعة العرقية الإمبراطورية و الملكية \" كجزء من هيئة البلاط الإمبراطوري والملكي المجتمعة للقطع الطبيعية وتلاها الحيازة الجزئية لمجموعة كوك في مزاد لندن. والمجموعات التي كانت تنمو باستمرار نقلت إلى ما يعرف حديثا \" بقسم الأنثروبولوجيا والأعراق\" لمتحف البلاط الملكي للتاريخ الطبيعي في عام 1876. وإن ضيق المكان وهدف تطوير علم دراسة الأعراق كعلم ثقافي أقنع صانعي القرار السياسي بتأسيس متحف شامل موحد لعلم الأعراق. وقد افتتح متحف الأعراق رسميا في عام 1928 وأخذ كل بناء \"كور دو لوجيس\" في نويبرغ.  \nفي عام 2001 فقد تم إلحاق متحف الأعراق بجمعية متحف KHM وفي أبريل 2013 أصبح متحف الأعراق يسمى متحف العالم في فينا وهو موقع للثقافات والحضارات العالمية في ساحة هيلدين في فينا. وفي اكتوبر 2017 وبعد الإصلاح الشامل وتحديث البناء التاريخي أعاد المتحف فتح أبوابه كليا بمجموعة مكونة من 14 معرضا دائما منقحا وقد توسعت قائمة موجواته لتصل إلى أكثر من 200,000 قطعة.","city":"فينا","address":"Heldenplatz  \n1010 Vienna","website":"http://www.weltmuseumwien.at","phone":"+43 1 534 30-5052","email":"info@weltmuseumwien.at"},"325b7505-1527-5442-99ea-6a40f8c43d3f":{"name":"المتحف الإسلامي بالمسجد الأقصى","description":"تم افتتاح المتحف رسمياً عام 1341 هـ / 1922 م. وفي عام 1348 هـ / 1929 م ، تم نقله إلى موقعه الحالي في الركن الجنوبي الغربي من الحرم الشريف. ويدار المتحف من خلال دائرة الأوقاف الإسلامية في القدس ، تحت رعاية وزارة الأوقاف الأردنية والشؤون الإسلامية والمقدسات.  \nيتألف المتحف من ثلاثة مبانٍ بمساحة عرض تزيد عن 1000 متر مربع. وتعود أقدم قاعة إلى القرن 6 الهجري / 12 الميلادي وهي من الآثار الصليبية النادرة في المدينة المقدسة. أما القاعة الثانية فهي مسجد أيوبي (القرن 7 الهجري / القرن 13 الميلادي) الذي يُعرف تاريخياً باسم مسجد المالكية أو جامع المغاربة. وتُعرف القاعة الثالثة بزاوية الفخرية ويرجع تاريخها إلى العصر المملوكي (القرن 8 الهجري / القرن 14 الميلادي).  \nتتكون المجموعة من قطع أثرية وبقايا من العصور الإسلامية وغير الإسلامية ، تمثل جوانب مختلفة من الحضارة الإسلامية تتراوح في الجغرافيا والموضوع والفترة. وتمثل معظم القطع الأثرية تراث الحرم الشريف والقدس وفلسطين بشكل عام بما في ذلك مدن مثل الخليل ونابلس.  \nيحتوي المتحف على مشغولات خشبية من عصور إسلامية مختلفة ، حيث يعود أقدمها إلى العصر الأموي. وتشمل الأعمال المعدنية المصنوعة من الحديد والنحاس والفضة الهيكل الحديدي لقبة الصخرة والشمعدانات والسيوف والخناجر والأباريق والمباخر والعملات المعدنية والخواتم والقطع التذكارية. وتضم المجموعة بلاطًات رخامية ومزججة التي غطت قبة الصخرة في عهد السلطان سليمان القانوني (حكم في الفترة 926-74 / 1520-1566) وخلفائه. وتوجد مجموعة من الخزف والنقوش على الحجر من فترات إسلامية مختلفة وسلائفها ، وأعمدة وتيجان من العصر الروماني والبيزنطي. كما توجد مجموعة قيِّمة من المصاحف ، أقدمها في القرن التاسع / الخامس عشر ، والعديد من المخطوطات المملوكية التي تتناول موضوعاتها الحياة الاجتماعية والاقتصادية في المدينة المقدسة. ويعرض المتحف جزءًا من مجموعة المنسوجات الخاصة به ، مع الأزياء وأغطية القبور وقطع من كسوة الكعبة وقطع السجاد.","city":"القدس","address":"Al-Haram al-Sharif  \nAmro  \nP.O. Box 75085  \nJerusalem","website":"http://www.facebook.com/islamic.museum1922/","phone":"02 6283286","email":"jerusalem.museum@gmail.com"},"40411e66-c284-545a-b2ef-8e0e8a2c7f6e":{"name":"متحف الفن والصناعة","description":"متحف الفن والصناعة MKG في هامبورغ (متحف für Kunst und Gewerbe Hamburg) هو متحف للفنون التطبيقية يسلط الضوء على التصميم والتصوير الفوتوغرافي والأزياء والفنون التصويرية والحرف اليدوية. تم افتتاح MKG في عام 1877 تحت إشراف مديره المؤسس Justus Brinckmann ( (1843-1915.  \nويضم المتحف حوالي 500000 قطعة فنية وتصميما ، تغطي نطاقًا جغرافيًا من أوروبا ومناطق البحر الأبيض المتوسط إلى الغرب وآسيا. يتم عرض أكثر من 4000 عام من تاريخ التصميم والثقافة ، من العصور القديمة إلى العصر الحالي.  \nكما يعد جناح الفن الإسلامي الأقدم من نوعه في ألمانيا وكان جزءًا من المتحف منذ تأسيسه. وقد اقتنى جوستوس برينكمان قطعًا تسم الفن الإسلامي في سياق معارض العالم في فيينا (1873) وباريس (1889). وكان التركيز الأولي للمجموعة هو على البلاط والخزف ، والتي تم الحصول عليها كعناصر للفن الزخرفي.  \nوالمجموعة مهمة بسبب قطعها الفردية البارزة. فعلى سبيل المثال ، ديوان موهبي ، وهو مجلد شعر مذهب (1554) يعود للسلطان العثماني سليمان القانوني أو أجزاء من ألواح بلاط ضريح بويان قولي خان في بخارى (أوزبكستان) ، وهي كسر (أجزاء غير كاملة) من القرن السادس عشر. والتحفة الأخرى في المجموعة هي السجادة الصفوية الملكية.","city":"هامبورغ","address":"Steintorplatz,  \nHamburg  \nGermany","website":"http://www.mkg-hamburg.de/","phone":"+49 (0)40 428134-880","email":"service@mkg-hamburg.de"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"متحف الفن الإسلامي في متحف بيرغامون ، المتاحف الحكومية","description":"سيتم إغلاق متحف الفن الإسلامي في الفترة من أكتوبر 2023 إلى مارس 2027 بسبب أعمال التجديد والتوسعة.  \n  \nيعد متحف الفن الإسلامي في متحف بيرغامون برلين Museum of Islamic Art at the Pergamon Museum Berlin المؤسسة الوحيدة من نوعها في ألمانيا ، والأقدم في الغرب وفيه نحو 93000 قطعة تضم واحدة من أرقى مجموعات الفن الإسلامي في العالم من جميع مناطق الحكم الإسلامي تقريبًا.  \nمجموعاته غنية بشكل خاص بقطع من سياق معماري بما في ذلك الواجهة الضخمة لقصر الخلافة في المشتى (الأردن) Mshatta (Jordan)، الذي يعود تاريخه إلى منتصف القرن الثامن. وهذه الواجهة هي أكبر قطعة أثرية للفن الإسلامي في أي متحف في جميع أنحاء العالم. والقبة الفريدة من قصر الحمراء Alhambra Palace في غرناطة (إسبانيا) Granada (Spain) ومشاكي الصلاة من القرن الثالث عشر من كاشان (إيران) وقونية (تركيا) هي من بين المعالم البارزة في هذا المتحف . وأكثر ما يحبه زوارنا هو الألواح الخشبية المطلية بدقة لمنزل من الطبقة العليا من حلب (سوريا) من أوائل القرن السابع عشر - وهي أقدم نموذج باقٍ من العالم العثماني. ومن بين المجموعات الأثرية العديدة من أعمال حفريات التنقيب الأثري الكبرى في العالم الإسلامي ، تبرز الاكتشافات من عاصمة الخلافة سامراء (العراق) في القرن التاسع. تحتوي المجموعة أيضًا على عدد كبير من السجاد العثماني والفارسي والأعمال الفنية الببليوغرافية ، بما في ذلك العديد من المنمنمات من الإمبراطورية المغولية.  \nيتم عرض المجموعة حسب ترتيبها الزمني ، مما يسمح للزائر بمتابعة المراحل الأسلوبية المختلفة للفن الإسلامي وتشكيل فكرة عن التاريخ الإسلامي المعقد ومزاياه الفنية. ونظرًا للعدد الكبير من الزوار (الذي يصل إلى 900,000 سنويًا) ، حيث لا يُعرض سوى عدد قليل من أهم الأعمال الفنية.لكن سينتقل المتحف داخل متحف بيرغامون وستتضاعف مساحة العرض ثلاث مرات (3,000 متر مربع) بحلول عام 2020. سيكتشف تخطيط المكان ومفهوم التصميم طرقًا جديدة ومبتكرة لعرض الإرث الثقافي.  \nيعد متحف الفن الإسلامي ، الذي يضم مجموعة فنية وأثرية غنية ، أحد المؤسسات البحثية الرائدة المكرسة للثقافة المادية في الشرق الأوسط والمناطق المجاورة. وترقى العديد من مشاريع البحث والحفاظ على التراث والمعارض لدينا إلى بحث استقصائي في الموروثات الحضرية في الشرقين الأدنى والأوسط. وتضم المؤسسة مجموعات مهمة من الصور الأرشيفية عن الفن الإسلامي والعمارة بالإضافة إلى مكتبة بارزة دوليًا تركز على الفن والعمارة وعلم الآثار في العالم الإسلامي.","city":"برلين","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"},"5a99ecbe-b976-5037-8760-a07c629142f6":{"name":"متحف تاريخ الفن","description":"متحف تاريخ الفن KHM في فينا هو أحد أوائل المتاحف في العالم وهو غني بمقتنياته التي تتضمن الأعمال الفنية من الألف السابعة للتاريخ – من مصر القديمة إلى أواخر القرن الثامن عشر. ومجموعات عصر النهضة وفن الباروك هي ذات أهمية خاصة .  \nإن مقتنيات KHM الواسعة معروضة في مواقع مختلفة : البناء الرئيسي في شارع رينغ الذي يحتوي معرض الصور ومجموعة الأثريات الإغريقية والرومانية والمجموعة المصرية والشرق الأدنى ومجموعة النقود وغرفة الفن.  \nالمجموعات الأخرى في KHM موجودة في نويبرغ ( مثل مجموعة الآلات الموسيقية التاريخية ومجموعة الأسلحة والدروع ومتحف إفسوس) في قصر هوفبورغ (الخزينة) وفي قصر شونبرون (مجموعة العربات التاريخية).  \nالمجموعات المعروضة في قصر أمبراس هي أيضا جزء من مقتنيات KHM.  \nمنذ يناير 2001 فإن متحف الأعراق في ساحة هولدن ومتحف المسرح النمساوي في ساحة لبكوفيتس تم تضيمنها في KHM.","city":"فينا","address":"Burgring, 5  \n1010 Vienna","website":"http://www.khm.at/","phone":"+43 1 525 24-0","email":"info@khm.at"},"6440f57d-bc25-5c0f-9b16-443be2f69b2a":{"name":"عهدة عائلة الخليلي - مجموعة الحج وفنون الحج","description":"في سعيه لتقديم رؤية شاملة لفنون العالم الإسلامي بأسره ، ومنذ سبعينيات القرن الماضي ، جمع البروفيسور ناصر د. خليلي Professor Nasser D. Khalili مجموعته من الفن الإسلامي تحت رعاية صندوق عائلة خليلي. مع ما يزيد عن 28000 قطعة توثق نطاق الإنتاج الفني للأراضي الإسلامية على مدى حوالي 1400 عام ، تعد المجموعة الآن من بين الأفضل في العالم وتمثل جيلًا جديدًا من مجموعات الفن الإسلامي.  \nتتضمن المجموعة مجموعة رائعة من مخطوطات القرآن الكريم والمخطوطات المصورة ، وتغطية الفنون الزخرفية - الخزف والمنسوجات والزجاج والمعدن والورنيش وكذلك الأختام والعملات المعدنية - تغطية شاملة.  \nإن مقتنيات مخطوطات وأوراق القرآن الكريم هي أول ما تم تجميعه بشكل منهجي لتوضيح التاريخ الكامل لإنتاج القرآن ، من حيث المدى الزمني والنطاق الجغرافي - من القرن الثامن إلى القرن العشرين. ومن المغرب الى الصين. حيث تم تجميع تسلسلات مماثلة للرسم والفنون الزخرفية. فعلى سبيل المثال ، يتم تمثيل الزجاج والخزف والأعمال المعدنية في مجموعة كاملة من التقنيات من فترة ما قبل الإسلام وحتى القرن التاسع عشر.  \nنال الفن الإسلامي اللاحق نفس المستوى من الاهتمام. حيث تُظهر جملة القطع والمخطوطات المهمة من فترات لاحقة في المجموعة أن الكثير من الأعمال الفنية التي تستحق اهتمامنا على أسس جمالية وتاريخية وفكرية تم إنتاجها في القرنين السابع عشر والثامن عشر والتاسع عشر. والشكل فني مهم آخر لهذه الفترة هو اللكر الإسلامي Islamic lacquer ، ويمثله في المجموعة أكثر من 500 مثال.  \nكتالوك المجموعة عبارة عن سلسلة غير مسبوقة من 27 مجلدًا ، تم نشر العديد منها الآن ، وعند اكتمالها ستشكل مسحًا فريدًا للمجال حتى الآن. إن الدراسات في مجموعة الخليلي هي سلسلة ثانية من المنشورات المتعلقة بمجموعة الفن الإسلامي ، وتقدم تحليلاً أكثر تفصيلاً لبعض الأشياء.  \nمجموعة الحج وفنون الحج  \nمنذ حوالي 40 عامًا ، وتحت رعاية صندوق عائلة الخليلي ، شارك البروفيسور ناصر د. خليلي بنشاط في تجميع مجموعة بارزة من الأشياء المتعلقة بالحج ، وهو الركن الخامس للإسلام والذي يفسح المجال للفن والتعبير. بأكثر من 3000 قطعة ، تعد مجموعة الحج وفنون الحج الآن واحدة من أكبر وأهم مجموعة من نوعها وتتضمن أشياء رئيسية ، والعديد منها فريد من نوعه.  \nتتراوح القطع الأثرية من القرن الثامن إلى القرن العشرين وجغرافيًا من الصين والهند في الشرق إلى المغرب والمملكة المتحدة في الغرب. وهي تشمل حوالي 250 قطعة من المنسوجات المنسوجة والمطرزة المصنوعة للحرمين الشريفين في مكة المكرمة والمدينة المنورة ، وسبعة أغلفة للمحامل mahmals المصرية والسورية ، ومصاحف ، ومخطوطات مصورة ، وأدوات علمية ، وعملات معدنية ، ولوحات ، وكتب نادرة ، ومطبوعات ، وصور فوتوغرافية ، وبطاقات بريدية. ، بالإضافة إلى مواد أرشيفية مهمة وبعض الوثائق التاريخية الفريدة.  \nنظرًا لحجمها وتنوعها ، تقدم المجموعة نظرة عامة شاملة عن الحج ، توضح الجوانب الدينية والروحية والثقافية والفنية للحج إلى مدن الإسلام المقدسة والطبيعة العالمية للحج.  \nمنذ عدة سنوات ، خضعت المادة لبرنامج شامل للحفظ سيكتمل قريبًا ، كما أن البحث في التحضير لنشرها في عدد من المجلدات متقدم بشكل جيد. ستشمل المجلدات مساهمات من عدد من العلماء الدوليين الذين هم خبراء بارزون في العديد من التخصصات التي يثيرها هذا الموضوع.","city":"لندن","website":"http://www.khalilicollections.org","email":"info@nourhouse.com"},"b4586981-2102-51f3-a3a7-5094a3b23509":{"name":"Further Associated Museums","description":"**Numismatic Museum of the al-Maghreb Bank**  \nRabat, Morocco  \n  \n**National Library**  \nRabat, Morocco  \n  \n**Badi Palace**  \nMarrakesh, Morocco  \n  \n**Royal Library**  \nRabat, Morocco  \n  \n**Ethnographic Museum**  \nTetouan, Morocco  \n  \n**Archeological Museum**  \nTetouan, Morocco  \n  \n**Museum of Ceramics**  \nSalé, Morocco  \n  \n**Kasbah Museum**  \nTangiers, Morocco"},"c0c2fa4f-c38c-578e-8cc1-4703cc60b8a9":{"name":"متحف الفنون التركية والإسلامية","description":"كان متحف الفنون التركية والإسلامية أول متحف في تركيا يجمع بين أعمال الفن الإسلامي. وقد تأسس عام 1914 كمتحف للمؤسسات الإسلامية ومقره في مبنى مجمع السليمانية الذي بناه المهندس المعماري التركي العظيم سنان Sinan في القرن السادس عشر. زتم تغيير اسم المتحف إلى متحف الفنون التركية والإسلامية بعد إعلان الجمهورية وانتقل إلى موقعه الحالي لقصر إبراهيم باشا الذي يعود للقرن السادس عشر في عام 1983.  \nتضم المجموعة الأساسية للمتحف الأعمال الفنية الإسلامية التي تم جمعها من جميع أنحاء الإمبراطورية العثمانية في بداية القرن العشرين. وتشمل هذه الأعمال السجاد والمخطوطات والمشغولات المعدنية والأواني الزجاجية والسيراميك والمشغولات الخشبية والمواد الإثنوغرافية. وتمثل المجموعة فترة طويلة تتراوح من ظهور الإسلام إلى القرن العشرين والمنطقة الجغرافية الشاسعة التي حكمتها الإمبراطورية العثمانية.  \nتشكل مجموعة السجاد التي يبلغ عددها حوالي 1700 قطعة، من حيث جودتها وتنوعها ، أحد أهم مجموعات السجاد في العالم ، لذلك يُنظر إلى المتحف أحيانًا على أنه متحف سجاد. ولكن المتحف يحتوي أيضًا على مجموعات أخرى بارزة: تمثل مجموعة المخطوطات جميع الدول الإسلامية الحاكمة من القرن الأول / السابع إلى القرن العشرين عبر منطقة جغرافية واسعة. وتتيح مجموعة المشغولات المعدنية للزوار متابعة تطور الأعمال المعدنية التركية في الأناضول ، وتتراوح المجموعة الغنية من المشغولات الخشبية من القرن الثالث / التاسع إلى العصر العثماني. تشمل مجموعات الأواني الزجاجية والفخارية القطع الأثرية التي تم العثور عليها أثناء عمليات التنقيب في المراكز العباسية الشهيرة مثل سامراء وكاشان (إيران) والرقة (سوريا) بالإضافة إلى قطع أثرية من العصر التركي الأناضولي. وتشتمل الأعمال الحجرية ، ومعظمها تحمل نقوشاً ، على أمثلة من العصر الأموي والعباسي والمملوكي والسلجوقي والعثماني. والقسم الإثنوغرافي هو أحدث قسم.  \nكما ينظم المتحف ويستضيف ويشارك في المعارض الوطنية والدولية المؤقتة.  \nبعد أعمال الترميم الكبرى ، أعيد افتتاح متحف الفنون التركية والإسلامية في أبريل 2014 ، بالضبط بعد 100 عام من تأسيسه ، مع معارض خاصة للاحتفال بالذكرى المئوية لتأسيسه.","city":"اسطنبول","address":"İbrahim Paşa Sarayı Atmeydanı Sok. No: 46  \nSultanahmet, Istanbul, Turkey","website":"https://muze.gen.tr/muze-detay/tiem","phone":"+90 212 518 18 05 / 06","email":"tiem@tiem.gov.tr"},"d077cb9e-6c63-5943-b0b0-ef3de9ccf2af":{"name":"عهدة عائلة خليلي - مجموعة ناصر د. خليلي للفن الإسلامي","description":"في سعيه لتقديم رؤية شاملة لفنون العالم الإسلامي بأسره ، ومنذ سبعينيات القرن الماضي ، جمع البروفيسور ناصر د. خليلي مجموعته من الفن الإسلامي تحت رعاية صندوق عائلة خليلي. مع ما يزيد عن 28000 قطعة توثق نطاق الإنتاج الفني للأراضي الإسلامية على مدى حوالي 1400 عام ، تعد المجموعة الآن من بين الأفضل في العالم وتمثل جيلًا جديدًا من مجموعات الفن الإسلامي.  \nتتضمن المجموعة مجموعة رائعة من مخطوطات القرآن الكريم والمخطوطات المصورة ، وتغطية الفنون الزخرفية - الخزف والمنسوجات والزجاج والمعدن والورنيش وكذلك الأختام والعملات المعدنية - تغطية شاملة.  \nإن مقتنيات مخطوطات وأوراق القرآن الكريم هي أول ما تم تجميعه بشكل منهجي لتوضيح التاريخ الكامل لإنتاج القرآن ، من حيث المدى الزمني والنطاق الجغرافي - من القرن الثامن إلى القرن العشرين. ومن المغرب الى الصين. تم تجميع تسلسلات مماثلة للرسم والفنون الزخرفية. على سبيل المثال ، يتم تمثيل الزجاج والخزف والأعمال المعدنية في مجموعة كاملة من التقنيات من فترة ما قبل الإسلام وحتى القرن التاسع عشر.  \nنال الفن الإسلامي اللاحق نفس المستوى من الاهتمام. تُظهر جملة القطع والمخطوطات المهمة من فترات لاحقة في المجموعة أن الكثير من الأعمال الفنية التي تستحق اهتمامنا على أسس جمالية وتاريخية وفكرية تم إنتاجها في القرنين السابع عشر والثامن عشر والتاسع عشر. شكل فني مهم آخر لهذه الفترة هو الورنيش الإسلامي ، ويمثله في المجموعة أكثر من 500 مثال.  \nكتالوك المجموعة عبارة عن سلسلة غير مسبوقة من 27 مجلدًا ، تم نشر العديد منها الآن ، وعند اكتمالها ستشكل مسحًا فريدًا للمجال حتى الآن. دراسات في مجموعة الخليلي هي سلسلة ثانية من المنشورات المتعلقة بمجموعة الفن الإسلامي ، وتقدم تحليلاً أكثر تفصيلاً لبعض الأشياء.","city":"لندن","website":"http://www.khalilicollections.org","email":"info@nourhouse.com"},"d2b9c791-32d7-590a-9a1b-3f6766d360d6":{"name":"متحف الشيخ فيصل بن قاسم ال ثاني","description":"تأسس متحف الشيخ فيصل بن قاسم آل ثاني عام 1998. على يد صاحبه الشيخ فيصل فهو من بنات أفكار سعادته ونتاج شغفه الدائم بجمع القطع الفنية من كل أنحاء العالم سواء كانت قطعاً غريبة أو ذات أهمية تاريخية.  \n  \nيتميز المتحف الذي يتمتع بتنوع عالمي بضم أكثر من 30,000 قطعة من مختلف الأزمنة والثقافات، ويمثل بالمعنى الحقيقي نسخة حديثة من \"صندوق الفضول\"، خزانة العجائب التاريخية التي تعود إلى عصر النهضة.  \nالمجموعة المعروضة في أكثر من 30 قاعة بالمتحف تتميز بالتنوع من العصور البدائية حتى الوقت الحاضر، وتشمل الفن الإسلامي والتراث القطري والسجاد والأسلحة والمركبات والمجوهرات والعملات المعدنية وغيرهما. كما تتضمن أبرز القاعات في المتحف بيتًا سوريًا مُعاد تشييده وغرفة القرآن. تجسد القطع المعروضة ثقافة الفن الإسلامي وتقاليده الواسعة من جنوب أوروبا وشمال أفريقيا والشرق الأوسط حتى جنوب آسيا. تقديم الأعمال بطريقة موضوعية يسلط الضوء على التشابه بين الأشكال الفنية والتعبيرات الثقافية والتفاعل المتبادل بين المجتمعات.  \n  \nلا يُعتبر المتحف مجرد مجموعة قطع فنية. فمنذ بناء المتحف الرئيسي في الشحانية عام 1998 باستخدام الحجر المحلي على هيئة حصن بأبراج تقليدية، يسعى متحف الشيخ فيصل بن قاسم إلى إبراز التراث القطري ومشاركته عالمياً، مع إنشاء متحف السجاد في قلب الدوحة عام 2014 وافتتاح متحف السيارات، يهدف مجمع متاحف الشيخ فيصل بن قاسم آل ثاني إلى إلهام الناس على التفاعل مع التراث الثقافي من خلال مشاركة القصص من قريب وبعيد. أيضا يسعى إلى تعزيز الحوار بين الثقافات من خلال المعارض والبرامج التعليمية والبرامج العامة، سواء محلياً أو دولياً.  \n  \nفي عام 2010، تم اختيار المتحف من قبل وزارة الثقافة والفنون والتراث في قطر كواحد من المعالم الثقافية الهامة ضمن عام \"الدوحة عاصمة الأنشطة الثقافية 2010\".","city":"الدوحة","address":"Zone 80, Street 9999 Building No. 365, Al Samariya  \nAl Shahaniya, Doha Qatar  \nP.O. Box number 006","website":"www.fbqmuseum.org","phone":"+974 4486 1444","email":"info@fbqmuseum.org"},"de2dbebd-e2b6-5434-b061-c35adc183958":{"name":"متحف الوداية (المتحف الوطني للمجوهرات)","description":"عرض تاريخي  \nتأسس متحف الوداية عام 1915 ، جنبًا إلى جنب مع متحف البطحاء في فاس ، ويشكل أحد أقدم مؤسسات المتاحف العامة في المغرب ، ويضم واحدة من أهم مجموعات المتاحف داخل البلاد.  \nوهو مكان ذو أهمية كبيرة في تاريخ المغرب ، حيث كانت قصبة الوداية في الأصل حصنًا بناه حكام المناطق المرابطية (القرن العاشر إلى الثاني عشر) على جرف يطل على مصب أبي رقراق. وفي عهد الموحدين اللاحقين ، أعاد الحاكم عبد المؤمن تطوير الحصن إلى مقر إقامة أميري مع دعم دفاعي خدم احتياجات غزو شبه الجزيرة الأيبيرية في القرن الثاني عشر. وفي عام 1609 ، طرد فيليب الثاني ملك إسبانيا ما يقرب من مليون موريسكي ، وهو مصطلح يطلق على أحفاد المسلمين الذين عاشوا تحت الحكم المسيحي. وقد أدى ذلك إلى قيام مجموعة من 2000 مسلم أيبيري ، تعرف باسم هورناتشروس Hornacheros ، بالاستقرار في القصبة وإنشاء جمهورية مستقلة تحافظ على نفسها من خلال قرصنة البحر الأبيض المتوسط. وانتهى هذا التاريخ المضطرب لمصب أبي رقراق مع الحاكم العلوي سيدي محمد بن عبد الله (1757-1789). في معرض تاريخها ، خضعت قصبة الوداية لأعمال بناء كبيرة ، بما في ذلك تطوير الباب الكبير ، بوابة الموحدين الضخمة ؛ سور السلطان العلوي مولاي رشيد ؛ والمقر الأميري لمولاي إسماعيل (1672-1727).  \nالمتحف  \nتم بناء متحف الوداية في عام 1915 في الأجنحة القديمة للسلطان مولاي إسماعيل ، وهو في حد ذاته تحفة معمارية مستلهمة من الأندلس. وقد تم إنشاؤه في البداية من مجموعات خاصة (Libert: الخزف والنحاس الأصفر والأشغال الخشبية ، Besancenot: المجوهرات الفضية) ، وقد تم إثراؤه باستمرار من خلال عمليات الاستحواذ الجديدة. وفي الوقت الحالي ، تعود جميع مجموعات المتحف من المخطوطات والعملات المعدنية والأسطرلاب والأزياء والسجاد والخزائن والأسلحة إلى العصور الإسلامية.  \nتحتوي الغرفة الأولى على قطع فضية ومجوهرات من جبال الأطلس الكبير والأطلس المتوسط والأطلس الصغير والصحراء. وتحتوي صالتي البناء على خزف مطلي بالمينا باللون الأزرق ومتعدد الألوان من القرن التاسع عشر وأوائل القرن العشرين. تحتوي المجموعة أيضًا على ملابس تاريخية وإكسسوارات احتفالية ، لا سيما تلك الخاصة بالثقافات الحضرية بالإضافة إلى مجموعة من الحلي الذهبية ذات القيمة الجمالية والتاريخية الكبيرة.","city":"الرباط","address":"Musée National des Bijoux (Ancien musée des Oudayas)  \nCasbah des Oudayas  \nRabat, Morocco","phone":"+212 537 731537"},"ee0a71f8-dc12-5d5d-b02a-4402969e8274":{"name":"متحف الفن الإسلامي","description":"يقع متحف الفن الإسلامي في قصر رئاسي سابق تم تحويله لاحقًا إلى موقع ثقافي وتعليمي في 14 نوفمبر 1986. ويحتوي على أربع غرف موزعة في الطابق الأرضي والطابق العلوي. يحتوي الطابق الأول على:  \n\\- غرفة الخزف التي تضم قطعًا تعود لعصر الأغالبة (800-909 م) والفاطميين (909-1171 م) والعصر الحفصي (1229-1574 م). وتتميز خزفيات العصر الأغالبي باستخدامها للزجاج المعدني ، والخط الكوفي القديم ، والمشاهد الأنثروبومورفية (ذات الأشكال البشرية) anthropomorphic والزوومورفية zoomorphic (ذات الأشكال الحيوانية) القديمة. وقد تم إثراء المساحة أيضًا بمجموعة من بلاط سيراميك إزنيق الأزرق والأبيض.  \n\\- قاعة الجامع الكبير التي تضم عناصر معمارية تنتمي إلى الصرح الديني المركزي للجامع الكبير بالقيروان (49 هـ / 670 م). وتحتوي الغرفة على أفاريز مزينة بزخارف نباتية وكتابية كانت ستشكل جزءًا من سقف المسجد. كما يحتوي الحيز أيضًا على إعادة بناء محراب المسجد وباب مقصوره ونموذج للمسجد.  \n\\- غرفة التسجيل الحجرية تضم مجموعة متنوعة من اللوحات الجنائزية من مقبرة القيروان. بالإضافة إلى ذلك ، فهي تحتوي على نقش تأسيس مدينة القيروان في القرن العاشر والعاصمة المبكرة للخلافة الفاطمية ، وهي موقع قريب من صبرا المنصورية (946-972 م). ويتميز هذا النقش بأسلوب كتابته الفريد وأبعاده المهيبة.  \n\\- قاعة صبرة المنصورية التي تحتوي على قطع أثرية من حفريات صبرا. من بينها فرن الصب الذي كان أحد أقدم الأشياء التي تم العثور عليها في الموقع.  \nويعرض الطابق العلوي مجموعات مهمة من العملات والمجوهرات ، تغطي التاريخ الاقتصادي لإفريقية عبر أكثر من ستة قرون من الحكم الإسلامي. وتشمل هذه العملات المعدنية التي عُثر عليها في عصور الأغالبة والفاطميين والحفصيين والعثمانيين. وتحتوي الحجرة الزجاجية على قبة وتعرض قطع زجاجية مهمة من موقع صبرا الأثري ، وأبرزها فانوس الخليفة الفاطمي المعز (953-975 م). تحتوي غرفة المخطوطات على مجموعة غنية من أوراق المصحف الرقّية التي تنتمي إلى مكتبة المسجد الكبير في القيروان ، بما في ذلك \"المخطوطات الزرقاء\" الشهيرة التي تعود إلى القرن العاشر. إلى القرن التاسع عشر الميلادي.  \nيساعد مثل هذا المعرض الدائم على قراءة تاريخ مدينة القيروان - قصة ستساعد في فهمهما قاعة صبرا المنصورية وغرفة تسجيل الحجرات وغرفة المسجد الكبير بالقيروان بصورة أفضل.","city":"القيروان","address":"Musée des arts islamiques  \nKairouan-Raqqada","phone":"+216 77 228126"},"fea32901-ad4a-5972-8043-fd04f11ab0ee":{"name":"المتحف الإسلامي في ماليزيا","description":"نما الاهتمام بالفن الإسلامي بشكل كبير في السنوات الأخيرة. وانعكاسًا لهذا الإدراك فقد أصبحت ماليزيا في ديسمبر 1998 موطنًا لأكبر متحف للفن الإسلامي في جنوب شرق آسيا. ويحتل المبنى 30 ألف متر مربع ، ويقع وسط المناطق الخضراء المحيطة بحدائق بحيرة كوالا لامبور المركزية. ويضم متحف الفنون الإسلامية في ماليزيا أكثر من عشرة آلاف قطعة أثرية ، بالإضافة إلى مكتبة استثنائية من كتب الفن الإسلامي. وتتراوح القطع الفنية المعروضة من أصغر قطع المجوهرات إلى واحدة من أكبر نماذج المسجد الحرام في العالم. وإن الهدف من هذا هو إنشاء مجموعة تمثل العالم الإسلامي حقًا. حيث بدلاً من التركيز على الأعمال من قلب بلاد فارس والشرق الأوسط ، يركز IAMM أيضًا على آسيا. ويتم تمثيل الصين وجنوب شرق آسيا بشكل خاص.أما العنصر الثالث في بوتقة الانصهار الماليزي فهو الهند ، والتي تم منحها أيضًا مكانة خاصة. وتقع الهند والصين وعالم الملايو في فئة استثنائية. حيث يتم عرض الأجزاء الأخرى من المجموعة وفقًا للنوع بدلاً من الأصول الجغرافية في 12 صالة عرض بالمتحف.  \nحوَّل عمال البلاط الإيرانيون المدخل على طراز الإيوان إلى بساط حائطي مزخرف خزفي يحيط بآية ترحيبية من القرآن. وعلى السطح ، حوّل هؤلاء الحرفيون تقاليد تشييد القبة في آسيا الوسطى إلى تتويج للمبنى. وأصبحت القباب ذات اللون الفيروزي الآن علامة بارزة في أفق كوالالمبور.  \nوداخل المبنى ، تتباين زاوية تصميم القرن الحادي والعشرين مع الأشكال البسيطة والمستديرة للقباب الخمس التي تهيمن على الجزء الداخلي للمتحف. وتعمل هذه المعالم المهيبة ، التي عمل عليها حرفيون من أوزبكستان ، على تكوين أجواء جيدة التهوية وانسجام متناسق. ويتم المحافظة على الانسياب السلس للضوء والحيز في جميع أنحاء صالات العرض وفي مناطق أخرى من المتحف ، مثل المكتبة والمطعم.","city":"كوالا لمبور","address":"Jalan Lembah Perdana  \n50480 Kuala Lumpur  \nMalaysia","website":"http://www.iamm.org.my","phone":"+603 20927070; +603 22742020","email":"info@iamm.org.my"}}

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@@ -0,0 +1 @@
+{"1232b5a2-7af1-5de4-a332-ff444943f8b0":{"name":"MAK – Österreichisches Museum für angewandte Kunst","description":"Das MAK – Österreichisches Museum für angewandte Kunst / Gegenwartskunst ist eines der großen Museen seiner Art. Das am Stubenring im ersten Wiener Gemeindebezirk beheimatete Haus wurde bereits 1863 als „k.k. Österreichisches Museum für Kunst und Industrie“ gegründet und verfügt heute über eine einzigartige Sammlung von angewandter Kunst, Design, Architektur und Gegenwartskunst.  \n  \nDie Sammlung des MAK beherbergt europäisches und internationales Kunstgewerbe vom frühen Mittelalter bis in die Gegenwart. Textilien, Keramiken, Gläser, Möbel und Metallarbeiten sowie herausragende Objekte der Wiener Werkstätte und des Jugendstils bilden die Hauptbestände des Hauses.  \n  \nDarüber hinaus kommt der Sammlung orientalischer Teppiche sowie ostasiatischer Kunst Weltgeltung zu.  \n  \nUnter den Objekten aus der islamischen Welt ragt die Sammlung der orientalischen Teppiche heraus sowie die weltweit größte Sammlung von Malereien des Hamzanama aus der Zeit von Akbar, dem Großen. Kunstgewerbliche Arbeiten werden in der Sammlung Asien aufbewahrt und umfassen vor allem Objekte aus dem Iran sowie dem Osmanischen Reich.","city":"Wien","address":"Stubenring, 5  \nA-1010 Vienna  \nAustria","website":"http://www.mak.at","phone":"+43 1 711 36-248","email":"office@MAK.at"},"559ab197-7289-5af4-a295-1118bde9afce":{"name":"Museum für Islamische Kunst, Pergamon Museum","description":"**Das Museum für Islamische Kunst ist wegen Umbau- und Erweiterungsarbeiten von Oktober 2023 bis März 2027 geschlossen.**  \n  \nMit dem Geschenk der Fassade des Palastes von Mschatta durch den deutschen Kaiser an die Berliner Museen, der Stiftung von Teppichen durch Wilhelm von Bode und der Dauerleihgabe einer Sammlung islamischer Kunst durch Friedrich Sarre konnte das Museum 1904 eröffnet werden. Von da an wuchs die Sammlung durch Geschenke, Ankäufe und Ausgrabungsfunde kontinuierlich. 1932 wurden eigens geschaffene Räume für die Sammlung im Pergamonmuseum eingerichtet.  \n  \nNach dem 2. Weltkrieg, dem Verlust zahlreicher großer Teppiche und der Teilung der Bestände auf eine östliche und eine westliche Hälfte der Stadt Berlin wurde die Sammlung schließlich im Pergamonmuseum im Jahr 2000 wieder zusammengeführt.  \n  \nDas Museum gehört mit seinen Kunstwerken aus fast allen Teilen der islamischen Welt zu einer der weltweit bedeutenden Sammlungen. Sie ist vor allen Dingen besonders reich durch Kunstwerke aus größeren architektonischen Zusammenhängen. Dazu gehört die Fassade von Mschatta, zwei Gebetsnischen aus Kaschan/Iran und Konya/Türkei, der Alhambra-Kuppel aus Granada/Spanien, dem Aleppo-Zimmer aus Aleppo/Syrien und Ausgrabungsfunden. Die Sammlung weist darüber hinaus eine bedeutende Anzahl von osmanischen und persischen Teppichen auf und besitzt zudem wichtige Bestände der Buchkunst mit zahlreichen Miniaturen aus dem Moghul-Reich.  \n  \nDie Kunstwerke werden chronologisch präsentiert und erlauben dem Besucher die unterschiedlichen Kunststile der islamischen Geschichte kennenzulernen und ein Verständnis für die komplexe islamische Geschichte und ihre künstlerischen Entwicklungen zu gewinnen. Durch die zahlreichen Besucher in der Ausstellung kann nur eine geringe Anzahl von Meisterwerken der Sammlung gezeigt werden. Abgesehen von der Dauerausstellung veranstaltet das Museum Sonderausstellungen. Neben Ausstellungen zu dynastischen Themen oder zu bestimmten Fragestellungen wie den Beziehungen zur zeitgenössischen islamischen Kunst werden auch anderen Orts konzipierte Austellungen übernommen.","city":"Berlin","address":"Geschwister-Scholl-Straße, 6  \n10117 Berlin  \nGermany","website":"http://www.smb.museum/museen-und-einrichtungen/museum-fuer-islamische-kunst/home.html","phone":"+49 30 266 42 5201","email":"isl@smb.spk-berlin.de"}}