@museumwnf/leatherworks-data 1.0.3 → 1.0.4

package/translations/items.en.json

@@ -1 +1 @@
-{"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."]}}
+{"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","dimensions":"97 x 25 cm","copy_editor":"Anne Dowell","keywords":["Leather","trade","bedouins"],"materials":["Leather; tanned, dyed"]},"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.","dynasty":"Safavid","keywords":["European influence","Iran","lacquerwork","musicians","papier mâché","Safavid"],"materials":["Papier-mâché body and lift-off lid, with a lift-out inner compartment, all lined with leather"]},"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.","dynasty":"Qing","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.","dynasty":"Mamluk (Bahri)","linkcatalogs":"IAM_EG_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","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.","dynasty":"Ottoman","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, rubies, tourqoises, leather"]},"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).","dynasty":"Ottoman","author":"Matthias Pfaffenbichler, Tobias Roeder","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","short_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","materials":["Redbrown leather with gilt tooling"]},"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.","dynasty":"Nasrid","author":"Matthias Pfaffenbichler, Tobias Roeder","copy_editor":"Liz Cooper","keywords":["arms","collection","embroidery","Grenada","military object","Moorish","Muslim Spain","shield","silk","targe","weapon"],"materials":["Natural coloured calf leather, coloured silk embroidery"]},"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":["Glass beaker, enamelled and gilded, 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.","dynasty":"Safavid","copy_editor":"Caitlin Link","keywords":["Bookbinding","Chinese influence"],"materials":["gold, silver","lacquer painting","Leather"]},"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.","dynasty":"Qajar","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.","dynasty":"Ottoman","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.","dynasty":"Alawid","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco","North Africa","Quran case"],"materials":["embroidery","Leather, wood, silver"]},"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":["leather, iron, wood"]},"59e106e1-b0a2-5505-af4e-7abfde04a90a":{"name":"Belt","short_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","dimensions":"Length 78 cm, width 3.5 cm","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Leather","belt","embellished","niello","rosette buckles","silver"],"materials":["Leather, silver; cutting, casting"]},"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.","dynasty":"Fatimid–Zirid","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.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["costume","floral decoration","geometric decoration","military object","military wear","Ottoman army"],"materials":["Leather, gold, bronze, 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.","dynasty":"Ottoman","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.","dynasty":"Ottoman","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.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","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","short_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","dimensions":"L. 30 cm, l. 22 cm","provenance":"La zaouia de Sidi Sahbi, Kairouan","translator":"Flaminia Baldwin","keywords":["Book cover","ottoman influences"],"materials":["Red leather"]},"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).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","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, leather, metal.","knife (kalemtraş): carved bone and 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.","dynasty":"Ottoman","author":"Matthias Pfaffenbichler, Tobias Roeder","copy_editor":"Liz Cooper","keywords":["Chinese motifs","floral decoration","floral motifs","horsemanship","military object","Ottoman army","ottoman empire","Saddle"],"materials":["Wood, parchment, lacquer painting, thick brown felt, deer leather"]},"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","dynasty":"Ottoman","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","short_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, Giulia Barrera","copy_editor":"Anne Dowell","materials":["Velvet; gold embroidery; leather"]},"b01b920c-bd76-5e6a-b3c9-4e331c550bdd":{"name":"Karagöz and Hacivat Shadow Play","short_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","materials":["Leather"]},"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.","dynasty":"Qajar","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.","dynasty":"Aghlabid, Fatimid","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":["Palm leaf strips, leather"]},"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.","dynasty":"Turkoman","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).","dynasty":"Safavid","author":"Matthias Pfaffenbichler, Tobias Roeder","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.","dynasty":"Ottoman","copy_editor":"Caitlin Link","keywords":["leather"],"materials":["Carved leather"]},"d3ddaba2-605a-593a-84dc-d55cd6a60174":{"name":"Pearl Diver’s Finger Protectors","short_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","dimensions":"The finger protectors length around 40 mm, width c. 20 mm; the bag c. 250 x 200 mm","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis","keywords":["khabt","khabta"],"materials":["Leather and cotton"]},"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.","dynasty":"Mamluk","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.","dynasty":"Ilkhanid","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.","dynasty":"Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","geometric decoration","military object","military wear","War","warfare"],"materials":["Wood, leather, serge and felt, gold embroidery, trim, damascened iron."]},"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.","dynasty":"Ottoman","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.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["gilding","ink","leather","painting","Paper","Saz style","tooling","watercolour"],"materials":["Finished (aharli) paper, ink, watercolour","the leather binding tooled and gilded."]},"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","dimensions":"28.6 x 24.2 cm","author":"Manuela Fidalgo","keywords":["Orientalism","Literature","François – Louis Schmeed","Jean Dunand George"],"materials":["Binding: black and green morocco by Georges Bretté (1893–1969), with one lacquered plate by Jean Dunond (1877–1942)"]},"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.","dynasty":"Ottoman (Istanbul?)","author":"Matthias Pfaffenbichler, Tobias Roeder","copy_editor":"Liz Cooper","keywords":["diplomacy","Drinking flask","flask","gift","Habsburg","Murad III","Ottoman-Austrian relations","Ottomans","receptacles","Rudolf II","vessels"],"materials":["Leather, fish skin, iron, horn, bone, 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","dimensions":"H: 105cm, W: 84cm","keywords":["Craftsmanship","traditional craftsmanship","Moroccan craftsmen","leather","leatherwork","trade","raw material","finished products","British in Morocco","horsemanship"],"materials":["Velvet; gold thread; metal; leather"]},"fa91a1b4-7f04-56f0-8661-0bd4d58ccac8":{"name":"Qur’an binding.","description":"This binding for a single-volume Almohad Qur'an transcribed in Andalusian cursive characters on parchment has the same square format as the manuscript that it protects. It consists of two sides joined by hinges and closed by an embossed red-leather flap reinforced with card. It is decorated with abundant geometric and floral patterns.  \nThe central composition of the sides consists of an eight-pointed star radiating a variety of polygons formed by geometric knotwork whose lines are decorated using a gilded groove pattern. It is surrounded by three superposed frames of different widths decorated with knotwork, double braids and mixtilinear knotwork lines whose interstices are filled with small, finely gilt-tooled stylised fleurons. The hinges, which closely fit the volume, are decorated with bouquets of roses and fleurons inscribed within the knots of a small interlaced chain.  \nThe density of the decoration suggests that this binding is unlikely to be a contemporary of the Qur'an that it protects, and probably was not made before the Marinid period. It has also undoubtedly been restored subsequently, as suggested by its state of preservation and the oriental floral motifs painted on the back of the hinges. Indeed, these Turco-Persian rose bouquets did not become part of the Moroccan artistic repertoire until the beginning of the AH 11th / AD 17th century.","short_description":"This binding, like the Almohad Qur'an that it protects, is square-shaped, although they were not made at the same time. It includes traditional geometric motifs as well as floral motifs, including rosettes of Eastern inspiration, a late addition to the Moroccan decorative repertoire.","type":"Qur'an, binding, leather","holder":"Royal Library","initial_owner":"*Habus* (endowment).","dates":"Binding: Hegira 7th–8th centuries / AD 13th–14th centuries, Qur'an: Hegira 531 / AD 1178.","location":"Rabat.","dimensions":"Height 16.2 cm, width 15.5 cm","method_for_datation":"Through comparison with other bindings from the Almohad period and later held in Moroccan museums. For the Qur'an, the final page of the manuscript bears the date on which it was copied.","method_for_provenance":"The decorative style on the binding is Moroccan.","provenance":"Morocco.","bibliography":"Al-Razi, J. and Varichon, A., *6000 ans d'art au Maroc*, catalogue, Paris, 1990.  \nRicard, P., “Reliures marocaines du XIIIe siècle”, *Hespéris* XVII, 1933, pp.109–27.  \nSefriou, A., “Les métiers traditionnels”, *La grande encyclopédie du Maroc*, Vol. 6, Rabat, 1987, p.65.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.108–9.","dynasty":"Almohad","linkcatalogs":"IAM_MA_EN_001","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

@@ -1 +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"]}}
+{"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.","dynasty":"Mamelucos *bahri*","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.","dynasty":"Fátimo-ziríes","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.)","dynasty":"Otomanos","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","estuche: cartón, cuero, 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.","dynasty":"Aglabíes, fatimíes","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración floral"],"materials":["Tabla de madera de álamo, cuero decorado."]},"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.","dynasty":"Mamelucos","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.","dynasty":"Alawíes","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["Madera, cuero, sarga y fieltro, bordados de hilo de oro, pasamanería, hierro damasquinado."]},"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.","dynasty":"Otomanos","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.","Tinta de colores sobre papel, iluminaciones"]},"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.","dynasty":"Otomanos","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":["encuadernación en cuero labrado y dorado.","Papel trabajado (aharli), tinta, acuarela"]},"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.","dynasty":"Almohades y posteriores","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Miguel Garcia","materials":["Cuero","estampado, dorado al hierro."]}}