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+{"117f9344-faa8-5cdb-8423-bab797cf66a2":{"name":"*Portrait of Paul V Borghese*","description":"The piece is signed on the left “MARCELLI PROVENZALIS CENTEN. OPUS” and has the inscription “PAVLVS. V. BURGHESIVS. ROMANVS. P. O. M. ANN. MDCXXI. PONT. XVI.” on the bottom. The mosaic was commissioned from the artist by Cardinal Scipione Borghese, nephew of the Pope. The meticulous fine-detail in the work, such as the fur trim on the *camauro* (a cap traditionally worn by the Pope) and the *mozzetta* (a short elbow length cape worn by Catholic clergy), is impressive. The expressive rendering combines the nature of the individual and the solemn pose in keeping with the position of successor to Peter in perfect equilibrium. The papal coat of arms of the Casa Borghese, recognisable by the eagle and the dragon, appears in the top right.  \nThe work is mentioned as extraordinary in the biography of Marcello Provenzale, and he was included amongst the greatest artists of his time by Giovanni Baglione in 1642. For his rare ability to produce mosaics with tiny tiles, usually done on cartoons prepared by important painters, Provenzale was deemed by his contemporaries to be greater than the masters of the classical age. During the pontificate of Paul V, he received numerous commissions for the Vatican Basilica, where he completed the mosaic for the Clementina Chapel using a design by Cristoforo Roncalli, also known as Pomarancio, and the ones in the cupola. He made extensive contributions to the restoration of the famous 14th-century Giotto mosaic the *Navicella*. He was one of the preferred artists of Scipione Borghese, who commissioned numerous works from him, many of which are kept today in the museum, and he lived as a *protégé* at the residence of the princely Roman family.","short_description":"Portrait of the reigning Pope executed by a trusted artist of Cardinal Scipione Borghese, who lived in the cardinal’s palace as his protégé. The strong realism and the highly unusual and difficult technique, of which Provenzale was very proud, represent typically Baroque characteristics.","type":"Mosaic","holder":"Borghese Gallery","owner":"Italian State","initial_owner":"Scipione Borghese","dates":"1621","location":"Rome, Latium","dimensions":"h: 65 cm; w: 54 cm","method_for_datation":"Inscription","provenance":"Borghese Collection","obtention":"The Borghese Collection was acquired by the Italian State in 1902.","bibliography":"Della Pergola, P., *Galleria Borghese. I dipinti*, I, Rome, 1955, n.107, p. 62.  \nStaccioli, S., in *Opere in mosaico, intarsi e pietra paesina*, exhibition catalogue, Rome, 1971, n.3, pp. 12–13.  \nGonzález Palacios, A., “Provenzale e Moretti: indagine su due mosaici”, in *Antichità viva*, 4, 1976, pp. 26–33.  \nFratarcangeli, M., in *Barock Kunst und Kultur im Vatikan im Rom der Päpste. 1572–1676*, exhibition catalogue (Bonn, Berlin), 2005, n.124, p. 239.","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","glass","marble","mosaic","patronage","Portrait","Realism","tesserae","tile"],"materials":["Glass and marble tiles"]},"25ddcf33-765c-5e79-96ad-5108a6555de1":{"name":"Panel from a cenotaph or symbolic coffin with marquetry decoration","short_description":"The most complete surviving example of its kind, this panel likely comes from a side of a cenotaph or from a box for a multivolume Qur’an. Similarities with a panel in the collection of the Museum of Islamic Art, Cairo suggest that the two may have decorated the long sides of one structure at the ‘Ayn al‑Sira cemetery in Egypt. In addition to their common composition of fig wood inlaid with ivory and other types of wood, both panels incorporate decorative elements from the Late Antique and Sasanian traditions. The geometric motifs derive directly from Roman mosaics, whereas the winglike designs in the arch spandrels are of Sasanian derivation.","type":"Woodwork","holder":"The Metropolitan Museum of Art","dates":"Hegira 2nd century / AD second half 8th century","location":"New York","dimensions":"H: 47.6cm, W: 194.3cm; Mount: H: 62.2cm, W: 31.7cm, Diamter: 15.2cm, Wt: 44kg with mount and plexi","provenance":"Probably Egypt","obtention":"Samuel D. Lee Fund, 1937  \nVendor: Paul Mallon, Paris  \nFormer owner \\[dealer\\]: \\[Paul Mallon, Paris, until 1937; sold to MMA\\]","bibliography":"Dimand, Maurice S., *A Handbook of Muhammadan Art. 2nd rev. and enl. ed.*, New York: The Metropolitan Museum of Art, 1944: 125, ill. fig. 69 (b/w).  \nDimand, Maurice S., *A Handbook of Mohammadan Art. Iran Library*, Tehran: Bongah Tarjomeh va Nashr Ketab, 1957: ill. fig. 69 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art. 3rd rev. and enl. ed.*, New York: The Metropolitan Museum of Art, 1958: ill. fig. 69 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art. Publications, 36.*, Lahore: The Panjabi Adabi Academy, 1964: ill. fig. 69 (b/w).  \nEkhtiar, Maryam, Canby, Sheila R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. 1st ed.*, New York: The Metropolitan Museum of Art, 2011: 43-44, no. 21, ill. p. 43 (colour).  \nEttinghausen, Richard, Grabar, Oleg and Jenkins-Madina, Marilyn, *Islamic Art and Architecture 650–1250. 2nd ed.*, New Haven/ London: Yale University Press, 2001: 65, ill. fig. 98 (colour).  \nGeorge, Alain, *The Rise of Islamic Calligraphy*, London: Saqi, 2010.  \nJenkins-Madina, Marilyn, \"Islamic Art in the Metropolitan Museum of Art\", *Arts & the Islamic World*, 3/3 (Autumn 1985): 51, ill. figs. 1, 2.","copyright":"The Metropolitan Museum of Art, Samuel D. Lee Fund, 1937","keywords":["Abbasid","architectural decoration","architectural element","bone inlay","Byzantine influences","carpentry","Cenotaph","column","Egypt","funerary object","geometric decoration","geometric design","geometric patterns","inlaid","inlay","mosaic","Sassanian influence","wood"],"materials":["mosaic with bone and four different types of wood","Wood (fig)"]},"26fd8fdd-9bc0-5670-be93-f86c07c23383":{"name":"Dresser","description":"This wooden dresser contains four large drawers and one thin upper drawer. It is topped with a marble slab and rectangular mirror in a wooden frame, decorated with a wooden crest and carved with floral patterns. The wood is covered in a mosaic of bone or ceramic pieces, organised in a floral design. Each drawer has a keyhole and is opened by two individually painted knobs.","type":"Furniture; woodwork","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"Mosaic of Virgil","description":"This mosaic shows Virgil listening to Clio and Melpomene. It was discovered in Sousse (ancient Hadrumetum) in 1896 and is one of the gems of the Musée du Bardo. Dressed in a splendid white toga decorated with gold embroidery, this mosaic is one of the most remarkable portraits of the famous Roman poet. He is surrounded by the muses Clio and Melpomene and holds a roll of parchment on his knee, on which the eighth verse of the Aeneid is written. The mosaic is the oldest representations of Virgil known today.","type":"Mosaic","holder":"Musée National du Bardo","dates":"19th century","location":"Le Bardo, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"38ac8909-b6b3-578f-84ca-ee3dab9091b2":{"name":"Ma’in mosaic.","description":"Ma\\`in lies west of Madaba and was the last inhabited village on the road that led to the hot springs of Baaru (modern day Hammamat Ma\\`in) and Callirhoe (modern day Zara). During archaeological excavations carried out in 1973 by the Department of Antiquities of Jordan a monastic complex with a church was uncovered on a hill to the southwest of Ma'in.  \n  \nAt the site some floor mosaics were found, the most significant of which was that in the nave of the Acropolis Church, dated by its inscription to AH 100 / AD 719–20.  \n  \nThe mosaic measures 9.5 m x 16.5 m and includes a central panel framed by borders of varying widths (some measure over two meters wide). One border consists of yellowish squares and black ellipses; another is composed of acanthus scrolls that depict hunting scenes showing wild animals and pastoral motifs; most of this type of imagery was damaged during the iconoclastic period (carried out by decree of the Emperor Leo in AH 221 / AD 726) and replaced with floral motifs. Another of these borders depicts a series of buildings surrounded by fruit trees; it includes 11 buildings each with a toponym in Greek identifying them as representing the cities on the east and west banks of the Jordan River. These cities were all bishoprics except for Ma'in itself, which was included here purely out of civic pride.  \n  \nThe central field is composed of geometrical designs and figures; the figurative imagery suffered intensive iconoclastic damage and was replaced by motifs such as, for example, a basket filled with fruit and a boat with its sail unfurled; a bull, which was destroyed and replaced with a tree, but its hind hooves and tail, a front hoof and its hump are still visible. To the east of the nave there is a rectangular panel with a flower border, it has an inscription, enclosed in a tabula ansata that sits between a geometric motif and three wreathes formed by a grape vine emerging from a small jar.  \n  \nThere is another less well preserved floor mosaic in the room to the north of the church which measures 6.8 m x 3.5 m. This mosaic once comprised three panels: in the central panel only the upper part of a medallion with interloped circles still exists; in the eastern panel a tail, two paws, a bush, a hoof, a hump and the points of two horns can still be detected, above there is an inscription in Greek. This mosaic was damaged by iconoclasts; in its original state it would have depicted a Zebu and a lion facing a tree, but these were replaced by a bush to the left and a jar to the right. The leaves of the central tree were also replaced.","short_description":"Mosaic floors of the Acropolis Church at Ma’in, dated by an inscription to AH 100 / AD 719–20. The nave includes depictions of 11 buildings representing cities in Jordan and Palestine, as identified by Greek toponyms. All figures were damaged by iconoclasts and carefully replaced with various motifs.","type":"Mosaic","holder":"Madaba Archaeological Park.","dates":"Hegira 100–101 / AD 719–20.","location":"Madaba","dimensions":"9.5 m x 16.5 m.","method_for_datation":"The mosaic was dated by its dedicatory inscription, dating it to the Umayyad period (100-101 /719–20). Regards the repairs to the original mosaic, the style of the repairs indicates that the artists who laid the original mosaic were also the people who carried out the systematic iconoclastic damage, made obvious by the identical style of the fruit trees in the original mosaic and the tree that replaced the bull in the central field of the post-iconoclast mosaic.","method_for_provenance":"The mosaic was found in a church that belonged to part of a monastic complex on a hill to the southwest of Ma'in.","provenance":"Ma’in, Jordan.","obtention":"This mosaic floor was found during excavations carried out at the site in 1973. For the purposes of conservation it was lifted from its original site and is now at the Madaba Archaeological Park.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Amman, 1993, pp.195–204.  \n  \nPiccirillo, M., \"Le antichita bizantine de Ma'in e dintorni\", *Liber Annuus*, 35, 1985, pp.339–64.  \n  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp.398-400.  \n  \nDe Vaux, R., \"Une mosaïque byzantine à Ma'in (Transjordanie)\", *Revue Biblique*, 1938, pp.227–58.","linkcatalogs":"IAM_JO_EN_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","keywords":["Church","iconoclasm","inscription","mosaic","nave","tesserae","topoynm"],"materials":["Mosaic."]},"4159a293-3ddf-5001-9a68-0994c000b7d3":{"name":"Tile","short_description":"This tile belongs to the period of Timurid rule in Iran and Central Asia (Hegira 771-913/1370–1507 AD). The last great dynasty to emerge from the Central Asian steppe, the Timurids sponsored buildings that were often constructed on an enormous scale and sheathed in an elaborate decorative skin of brilliant glazed tile. Since the primary structural material was dun-colored baked brick, glazed tiles provided colorful embellishment. Elements of the floral design of this tile were cut from glazed tiles of different colors and assembled as a mosaic; it was set in place on the exterior of a building, where it joined others as part of a larger, more complicated design. Indeed, there are several nearly identical or related tiles in other museum collections in Berlin (MIA), Chicago (AIC), and Paris (MdL).","type":"Architectural Elements","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira 9th century / AD 15th century","location":"Los Angeles","dimensions":"59.7 x 3.8cm","method_for_datation":"The decoration, color scheme and technique closely relate to tiles still in situ in Timurid buildings, as for example, the mosque and madrassa complex of Gawhar Shad, Herat, Hegira 820-841/ AD 1417-38.","method_for_provenance":"The technique of tile mosaic, a form of architectural decoration in which pieces of glazed ceramic of different shapes and sizes are assembled to generate a multicolored revetment, is especially associated with Iranian lands.","provenance":"Iran or Central Asia","obtention":"Formerly in a 19th-century style wood frame, suggesting it had left its place of origin by then. Collection of C. Edward Wells (d. late 20th century), Connecticut, until 1977 (sale, Sotheby Parke-Bernet, New York, February 1977, sale 3948, lot 72, sold to); Collection of Maan Z. Madina (1926-2013), New York, until 2002 (sold to); LACMA, The Madina Collection of Islamic Art, gift of Camilla Chandler Frost.","bibliography":"Komaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Los Angeles: Museum Associates, 2005: 35.  \nKomaroff, Linda, *Lo Terrenal y lo Divino: Arte Islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Ángeles*, Santiago: Centro Cultural La Moneda, 2015: 96, 210, 217.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 166-167, cat. no. 84.  \nKomaroff, Linda, *Collecting Islamic Art at the Los Angeles County Museum of Art: A Curatorial Perspective*, Los Angeles: Art Catalogues; LACMA, 2017: 32-33.","author":"LACMA Staff","keywords":["architectural element","ceramics","floral motifs","Fritware","galzed","glazed tiles","mosaic","tile","Timurid"],"materials":["and assembled as mosaic","cut to shape","Fritware","Glazed"]},"486238d7-a097-5c5c-aed4-3125d1f36409":{"name":"Floor mosaic.","description":"During the Umayyad period (first half of the AH 2nd / AD 8th century) many luxurious palatial complexes were built in Syrio-Palestinian territory, such as Hisham ibn Abd al-Malik Palace in Jericho, Qasr al-Hir al-Gharbi and al-Hir al-Sharqi in Syria, Qasr al-Amra, the Umayyad palace on the Citadel of Amman, Qasr al-Hallabat, al-Muwaqqar and al-Qastal in Jordan. These palaces were lavishly decorated with carved stucco, wall paintings and mosaic floors.  \n  \nAt al-Qastal a very important floor mosaic was uncovered. It was discovered quite by chance in 2000 as a result of illicit excavations on the site, where most of the building's walls had been levelled to the foundations.  \n  \nFortunately, the mosaic floors in the northern and southern rooms of the palace were well preserved. These complete floor mosaics are a good example of the high-quality mosaics produced during the Umayyad period in such palaces.  \n  \nThe floor mosaic in the northern room measures 3.30 m x 3.30 m. It consists of a central mosaic framed by a three-strand guilloche (or plait-band) border that is edged by lines inverted into T-shapes in a variation of colours. Working further into the central field, there is an interlaced border of a two-strand guilloche, the concave corners of which form an octagonal frame around the central field containing the main theme of the mosaic: a bloody scene of a lion attacking a bull, his jaw and his forepaws piercing the bull's neck trying to bring him down. The mosaic is of an extremely high quality, seen in the tonal variations of colour, the size of the tesserae and in the shading; all employed to breathe palpable life and depth into the scene of the lion and the bull. Placed at each corner of the mosaic are various birds with plants on a white background in quarter-circles. The panel on the north-eastern side of the mosaic depicts a duck turning its head backwards, and in the south-eastern corner is a partridge pecking a plant; the other two panels on the north- and south-western sides are as yet partially preserved and possibly depict a duck and a partridge.  \n  \nThe floor mosaic in the southern room is identical to that in the northern room except that the scene depicted in the central octagonal space is a leopard hunting a gazelle. The scene is also very realistic revealing details such as the accentuated eye, the bare fangs and the spiked teeth that pierce the neck of the gazelle, making it bleed profusely. One can see, almost feel, the extreme ferocity of the leopard, and the agony of the suffering gazelle.  \n  \nScenes like these were associated with a demonstration of power and a warning message about the defeat of adversaries. Similar floor mosaics can be found in other Umayyad palaces, such as Qasr al-Hallabat in Jordan, and the audience hall of the bath complex at Khirbat al-Mafjar in Jericho.","short_description":"Mosaic floors from al-Qastal, built by Yazid ibn ‘Abd al-Malik (r. AH 101–5 / AD 720–4) or his son al-Walid (r. AH 125–6 / AD 743–4); one depicts a lion attacking a bull, the other a leopard hunting a gazelle. Such scenes were associated with a display of power and warning about the defeat of adversaries.","type":"Floor, mosaic","initial_owner":"Yazid ibn Abd al-Malik (r. AH 101–5 / AD 720–4) and his son al-Walid II (r. AH 125–6 / AD 743–4).","dates":"Hegira 101–5 / AD 720–4 or AH 125–6 / AD 743–4.","location":"*In situ* at al-Qastal","dimensions":"3.30 m x 3.30 m.","method_for_datation":"This palace and the mosaics have been dated to the Umayyad period through the poetry which associated both Qasr al-Muwaqqar and al-Qastal with Yazid ibn Abd al-Malik (r.101–5 / 720–4) and his son al-Walid II (r.125–6 / 743–4). The poet Kuthayyir Azza mentions al-Muwaqqar and al-Qastal in a context which indicates that they both belonged to the same patron: 'May God bless the quarter [family] who is in Muwaqqar [and extends] to Qastal al-Balqa of the elevated chambers.' Furthermore, excavations carried out at the site since 1983 uncovered ceramic shards, fragments of carved stucco and fresco paintings indicating that the building was reconstructed in the Umayyad period.","method_for_provenance":"The mosaic was unearthed in the palace complex at al-Qastal.","provenance":"Al-Qastal, Jordan.","obtention":"The mosaic floor is still *in situ* at al-Qastal.","bibliography":"Bisheh, G., 'Two Umayyad Mosaic floors from Qastal', *Liber Annuus*, 50, 2000, pp.431–7.  \n  \nPiccirillo, M., *The Mosaics of Jordan*, Amman, 1993, p.352.  \n  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, p.432.","linkcatalogs":"IAM_JO_EN_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","keywords":["floral decoration","geometric decoration","mosaic","palace","zoomorphic imagery."],"materials":["Mosaic."]},"55dc9af5-2f7e-57e8-aec1-9a5889250732":{"name":"Glass bowl in Millefiori technique","short_description":"The Millefiori technique was rediscovered in the eighth or ninth century in Mesopotamia and was probably used in the production of objects for the Abbasid caliphs in Baghdad and Samarra. A number of surviving bowls and tiles suggest that the technique was used in both domestic furnishings and interior decoration. Examples such as this one demonstrate the sophistication and range of Abbasid glassmakers.","type":"Glass","holder":"The Metropolitan Museum of Art","dates":"Hegira late 2nd–3rd century / AD 9th century","location":"New York","dimensions":"H: 5.1cm, Diameter of rim: 14.3cm","provenance":"Probably Iraq","obtention":"Rogers Fund, 2001  \nVendor: Mansour Gallery, London  \nFormer owner \\[dealer\\]: \\[Mansour Gallery, London, until 2001; sold to MMA\\]","bibliography":"\"Recent Important Acquisitions: MADE BY PUBLIC AND PRIVATE COLLECTIONS IN THE UNITED STATES AND ABROAD\", *Journal of Glass Studies*, 44 (2002): 217, ill. (b/w).  \nCarboni, Stefano, \"Islam\", *Metropolitan Museum of Art Bulletin*, 59 (2000–2001): 14–15, ill. (colour).  \nCarboni, Stefano, Whitehouse, David, Brill, Robert H. and Gudenrath, William, *Glass of the Sultans*, New Haven: Yale University Press, 2001: 58–59.  \nEkhtiar, Maryam, Canby, Sheila R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 38, no. 15, ill. 38 (colour).","copyright":"The Metropolitan Museum of Art, Rogers Fund, 2001","keywords":["Abbasid","bowl","Coloured glass","Daily life","domestic furnishings","domestic vessels","floral decoration","floral motifs","glass","Iraq","millefiori"],"materials":["and opaque red mosaic","and polished","applied foot","fused","glass","green","ground","opaque yellow","slumped"]},"5722c4e0-76c3-5fb1-8956-11019061b77b":{"name":"Mosaic Tile Panel with Design of Flowers and Interlocking Vines","short_description":"A kite-shaped mosaic panel, truncated at the bottom, is mounted into a framed, white plaster mold. Outlining the border on all sides except the bottom is a turquoise band, then a black band, then a golden-tan band, each progressively thinner. The main ground of the mosaic is royal blue in color, and is decorated with a series of interlocking vines in golden-tan, white, and turquoise, interspersed with various flowers with petals in pale pink or black, each outlined in white. Among the flowers and vines are leaves in forest green, outlined in golden-tan, ranging in saturation. The central element of the panel is a lobed pendentive with a black ground, surrounded in golden-tan, decorated with turquoise vines and flowers with pale pink centers, around a central flower outlined in white with a pale pink, teardrop center surrounded in royal blue outline, then pink teardrop petals, then royal blue pointed leaves.","type":"Ceramics","holder":"Saint Louis Art Museum","dates":"Hegira 885-886 / AD 1480–81","location":"Saint Louis","dimensions":"Length: 113cm x Width: 76.8cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"This tile panel comes from the inner portal of the mausoleum of a holy man in Isfahan in central Iran.","provenance":"Isfahan, Iran, Asia","obtention":"Museum Purchase, 1923","keywords":["Asia","ceramics","Fritware","Glazed","Iran","Isfahan","mosaic","panel","Persian","tile"],"materials":["Glazed fritware"]},"63191935-a807-58a4-b11e-292c88a654f7":{"name":"Dawud Pasha’s living room","description":"This bedroom belonged to the first *mutasarrif* (ruler) of the Mount Lebanon *mutasarrifiyya*, Dawud Pasha, who governed from 1861–68). The room is furnished with four armchairs and one large sofa. The sofa has a high wooden back, covered with a mosaic of white, beige and brown ceramic and bone pieces, organised in floral and geometric patterns. The seat cushions are covered with navy and beige silk decorated with similar patterns. The sofa was reserved for guests, which Dawud Pasha would receive from his large armchair, a sign of power and authority. The room is lit by two glass lanterns painted with white and golden floral patterns, and a round copper table sits in the centre of the room.","type":"Furniture; woodwork","holder":"Lebanese Heritage Museum","dates":"1860s","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"7e932bea-47e5-5386-9498-0e48388f3e95":{"name":"Fountain","description":"Water fountains such as these were common in Ottoman government buildings in Lebanon, and were turned on whenever there was a meeting to prevent outsiders overhearing or eavesdropping. This marble fountain is octagonal in shape and is decorated with embossed semi-cylinders on each side. The exterior of the structure is decorated with a mosaic of black, white, beige and brown marble organised in geometric designs. A second, circular level of the fountain rests on this first octagonal structure.","type":"Stonework","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387":{"name":"Mosaic for the inauguration of the Musée du Bardo","description":"This mosaic was made for the inauguration of the Musée Alaoui, now the Musée du Bardo, on 7 May 1888. At the top right-hand side we can see the Tunisian flag, on the left the the initials of the French General Residence in Tunisia, and in the centre the words  \"Le Musée Alaoui\"  in red letters. The inauguration was hosted by 'Ali Pacha Bey and the Resident-General M. J. Massicault. The names of the French civil servants who had accompanied the Resident-General and supervised the creation of the museum are written in two colums: M. Georges Perrot and M. Edouard Delpeuch, delegates from the Ministre de l'Instruction Publique des Beaux-Arts, M. Henri Wallon and M. Héron de Villefosse, from l’Académie des Inscriptions et Belles Lettres, and M. R. de la Blanchére, director of the Service des Antiquités et des Arts. Finally, the Arabic text at the bottom of the mosaic celebrates the inauguration of the museum.","type":"Mosaic","holder":"Musée National du Bardo","dates":"19th century","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"9894288e-e20a-599a-a609-d59380647196":{"name":"Floor mosaic","description":"During refurbishment of the villa in the late 18th-century, commissioned by Marco Antonio IV Borghese, the architect Antonio Asprucci decided to entirely relay the floor of the “Room of the Hermaphrodite” with ancient mosaics, a popular custom at the time, and whose decorative impact was powerfully suggestive. In fact, for visitors, the interior of a room with its authentic “mosaic carpet” covering the floor, became both an integral part of the modern refurbishment and a museum object. For the assemblage, which took place in 1781, Asprucci used mosaics from the excavation of a large Roman thermal complex situated in Castellarcione, a property of the Borghese family, located on Via Tiburtina at Bagni di Tivoli, not far from the famous Villa Adriana. The most ancient part of the mosaic, “little stars” on a white background (constructed from four black tiles juxtaposed in a form similar to a star), is surrounded by a frame, reproducing a polychrome meander. At the centre of the room, a panel, produced later, depicts a fishing scene, surrounded by multiple frames of braid motifs with acanthus leaves in the corners. A second panel, from the same period and depicting another fishing scene, is placed on the step in the window recess. The fashion for using authentic mosaic tiles to recall Antiquity is characteristic of the last decades of the 18th century. This is demonstrated in various buildings of the era, such as the Pontifical Galleries (for example the famous Sala Rotonda of the Pio-Clementino Museum with mosaics of the 3rd century BC) and in aristocratic residences, such as in the noble Cabinet of Palazzo Altieri in Rome.","type":"Mosaic","holder":"Borghese Gallery","dates":"200 BC‒AD 300","location":"Rome","dimensions":"455cm x 685cm","method_for_datation":"Based on stylistic analysis, the part of the mosaic with “little stars” on a white background framed by a multicolour meander is from the 1st century BC; the “emblemata” with fishing scenes is from BC 200‒AD 300. The assemblage was made in 1781.","method_for_provenance":"The provenance is documented in the description of the Villa of 1796 (see Lamberti and Visconti, 1796).","provenance":"Excavations at Castellarcione near Bagni di Tivoli (Rome)","obtention":"The two panels with fishing scenes come from excavations carried out in the 18th century in Castellarcione near Tivoli, a property belonging to the Borghese family.","bibliography":"Guadalupi, Gianni, et al., “Villa Borghese”, *Grand Tour*, no. 30, Milan, 2002.  \nLamberti, Luigi, and Visconti, Ennio Quirino, *Sculture del Palazzo della Villa Borghese*, Rome, 1796.  \nMoreno, Paolo, and Viacava, Antonella, *I marmi antichi della Galleria Borghese: La collezione archeologica di Camillo e Francesco Borghese*, Rome, 2003.","author":"Marina Minozzi","copy_editor":"Mandi Gomez","materials":["Marble tiles"]},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"Fragment from a mosaic floor.","description":"This panel was part of a 50 sq m mosaic floor. With a border made up of alternate geometric and floral motifs, the main area of the floor consists of a tracery of four-lobed flowers which combine to form various geometric patterns. When the floor was lifted, several panels were shared between various Tunisian museums. In the panel at the Raqqada Museum, red, white and blue-black lines alternate to represent a lilac-leaf in an octagon and four diamond-shaped petals in a circle. These elements are held within a pattern of twisting semi-circular fringes.  \nThis mosaic is unique in Ifriqiyan art of the Fatimid era. Some historians hold that this example attests to the survival of mosaic art in mediaeval Tunis. The techniques used in the Mahdiyyan mosaic certainly show continuity with the ancient traditions of Roman and Byzantine North Africa. But evidence suggests that the floor was made by Byzantine artisans or '*Rums*' who were probably taken prisoner during the many armed incursions by al-Qa'im in Italy and Sicily.","short_description":"This mosaic is unique in Ifriqiyan art from the Fatimid era, with some art historians believing that it is a continuance of the ancient traditions of Roman and Byzantine Africa. This panel was part of a mosaic covering some 58 square metres, and it combines geometric forms with floral motifs.","type":"Floor, stone","holder":"Museum of Islamic Art.","initial_owner":"The Fatimid prince, al-Qa’im.","dates":"Hegira 303 / AD 916.","location":"Raqqada, Kairouan","dimensions":"Length 107 cm, width 106 cm.","method_for_datation":"The mosaic was discovered in 1956 during the excavations under a reception room at al-Qa'im Palace. One could logically date it from the building of the palace in 303 / 916 (date confirmed by historical sources) but it could possibly have been constructed at a later date, when we believe improvements and refurbishments to the original building were made. These would have been accomplished during the relatively peaceful period of al-Qa'im's reign and just before the Kharijite rebellion of 332 / 944 that was led by Abu Yazid, known as the 'man on the donkey'.","method_for_provenance":"This mosaic, discovered *in situ* at the al-Qa'im Palace, was obviously built there. But we still cannot prove the origin of the artisans who built it.","provenance":"Mahdiyya.","obtention":"After being dismantled at al-Qa'im Palace at Mahdiyya, the mosaic was kept at the Bardo Museum. In 1986 three panels from this mosaic were sent to the National Institute of the Patrimony of Kairouan. In 1993 one of these panels was acquired by the Museum of Islamic Art at Raqqada for display in the second section, currently being refurbished.","bibliography":"Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, *Fifth international colloquium on ancient mosaics,* USA, 1994, pp.307–18.  \nLouhichi, A., “La mosaïque de Mahdia: contexte et interprétation”, *Africa*, XX, 2004, pp.143–66.  \nZbiss, S. M., “Mahdia et Sabra Mansouriya: nouveaux documents d'art fatimide d'Occident”, *Journal asiatique,* CCXLIV, 1956, pp.79–93.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.176–7.","author":"Mourad Rammah","copy_editor":"MWNF","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","geometric decoration","mosaic"],"materials":["Limestone tessera (mosaic tiles)."]},"bc794754-d095-53e4-90c2-e4f2b5406077":{"name":"Assyrianising pendant","description":"Gold pendant made in Rome based on an Assyrian winged bull, now famous throughout Europe. Illustrates Assyrian influence on 19th-century jewellery.","type":"Pendant; personal ornament; jewellery","holder":"The British Museum","dates":"1865–1870","location":"London","provenance":"Rome"},"c258b71a-ed5a-5e3f-a8b3-0c790492d086":{"name":"Mosaic panel","short_description":"The mosaic technique reached its apogee during the Timurid period. This panel includes cobalt blue, turquoise, emerald green, white and amber tesserae. In the centre is a verse of the Qur'an written in white *kufic* script.","type":"Mosaic","holder":"MAO Museum of Oriental Art","dates":"Hegira 9th century / AD 15th century","location":"Turin","dimensions":"Height 43 cm, length 62.7 cm","provenance":"Central Asia","keywords":["ceramic","mosaic","tilework","Timurid"],"materials":["Mosaic"]},"eddda363-37ec-580d-af63-63f93facde5f":{"name":"Marble mosaic panel.","description":"A marble panel composed of four, pointed blind arches formed from white, black, red and yellow marble pieces. The arches are borne by three square piers in the middle and two rectangular piers at either side. Broad white bands frame the three middle piers along the top and sides, while the two side piers are framed in white only along the top and on the underside. The white borders of these piers enclose red areas. The three middle piers enclose areas that are embellished in the centre with two roundels ornamented in white and red. The zones within the arches are filled with geometric decoration consisting of crosses and eight-pointed stars in multicoloured marble and framed in mother-of-pearl. The triangular spaces in between the outer curvature of the arches are filled with polygonal shapes and six-pointed stars which in their turn are divided into small triangular and star-shaped units. Mother-of-pearl is used to decorate the borders of these surfaces and the small triangular units.  \nMarble panels inlaid with a number of different kinds of stone and mother-of-pearl was one of the basic decorative components used in early Mamluk architecture. It was a basic craft technique, which was used to highlight and give prominence to the *mihrab* and *qibla.* This manner of decoration occurred in an outstanding form in the lofty Complex of Sultan Qalawun in Cairo (built AH 683–4 / AD 1284–5), and the tradition continued during the AH 9th / AD 15th century as can be seen in a number of similar examples in Cairo in, for example, the mausoleum and *khanqa* of Sultan Barsbay, which was part of a complex built in AH 835 / AD 1431 in the northern cemetery of Cairo. The *mihrab* of this complex contains panels decorated with arches very similar to the arches on this panel.","short_description":"This polychrome marble plaque embellished with mother-of-pearl bears the basic decorative features of early Mamluk architecture. It was mainly used in *mihrabs* (niches in the *qibla wall*). This style is found in numerous monuments such as the mausoleum of Sultan Qalawun.","type":"Panel, marble","holder":"Museum of Islamic Art","dates":"Hegira 9th century / AD 15th century.","location":"Cairo","dimensions":"Height 29.5 cm, length 104 cm.","method_for_datation":"Marble panels inlaid with a number of different kinds of stone and mother-of-pearl was one of the basic decorative components used in early Mamluk architecture, which remained popular until the late Mamluk period as explained above.  \nIt is, therefore, with certainty that this panel is dated to the latter part of the Mamluk period, a supposition exemplified in the Complex of Sultan Qalawun and in the Mausoleum of Sultan Barsbay.","method_for_provenance":"The marble and mother-of-pearl mosaic technique can be seen in, for example, the Complex of Sultan Qalawun and the mausoleum and *khanqa* of Sultan Barsbay in Cairo. The panel seen here bears a close resemblance to the panels seen in the *mihrab* at the Sultan Barsbay Complex.","provenance":"Cairo, Egypt.","obtention":"The panel was donated to the Museum by Brams Najjar, an antiquities dealer in 1903, a period when the Museum was dependent on public donations in order to widen its collection.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nGrabar, O., “Architecture and Art” in (ed. J. R. Hayes), *Genius of Arab Civilization: Sources of Renaissance*, London, 1983  \nEttinghausen, R., and Grabar, O., *Art and Architecture of Islam*, London, New York, 1987.  \nMustafa, M., *Dalīl muthaf al-fan al-islami \\[Guide to the Museum of Islamic Art\\],* Cairo, 1978.  \nStierlin, H., and Stierlin, A. *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["geometric decoration","inlay","marble","mosaic","Mother-of-pearl","panel","religious objects","stucco","tilework"],"materials":["embellished in mother-of-pearl mosaic and placed within a stucco frame.","Marble in various colours: white","red and black","yellow"]},"fc496894-497a-5358-b6b4-2e9135336e42":{"name":"The church at Massuh mosaic.","description":"The church at Massuh lies 10 km north of Madaba in Hisban. During archaeological excavations in 1970 various phases of construction were revealed dating from the late AD 5th century (that is prior to the Muslim era, which corresponds to 16 July 622 in the Christian calendar), through to the AH 1st / AD 7th century.  \n  \nTwo layers of floor mosaics were revealed, the lower one, dating to the AD 6th century, had not suffered any iconoclastic damage. The upper layer, however, which dates back to the AH 1st / AD 7th century, suffered systematic and thorough iconoclastic damage, which had been subsequently carefully repaired by patches of larger sized tesserae.  \n  \nThe mosaic consists of a central panel decorated with a rectangular grid of florets, inside some of these grid panels appear figures of animals, one is a lion facing an inscription which dates this church. An inscription provides the names of the members of the clergy and donors who built the church at the time of Bishop Theodore of Esbus.  \n  \nThe floor mosaic in the apse at the northern side of the church is partially preserved. It is decorated with vine scrolls framed by an acanthus border; in the scrolls are animal and floral motifs that were damaged by the iconoclasts.  \n  \nIn the nave, the floor mosaic consists of an acanthus border that surrounds two panels decorated with figurative motifs, and a pattern of tangent crosses with concave ends. The eastern panel depicts a boatman and a fisherman with a rod and hook, as well as circles filled with birds and flowers. The figures were destroyed by iconoclasts and replaced with yet more floral motifs, crosses and architectural motifs. The hunting scenes, part of a decorative mosaic band in the presbytery, were also destroyed by iconoclasts during the AH 1st / AD 7th century.  \n  \nAfter the AH 1st / AD 7th century the church was rebuilt. Half the original columns were eliminated, their foundations sealed with white tesserae.","short_description":"The church at Massuh has two layers of floor mosaics. The lower one, from the AD 6th century, has no iconoclastic damage, while the upper layer, from the AH 1st /AD 7th century, was systematically altered by iconoclasts. Figures were carefully replaced by crosses, or floral and architectural motifs.","type":"Mosaic","holder":"Madaba Archaeological Park.","dates":"Hegira, second half of the 1st–first half of the 2nd century / AD second half of the 7th–first half of the 8th century.","location":"Hisban","dimensions":"25 m x 15 m.","method_for_datation":"The mosaic was dated by its dedicatory inscription, which mentions that the church was built at the time of Bishop Theodore of Esbus (late 6th century AD). Van Elderen (1986) concludes from the archaeological phasing of the church that the iconoclastic damage occurred at the end of the AD 6th century. Schick (1995) says that Massuh was attended in the early Abbasid period.","method_for_provenance":"This mosaic was found during archaeological excavations in the church complex in Hisban in 1970.","provenance":"Hisban, Jordan.","obtention":"This mosaic floor was found during archaeological excavations carried out at the church in 1970 for the purposes of conservation and protection it was lifted from its original site in 1993 and is now housed at the Madaba Archaeological Park.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Amman, 1993, pp.252–3.  \n  \nPiccirillo, M., 'La chiesa di Massuh e il territorio della diocesi di Esbus', *Liber Annuus*, 33, 1983, pp.335–46.  \n  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp.404–5.  \n  \nVan Elderen, B., 'Byzantine Churches and Mosaics in Transjordan' in: Geraty, L. and Herr, L., (eds.), *The Archaeology of Jordan and Other Studies*, \\[n.d.\\], pp.237–46.","linkcatalogs":"IAM_JO_EN_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","keywords":["Church","iconoclasm","inscription","mosaic","tesserae","topoynm."],"materials":["Mosaic."]}}

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+{"38ac8909-b6b3-578f-84ca-ee3dab9091b2":{"name":"Mosaico de Main","description":"Main se encuentra al oeste de Madaba y fue una de las últimas ciudades habitadas en el camino que conduce a las aguas termales de Baaru (actual Hammamat Main) y Callirhoe (actual Zara). Durante unas excavaciones arqueológicas llevadas a cabo en 1973 por el Ministerio de Antigüedades de Jordania en una colina al suroeste de Main, se descubrió un complejo monástico con una iglesia.  \nEn el lugar aparecieron suelos de mosaico; el más importante es el de la nave de la iglesia Acrópolis, que se dató en el año 100 / 719-720 gracias a sus inscripciones. El mosaico mide 9,5 × 16,5 metros y posee un panel central enmarcado por bordes de anchos diversos (algunos de más de dos metros). Uno de ellos está formado por cuadrados amarillos y elipses negras; otro, por volutas de acanto que presentan escenas de caza con animales salvajes y motivos pastorales; la mayoría de las imágenes fueron destruidas durante el periodo iconoclasta –iniciado por decreto del emperador Leo en 221 / 726– y sustituidas por motivos florales. En otro de los bordes se aprecian once edificios rodeados de árboles frutales; los edificios están identificados con topónimos en griego y representan las ciudades de las orillas occidental y oriental del río Jordán. Todas estas urbes formaban parte del obispado, excepto Main, que se incluyó por orgullo local.  \nLa parte central está compuesta por diseños geométricos e iconos, que se destruyeron en el periodo iconoclasta y se sustituyeron por otros motivos, como una cesta de flores y un barco con la vela izada. También se destruyó la imagen de un toro, que se remplazó por un árbol, aunque aún son visibles las patas posteriores y el rabo. En el lado oriental de la nave hay un panel rectangular con un borde de flores que presenta una inscripción en el interior de una tabula ansata situada, a su vez, entre un motivo geométrico y tres guirnaldas formadas por una vid que surge de una pequeña jarra.  \nEn una sala al norte de la iglesia hay otro suelo de mosaico de 6,8 × 3,5 mm, peor conservado. Comprendía tres paneles: del central sólo se conserva la parte superior de un medallón con círculos entrelazados; en el panel oriental aún se distinguen, bajo una inscripción en griego, un rabo, dos patas, un arbusto, una pezuña, una joroba y las puntas de dos cuernos. El mosaico sufrió daños a manos de los iconoclastas. Originalmente debió de mostrar un cebú y un león frente a un árbol, pero estas imágenes se sustituyeron por un arbusto a la izquierda y un jarro a la derecha. Las hojas del árbol central también se sustituyeron.","short_description":"Pavimentos de mosaico de la iglesia Acrópolis de Main, datada por una inscripción en 100 / 719-720. En la nave hay imágenes de 11 edificios de ciudades jordanas y palestinas, identificadas por sus nombres griegos. Las imágenes fueron alteradas por los iconoclastas y sustituidas por motivos diversos.","holder":"Parque Arqueológico de Madaba","dates":"100-101 de la Hégira / 719-720 d. C.","location":"Madaba","dimensions":"9,5 m × 16,5 m.","method_for_datation":"Por la inscripción dedicatoria, que lo sitúa en el periodo omeya (100-101 / 719-720). Teniendo en cuenta las reparaciones del mosaico original, el estilo nos indica que los artistas que lo crearon fueron los mismos que lo dañaron posteriormente. Esto resulta evidente porque los árboles frutales del mosaico original y el árbol que sustituyó al toro en la parte central del mosaico posticonoclasta presentan estilos idénticos.","method_for_provenance":"Se encontró en una iglesia que perteneció a un complejo monástico situado en una colina al suroeste de Main.","provenance":"Main (Jordania).","obtention":"El mosaico se halló durante unas excavaciones llevadas a cabo en el lugar en 1973. Se extrajo de su ubicación original y se trasladó al Parque Arqueológico de Madaba con el fin de conservarlo.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Ammán, 1993, pp. 195-204.  \nPiccirillo, M., “Le antichita bizantine de Ma’in e dintorni”, *Liber Annuus*, 35, 1985, pp. 339-364.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp. 398-400.  \nDe Vaux, R., “Une mosaïque byzantine a Ma'in (Transjordanie)”, *Revue Biblique*, 1938, pp. 227-258.","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["iconoclasta","Iglesia","inscripción","mosaico","nave","teselas","topónimo."],"materials":["mosaico."]},"486238d7-a097-5c5c-aed4-3125d1f36409":{"name":"Pavimentos de mosaico","description":"Durante el periodo omeya (primera mitad del siglo II / VIII), se construyeron numerosos complejos palaciegos de lujo en territorio sirio-palestino, como el de Hisham ibd Abd al-Malik en Jericó, los Qasr al-Hir al-Garbi y Qasr al-Hir al-Sharqi en Siria, Qasr al-Amra, el palacio omeya de la alcazaba de Ammán, Qasr al-Hallabat, Qasr al-Muwaqqar y Qasr al-Qastal en Jordania. Estos palacios fueron suntuosamente decorados con estuco tallado, frescos y suelos de mosaico.  \nEn el año 2000, en al-Qastal, a raíz de unas excavaciones ilegales, se descubrió casi por casualidad un mosaico muy importante en un lugar donde la mayor parte de los muros del edificio habían quedado arrasados hasta los cimientos. Por fortuna, los mosaicos de las salas norte y sur del palacio estaban bien conservados y son un buen ejemplo de la inmensa calidad de los mosaicos que se realizaban en este tipo de palacios durante el periodo omeya.  \nEl de la sala norte mide 3,30 × 3,30 m. Consta de un dibujo central enmarcado por un borde ornado con un guilloque (o banda trenzada) de tres hebras entre dos filas de letras T de diversos colores. Más Hacia el centro se aprecia otro recuadro de guilloque de dos hebras, cuyos ángulos forman un marco octogonal que rodea el motivo principal del mosaico: la sangrienta escena de un león que ataca a un toro y le desgarra el cuello con zarpas y dientes para abatirlo. La altísima calidad del mosaico se aprecia en las variaciones tonales de los colores, el tamaño de las teselas y los sombreados. Todos estos elementos se conjugan para otorgar a la escena una vitalidad y profundidad palpables. En las esquinas del mosaico hay pájaros diversos con plantas, inscritos en cuartos de circunferencia de fondo blanco. En el ángulo superior derecho se ve un pato con la cabeza girada hacia atrás, mientras que en el ángulo inferior derecho hay una perdiz picoteando una planta. Los mosaicos de los otros dos ángulos sólo se conservan parcialmente y es posible que contengan imágenes de un pato y una perdiz.  \nEl mosaico de la sala sur es idéntico al de la sala norte, excepto por la escena representada en el campo octogonal central; en este caso se ve un leopardo cazando una gacela. También es una escena muy realista, en la que se aprecian detalles como el ojo delineado, los colmillos y los dientes puntiagudos clavados en el cuello de la gacela, que sangra abundantemente. Se pueden ver, y casi sentir, la extremada fiereza del leopardo y la agonía de su presa.  \nEscenas como estas se asociaban simbólicamente al poder y eran mensajes de advertencia para los adversarios. Hay pavimentos de mosaico parecidos a este en otros palacios omeyas, como Qasr al-Hallabat (Jordania) o en la sala de audiencias de los baños de Jirbat al-Mafyar, en Jericó.","short_description":"Pavimentos de mosaico de al-Qastal, construido por Yazid ibn Abd al-Malik (r. 101-105 / 720-724) o su hijo al-Walid (r. 125-126 / 743-744). Uno muestra a un león atacando a un toro y otro a un leopardo cazando una gacela. Estas escenas son un alarde del poder y una advertencia para los adversarios.","holder":"Su ubicación original, al-Qastal.","initial_owner":"Yazid ibn Abd al-Malik (r. 101-105 / 720-724) o su hijo al-Walid II (r. 125-126 / 743-744).","dates":"101-105 de la Hégira / 720-724 d. C. o 125-126 de la Hégira / 743-744 d. C.","location":"Al-Qastal","dimensions":"3,30 m × 3,30 m.","method_for_datation":"La datación de este palacio y sus mosaicos en el periodo omeya se basó en un poema que relaciona Qasr al-Muwaqqar y al-Qastal con Yazid ibn Abd al-Malik (r. 101-105 / 720-724) y su hijo al-Walid II (r. 125-126 / 743-744). El poeta Kuzayyir Azza menciona al-Muwaqqar y al-Qastal en un contexto que indica que ambos tuvieron un mismo patrocinador: “Que Dios bendiga el barrio [familia] que está en Muwaqqar [y continúa hasta] al-Qastal al-Balqa de las cámaras elevadas”. Además, en las excavaciones que se vienen realizando en el lugar desde 1983 se han encontrado frescos y fragmentos de cerámica y estuco tallado cuyas características prueban que el edificio pertenece al periodo omeya.","method_for_provenance":"El mosaico se desenterró en el complejo palaciego de al-Qastal.","provenance":"Al-Qastal (Jordania)","obtention":"Este mosaico de suelo aún se halla en al-Qastal.","bibliography":"Bisheh, G., “Two Umayyad Mosaic floors from Qastal”, *Liber Annuus*, 50, 2000, pp. 431-37.  \nPiccirillo, M., *The Mosaics of Jordan*, Ammán, 1993, p. 352.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, p. 432.","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["decoración floral","decoración geométrica","imaginería zoomorfa.","mosaico","Palacio"],"materials":["mosaico."]},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"Mosaico","description":"Este panel pertenecía a un mosaico cuya superficie rondaba los 50 metros cuadrados. El mosaico original estaba enmarcado con una cenefa donde alternaban formas geométricas y motivos florales. En la superficie del mosaico resalta un entrelazo de cuatro lóbulos que forma variadas fantasías geométricas.  \nTras su catalogación, varios paneles se distribuyeron entre algunos museos tunecinos. En este panel, incorporado a la colección de Raqqada, se combinan líneas rojas, blancas y negras formando diversas figuras: una hoja de lila inscrita dentro de un octógono y un pétalo de cuatro puntas ojivales colocadas en el interior de un círculo. Unos trenzados de forma oval bordean ambas composiciones.  \nEste mosaico constituye un modelo único en el arte de Ifriqiya del periodo fatimí, aunque algunos historiadores de arte sostienen que es buena prueba de la supervivencia del arte musivario en Túnez durante la Edad Media. En efecto, la técnica de fabricación de mosaicos de Mahdia ofrece una continuidad con la tradición antigua del África romana y bizantina. No obstante, se piensa que pudo ser realizado por artesanos bizantinos (*rum*), raptados y apresados en alguna de las múltiples incursiones llevadas a cabo por el ejército de al-Qaim en Sicilia e Italia.","short_description":"Este mosaico constituye un modelo único en el arte de Ifriqiya del período fatimí. Algunos historiadores del arte ven una continuidad de la tradición antigua del África romana y bizantina. Este panel pertenecía a un mosaico cuya superficie rondaba los 50 metros cuadrados. Combina formas geométricas y motivos florales.","holder":"Museo de Arte Islámico","initial_owner":"El emir fatimí al-Qaim.","dates":"303 de la Hégira / 916 d. C.","location":"Raqqada, Kairuán","dimensions":"Largo 107 cm, ancho 106 cm.","method_for_datation":"El mosaico fue desenterrado en 1956, en el curso de las excavaciones realizadas en una sala de recepción o audiencias perteneciente al palacio de al-Qaim. Con toda lógica, se puede fechar esta pieza en el momento de la edificación de dicho palacio, 303 / 916, como corroboran las fuentes históricas. Sin embargo, también se podría atribuir a una fase ulterior de obras de rehabilitación y mejora del interior del monumento. Éstas posiblemente datarían del reinado de al-Qaim, antes del desencadenamiento de la rebelión jariyí conocida como la del “hombre del asno” de 332 / 944.","method_for_provenance":"El descubrimiento de este mosaico *in situ* prueba su producción en el lugar, pero el origen de los artesanos es incierto.","provenance":"Mahdia.","obtention":"Tras su catalogación en el palacio de al-Qaim en Mahdia, el mosaico fue expuesto en el Museo del Bardo. En 1986, tres paneles de este mosaico se trasladaron al depósito del Instituto Nacional del Patrimonio en Kairuán. En 1993, uno de estos tres paneles fue incorporado a la colección del Museo de Arte Islámico de Raqqada para ser expuesto en su segunda sección.","bibliography":"Ennaïfer, M., “La mosaïque africaine à la fin de l’antiquité et au début de l’époque médiévale”, *Fifth International Colloquium on Ancient Mosaics*, *Journal of Roman Archaeology*, 1994, pp. 307-318.  \nLouhichi, A., “La mosaïque de Mahdia: contexte et interprétation”, *Africa*, XX, 2004, pp. 143-166.  \nZbiss, S. M., “Mahdia et Sabra Mansouriya: nouveaux documents d’art fatimide d’Occident”, *Journal asiatique*, CCXLIV, 1956, pp. 79-93.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["decoración floral","decoración geométrica","mosaico"],"materials":["Teselas de caliza."]},"eddda363-37ec-580d-af63-63f93facde5f":{"name":"Panel con mosaico de mármol","description":"Panel de mármol compuesto por cuatro arcos apuntados ciegos formados con piezas de mármol blanco, negro, rojo y amarillo. Los arcos se apoyan en pilares cuadrados (cortados los de los extremos) que están contorneados con una ancha franja blanca. Los bordes blancos de estos dos pilares enmarcan superficies rojas. Los tres pilares centrales tienen en el medio dos circunferencias decoradas en blanco y rojo. Dentro de los arcos hay adornos geométricos como cruces y estrellas de ocho puntas de mármol de varios colores, enmarcadas con piezas de nácar. Los espacios triangulares que se forman en la curvatura exterior de los arcos están decorados con formas poligonales y estrellas de seis puntas que, a su vez, están divididas en triángulos y estrellas más pequeños. Los bordes de estas superficies y los triángulos pequeños también están decorados con nácar.  \nLos paneles de mármol con incrustaciones de varios tipos de piedras y nácar eran uno de los elementos decorativos más característicos de la arquitectura mameluca de la primera época. Era una técnica artesanal básica que se empleaba para destacar y realzar el *mihrab* y la *qibla*. Este estilo ornamental está extraordinariamente representado en el majestuoso complejo del sultán Qalawun de El Cairo (construido en 683-84 / 1284-85) y la tradición se mantuvo durante el siglo IX / XV, como demuestran edificios de El Cairo como el mausoleo y la *janqa* del sultán Barsbay, que formaban parte del complejo que se construyó en 835 / 1431 en el cementerio norte de El Cairo. En el *mihrab* de este complejo hay paneles decorados con arcos muy parecidos a los de este panel.","short_description":"Este panel de mármol con incrustaciones de piedras policromadas y nácar presenta los rasgos ornamentales básicos de la arquitectura mameluca. Se usaba, principalmente, en los *mihrab* de la *qibla*. Este estilo se aprecia en muchos monumentos, como el mausoleo del sultán Qalawun.","holder":"Museo de Arte Islámico","dates":"Siglo IX de la Hégira / siglo XV d. C.","location":"El Cairo","dimensions":"Alto 29,5 cm; ancho 104 cm.","method_for_datation":"Este tipo de panel de mármol fue uno de los elementos decorativos fundamentales de la arquitectura mameluca de la primera época y continuó siendo popular hasta el final del periodo mameluco. Se puede asegurar que este panel data de finales del periodo mameluco. Además, el complejo del sultán Qalawun y el mausoleo del sultán Barsbay pueden servir como ejemplos comparativos.","method_for_provenance":"La técnica del mosaico de mármol y nácar se aplicó, por ejemplo, en el complejo del sultán Qalawun y en el mausoleo y la *janqa* del sultán Barsbay en El Cairo. Este panel es muy parecido a los paneles del *mihrab* del complejo del sultán Barsbay.","provenance":"El Cairo.","obtention":"El anticuario Brams Nayyar donó el panel al museo en 1903, cuando la ampliación de los fondos del museo dependía de las donaciones públicas.","bibliography":"Atil, E., *Renaissance of Islam:Art of the Mamluks*, Washington, D.C., 1987.  \nGrabar, O., \"Architecture and Art\", *Genius of Arab Civilization: Sources of Renaissance* (ed. J. R. Hayes), Londres, 1983.  \nEttinghausen, R., y Grabar, O., *Art and Architecture of Islam*, Londres-Nueva York, 1987.  \nMustafa, M., *Dalīl muthaf al-fan al-islami \\[Guía del Museo de Arte Islámico\\]*, El Cairo, 1978.  \nStierlin, H., y Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517)*, Londres-Nueva York, 1997.","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["decoración geométrica","estuco","incrustación","mármol","mosaico","nácar","objetos religiosos","panel."],"materials":["adornado con mosaico de nácar y enmarcado con estuco.","amarillo","Mármol de varios colores (blanco","rojo y negro)"]},"fc496894-497a-5358-b6b4-2e9135336e42":{"name":"Mosaico de la iglesia de Massuh","description":"La iglesia de Massuh se encuentra 10 km al norte de Madaba, en Hisban. En 1970, durante unas excavaciones arqueológicas, se descubrieron diversas fases de su construcción, que se dataron entre finales del siglo V d. C. (anterior a la era musulmana, que se inicia el 16 de julio de 622 del calendario cristiano) y el siglo I / VII.  \nTambién se descubrieron dos capas de mosaicos: a la inferior, del siglo VI d. C., los iconoclastas no le habían provocado daño alguno. En cambio, sí habían infligido grandes daños a la capa superior —del siglo I / VII—, por lo que hubo que restaurarla cuidadosamente con teselas de mayor tamaño.  \nEl mosaico está formado por un panel central decorado con una red rectangular de florecillas, dentro de la cual se ven figuras de animales; una de ellas es un león frente a una inscripción con la datación de la iglesia. En otra inscripción figuran los nombres de los miembros del clero y de los patrocinadores que construyeron el edificio en la época del obispo Teodoro de Esbus.  \nEl mosaico que cubre el suelo del ábside de la zona norte de la iglesia se conserva parcialmente. Está decorado con zarcillos de vid enmarcados en un borde de hojas de acanto. En los zarcillos hay motivos animales y florales, deteriorados por la intervención de los iconoclastas.  \nEl mosaico del suelo de la nave consta de una cenefa de acanto que rodea dos paneles decorados con iconos y un adorno de cruces tangentes con extremos cóncavos. El panel oriental muestra un barquero y un pescador con caña y anzuelo, así como círculos con pájaros y flores en el interior. Los iconoclastas destruyeron estas imágenes, que se sustituyeron por más flores, cruces y motivos arquitectónicos. Las escenas de caza que formaban parte de un mosaico decorativo del presbiterio también quedaron destruidas a manos de los iconoclastas en el siglo I / VII.  \nPasado el siglo I / VII, la iglesia fue reconstruida. Se eliminó la mitad de las columnas originales y el lugar donde se alzaban se tapó con teselas blancas.","short_description":"La iglesia de Massuh presenta dos capas de pavimentos de mosaico. La inferior, del siglo VI d. C., no fue dañada por iconoclastas, pero la superior, del I / VII, fue alterada sistemáticamente. Los iconos se sustituyeron por cruces o motivos florales y arquitectónicos.","holder":"Parque Arqueológico de Madaba","dates":"Segunda mitad del siglo I–primera mitad del siglo II de la Hégira / segunda mitad del siglo VI-primera mitad del VII d. C.","location":"Hisban","dimensions":"25 m × 15 m.","method_for_datation":"Por la inscripción dedicatoria, que relata que la iglesia fue construida en la época del obispo Teodoro de Esbus (finales del siglo VI d. C.). Van Elderen (1986) deduce, a partir de las distintas fases arqueológicas de la iglesia, que los ataques iconoclastas se sucedieron a finales del siglo VI d. C. Schick (1995) señala que la iglesia de Massuh seguía recibiendo fieles a principios del periodo abbasí.","method_for_provenance":"El mosaico se halló durante unas excavaciones arqueológicas en la iglesia de Hisban en 1970.","provenance":"Hisban (Jordania)","obtention":"El mosaico se extrajo de su ubicación original en 1993 y se trasladó, con intención de conservarlo y protegerlo, al Parque Arqueológico de Madaba, donde se encuentra hoy en día.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Ammán, 1993, pp. 252-53.  \nPiccirillo, M., “La chiesa di Massuh e il territorio della diocesi di Esbus”, *Liber Annuus*, 33, 1983, pp. 335-346.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp. 404-405.  \nVan Elderen, B., “Byzantine Churches and Mosaics in Transjordan”, en Geraty, L. y Herr, L., (eds.), *The Archaeology of Jordan and Other Studies*, n. d., pp. 237-246.","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["iconoclasta","Iglesia","inscripción","mosaico","teselas."],"materials":["mosaico."]}}

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@@ -0,0 +1 @@
+{"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"La mosaïque de Virgile","description":"L’emblème de la mosaïque représentant Virgile, écoutant Clio et Mélpomène, découverte à Sousse, l’antique Hadrumète, en 1896 constitue l’un des joyaux du musée du Bardo. C’est l’un des plus remarquables portraits de l’illustre poète romain Virgile, vêtu d’une ample toge blanche décorée de broderies. Entouré des muses, Clio et Melpomène, il tient dans sa main, posée sur ses genoux, un rouleau de parchemin où sont écrits des extraits de l’Enéide et précisément le huitième vers. L’œuvre est la plus ancienne représentation du poète connue à ce jour.","type":"Mosaique","holder":"Musée national du Bardo","dates":"XIXe siècle","location":"Le Bardo, Tunis","author":"Saloua Zangar"},"38ac8909-b6b3-578f-84ca-ee3dab9091b2":{"name":"Mosaïque de Ma’in","description":"Ma'in se trouve à l'ouest de Madaba et fut le dernier village habité sur la route des sources chaudes de Baaru (aujourd'hui Hammamat Ma'in) et Callirhoe (aujourd'hui Zara). Au cours de fouilles archéologiques menées en 1973 par le Département des Antiquités de Jordanie, un complexe monastique et une église furent mis au jour sur une colline au sud-ouest du village.  \nQuelques sols en mosaïque furent trouvés sur place, dont le plus important recouvrait la nef de l'église, datée par une inscription de 100-101 H / 719-720 J.-C.  \nCette mosaïque de 9,5 x 16,5 m comprend un panneau central encadré de bordures de largeurs variées (certaines de plus de deux mètres de large). Une bordure se compose de carrés jaunâtres et d'ellipses noires, tandis qu'une autre présente des enroulements de feuilles d'acanthe qui décrivent des scènes de chasse d'animaux sauvages et des motifs pastoraux. La plupart de ces images ont été endommagées durant la période iconoclaste (déclenchée par un décret de l'empereur Léon III en 726 J.-C.) et remplacées par des motifs floraux. Une autre bordure représente 11 bâtiments entourés d'arbres fruitiers et identifiés par leur nom grec. Ils symbolisent des villes des rives gauche et droite du Jourdain, chacune siège d'un évêché, à l'exception de Ma'in, qui n'y figure que par fierté locale.  \nLe champ central de la mosaïque se compose de dessins géométriques et de figures très abîmées, remplacées ultérieurement par des motifs neutres dont, par exemple, un panier rempli de fruits, un bateau à la voile déployée, un taureau – détruit et remplacé par un arbre, mais on distingue encore ses sabots arrière et sa queue, sa patte avant et son échine. à l'est de la nef, un panneau rectangulaire à bordure fleurie présente une inscription dans une *tabula ansata* placée entre un motif géométrique et trois guirlandes de la vigne sortant d'une petite jarre.  \nUne autre mosaïque bien préservée, de 6,8 x 3,5 m, se trouve dans la pièce au nord de l'église. Elle comprenait jadis trois panneaux : celui du centre, dont seule subsiste la partie supérieure d'un médaillon à cercles sécants ; le panneau oriental présentant une queue, deux pattes, un buisson, un sabot, une échine et les pointes de deux cornes avec, au-dessus, une inscription en grec. Cette mosaïque a également été endommagée par les iconoclastes. Dans sa forme d'origine, elle décrivait un zébu et un lion devant un arbre. Ils ont été remplacés par le buisson, à gauche, et une jarre à droite. Les feuilles de l'arbre central ont également été remplacées.","short_description":"Sols en mosaïque de l’église de l’acropole de Ma’in, datée par une inscription de 100 H / 720 J.-C. La nef comprend des descriptions de 11 bâtiments représentant des villes de Jordanie et de Palestine identifiées par leur nom grec. Toutes les images ont été endommagées par les iconoclastes et soigneusement remplacées par des motifs variés.","holder":"Parc archéologique de Madaba.","dates":"100-101 de l’Hégire / 719-720 J.-C.","location":"Madaba.","dimensions":"9,5 x 16,5 m.","method_for_datation":"La mosaïque comporte une inscription dédicatoire qui permet de la dater de 100-101/719-720, pendant la période des Omeyyades. L'étude des réparations montre que ceux qui les réalisèrent après le passage des iconoclastes sont les mêmes qui avaient posé la mosaïque originale : le style des arbres fruitiers originaux est identique à celui de l'arbre qui remplace le taureau dans la zone centrale restaurée.","method_for_provenance":"La mosaïque a été trouvée dans une église qui faisait partie d'un complexe monastique sur une colline au sud-ouest de Ma'in.","provenance":"Ma’in, Jordanie","obtention":"Ce sol en mosaïque a été découvert lors de fouilles menées sur le site en 1973. Pour assurer sa conservation, il a été prélevé et transféré au Parc archéologique de Madaba.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Amman, 1993, pp. 195-204.  \nPiccirillo, M., “Le antichita bizantine de Ma'in e dinornis”, *Liber Annuus*, 35, 1985, pp. 339-364.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp. 398-400.  \nDe Vaux, R., “Une mosaïque byzantine à Ma'in (Transjordanie)”, *Revue biblique*, 1938, pp. 227-258.","linkcatalogs":"IAM_JO_FR_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["églises","iconoclasme","inscriptions","mosaïques","nef","tessères","toponyme"],"materials":["Mosaïque."]},"486238d7-a097-5c5c-aed4-3125d1f36409":{"name":"Mosaïque de sol.","description":"Au cours de la période omeyyade (première moitié du IIe siècle H / VIIIe siècle J.-C.), de nombreux complexes palatiaux de grand luxe furent édifiés en territoire syro-palestinien, comme Hicham ibn Abd al-Malik à Jéricho, Qasr al-Hir al-Gharbi et al-Hir al-Charqui en Syrie, Qasr al-Amra, le palais omeyyade de la citadelle d'Amman, Qasr al-Hallabat, al-Mouwaqqar et al-Qastal en Jordanie. Ces palais étaient splendidement décorés de stucs sculptés, de fresques murales et de sols en mosaïque.  \nUn très important sol en mosaïque a été découvert presque par hasard à al-Qastal en 2000 après des fouilles illicites sur un site où l'essentiel des murs avaient été rasés jusqu'aux fondations. Heureusement, les sols des salles nord et sud du palais étaient bien préservés. Complets, ils représentent un bon exemple de la remarquable qualité de ce type de travail dans les palais omeyyades de l'époque.  \nLe sol en mosaïque de la salle nord mesure 330 x 330 cm. Il consiste en une zone centrale encadrée par trois bordures à ornementation de guilloché et de tresse, séparées par des lignes de motifs en T inversés de diverses couleurs. La zone centrale est de surcroît délimitée par deux bordures géométriques entrelacées à angles concaves formant un cadre octogonal autour de la scène centrale représentant un lion attaquant un taureau, les dents et les pattes avant plantées dans le cou de sa victime pour la basculer à terre. Cette mosaïque est d'une extraordinaire qualité dans la variété tonale de ses couleurs, les dimensions de ses tesselles et les effets ombrés qui donnent une vie et une profondeur palpables à la scène. Dans chaque quart de rond d'angle apparaissent divers oiseaux et plantes sur fond blanc : au nord-est un canard la tête vers l'arrière, au sud-est une perdrix picorant une plante et aux deux autres angles un canard et une perdrix, préservés seulement partiellement.  \nLe sol en mosaïque de la salle sud est identique, à l'exception de la scène centrale représentant un léopard chassant une gazelle. Tout aussi réaliste que la précédente, elle montre des détails comme les yeux, les crocs et les dents acérées qui transpercent le cou de la gazelle et provoquent un flot de sang. On peut voir et presque sentir l'extrême férocité du fauve et l'agonie de la gazelle.  \nDes scènes comme celle-ci se voulaient également une démonstration de puissance et un message d'avertissement aux adversaires du souverain. Des sols de mosaïque similaires se trouvent dans d'autres palais omeyyades comme au Qasr al-Hallabat en Jordanie et dans la salle d'audience du hammam de Khirbat al-Mafjar à Jéricho.","short_description":"Sols en mosaïque d’al-Qastal, construits par Yazid ibn al-Malik (r. 101-105 / 720-724 J.-C.) ou son fils al-Walid (r. 125-126/743-744); l’un représente un lion attaquant un taureau, l’autre un léopard chassant une gazelle. Des scènes comme celles-ci se voulaient également une démonstration de puissance et un message d’avertissement aux adversaires du souverain.","initial_owner":"Yazid ibn Abd al-Malik (r. 101-105 H / 720-724 J.-C.) et son fils al-Wallid II (r. 125-126 H / 743-744 J.-C.).","dates":"101-105 de l’Hégire / 720-724 J.-C. ou 125-126 H / 743-744 J.-C.","location":"*In situ* à al-Qastal","dimensions":"330 x 330 cm.","method_for_datation":"Ce palais et cette mosaïque sont datés de la période omeyyade grâce à une poésie qui associe les deux *qasr* d'al-Mouwaqqar et al-Qastal à Yazid ibn Abd al-Malik (r. 101-105/720-724) et à son fils al-Wallid II (r. 125-126/743-744). Le poète Kouthayyir Azza mentionne en effet al-Mouwaqqar et al-Qastal dans un texte qui indique leur appartenance à la même personne : “Que Dieu bénisse le quartier \\[famille\\] qui se trouve à Mouwaqqar \\[et s'étend\\] à Qastal al-Balqa aux appartements suspendus.” De plus, des fouilles exécutées sur le site depuis 1983 ont permis la découverte de tessons de céramique, de fragments de stuc sculpté et de peintures à fresque montrant que le bâtiment avait été reconstruit à la période omeyyade.","method_for_provenance":"La mosaïque a été mise au jour dans le complexe du palais d'al-Qastal.","provenance":"Al-Qastal, Jordanie.","obtention":"La mosaïque se trouve encore *in situ* à al-Qastal.","bibliography":"Bisheh, G., “Two Umayyad Mosaic floors from Qastal”, *Liber Annuus*, 50, 2000, pp. 431-437.  \nPiccirillo, M., *The Mosaics of Jordan*, Amman, 1993, p. 352.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, p. 432.","linkcatalogs":"IAM_JO_FR_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique","imagerie zoomorphique","mosaïques","palais"],"materials":["Mosaïque."]},"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387":{"name":"Mosaïque inaugurale du musée du Bardo","description":"Il s’agit de la mosaïque inaugurale du musée Alaoui, actuel musée du Bardo, en date du 7 mai 1888. En haut du panneau et à droite, on distingue le drapeau tunisien, à gauche le sigle de la résidence générale de France, tandis qu’au centre du panneau est écrit en rouge “Le Musée Alaoui”. L’inauguration est faite en présence du bey régnant, Ali Pacha, et du résident général, M.J. Massicault.  \nSur deux colonnes sont désignés les hauts fonctionnaires français qui ont accompagné le résident général et veillé à la réalisation du musée : MM. Georges Perrot et Edouard Delpeuch, délégués du ministre de l’Instruction publique et des Beaux-Arts, MM. Henri Wallon et Héron de Villefosse, de l’Académie des Inscriptions et Belles Lettres, et M. R. de la Blanchère, directeur du service des Antiquités et des Arts. Enfin, en bas du panneau, un texte en arabe glorifiant l’inauguration du musée.","type":"Mosaïque","holder":"Musée national du Bardo","dates":"XIXe siècle","location":"Le Bardo, Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar"},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"Panneau d’une mosaïque.","description":"Ce panneau faisait partie de toute une mosaïque dont la superficie approche les 50 m2. Le tapis initial était encadré d'une bordure où se succèdent les formes géométriques et les motifs floraux. Le champ de la mosaïque se distingue par un entrelacs de quadrilobes qui s'interfèrent et engendrent des formes géométriques variées. Après la dépose de la mosaïque, plusieurs panneaux furent répartis entre certains musées tunisiens. Dans le panneau récupéré par le musée de Raqqada, les lignes rouges, blanches et noires alternent et déterminent une feuille de lilas inscrite dans un octogone et un pétale à quatre pointes ogivales placées dans un cercle. L'ensemble est enserré entre des torsades de forme ovale. Cette mosaïque constitue un exemple unique dans l'art ifriqiyen d'époque fatimide, mais certains historiens de l'art soutiennent qu'elle atteste la survivance de l'art de la mosaïque, en Tunisie, au Moyen âge. Certes, la technique d'exécution de la mosaïque de Mahdia présente une continuité de la tradition antique de l'Afrique romaine et byzantine, mais tout porte à croire qu'elle est l'œuvre d'artisans byzantins ou “rums” qui furent sans doute enlevés et faits prisonniers lors des multiples incursions menées par l'armée d'al-Qaim en Sicile et en Italie.","short_description":"Cette mosaïque constitue un exemple unique de l'art ifriqiyen à l'époque fatimide. Certains historiens de l'art pensent qu'elle perpétue la tradition antique de l'Afrique romaine et byzantine. Ce panneau faisait partie d'une mosaïque dont la superficie approchait les 58 mètres carrés. Il associe les formes géométriques aux motifs floraux.","holder":"Musée des arts islamiques","initial_owner":"Le prince fatimide al-Qaim.","dates":"303 de l’Hégire / 916 J.-C.","location":"Raqqada, Kairouan","dimensions":"L. 107 cm, l. 106 cm.","method_for_datation":"La mosaïque fut exhumée lors des fouilles menées en 1956 dans une salle de réception ou d'audience appartenant au palais d'al-Qaim. Logiquement, on peut la dater du moment de l'édification de ce palais, en 303/916, comme le confirment les sources historiques, mais il serait possible également de l'attribuer à une phase ultérieure de travaux d'embellissement et d'aménagement au sein du monument, et qui daterait probablement du règne d'al-Qaim, avant le développement de la rébellion kharijite de “l'homme à l'âne” en 332/944.","method_for_provenance":"La découverte de cette mosaïque in situ atteste sa production sur place. Mais l'origine des artisans reste à prouver.","provenance":"Mahdia.","obtention":"Après sa dépose du palais d'al-Qaim à Mahdia, la mosaïque fut exposée au musée du Bardo. En 1986, trois panneaux de cette mosaïque furent envoyés au dépôt de l'Institut national du patrimoine à Kairouan. En 1993, un de ces trois panneaux fut récupéré par le Musée des arts islamiques de Raqqada pour être exposé dans la deuxième partie, en cours d'aménagement.","bibliography":"Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, Fifth international colloquium on ancient mosaics, USA, 1994, pp. 307-318.  \n  \nLouhichi, A., “La mosaïque de Mahdia : contexte et interprétation”, Africa, XX, 2004, pp. 143-166.  \n  \nZbiss, S. M., “Mahdia et Sabra Mansuriya : nouveaux documents d'art fatimide d'Occident”, Journal asiatique, CCXLIV, 1956, pp. 79-93.","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["décoration florale","décoration géométrique","Mosaïque"],"materials":["Tesselles en calcaire."]},"eddda363-37ec-580d-af63-63f93facde5f":{"name":"Panneau en mosaïque de marbre.","description":"Panneau de marbre à composition de quatre arcs brisé aveugles en morceaux de marbre blanc, noir, rouge et jaune. Ils reposent sur trois piliers rectangulaires rouges à larges bordures blanches, au centre, et deux demi-piliers aux extrémités. Chacun des trois piliers centraux est par ailleurs orné de deux rondeaux à décor concentrique blanc, noir et jaune. Les zones décrites par les arcs sont meublées d'un décor géométrique fait de croix bordées de nacre et d'étoiles à huit branches en marbre multicolore. Les pendentifs sont ornés de polygones et d'étoiles à six branches divisées en petits éléments triangulaires ou en étoile. Les triangles et la bordure sont en nacre.  \nCe type de panneau en mosaïque de marbre et de nacre est caractéristique d'un style décoratif datant des débuts de l'architecture mamelouke. Technique artisanale bien maîtrisée, elle était utilisée pour orner les *mihrab* et les *qibla*. Ce style prendra une forme remarquable dans l'immense complexe du sultan Qalawun au Caire (construit en 683-684 H / 1284-1285 J.-C.) au Caire. La tradition s'en est poursuivie durant le IXe siècle H (XVe siècle J.-C.), comme le montrent un certain nombre d'exemples similaires au Caire, par exemple dans le mausolée et la *khanqa* du sultan Barsbay faisant partie d'un complexe édifié en 835 H / 1431 J.-C. dans le cimetière nord du Caire. Le *mihrab* de ce complexe contient des panneaux décoratifs composés d'arcs très similaires à ceux de ce panneau.","short_description":"Ce type de panneau en mosaïque de marbre polychrome rehaussée de nacre présente les caractéristiques décoratives de base de la première architecture mamelouke.  \nIl était principalement utilisé pour orner les *mihrab* (niches dans le mur de la *qibla*). Ce style se retrouve dans de nombreux monuments comme le mausolée du sultan Qalawun.","holder":"Musée d’art islamique","dates":"IXe siècle de l’Hégire (XVe siècle J.-C.).","location":"Le Caire","dimensions":"L. 104 cm ; H. 29,5 cm.","method_for_datation":"Les panneaux de mosaïque de marbre utilisant diverses variétés de pierre et de nacre faisaient partie des éléments décoratifs de base de l'architecture mamelouke des débuts, et qui restèrent populaires jusqu'à la fin de la période. On peut dater avec certitude ce panneau de la dernière partie de la période mamelouke, supposition renforcée par la présence d'exemples comparables dans le complexe du sultan Qalawun et le mausolée du sultan Barsbay.","method_for_provenance":"Cette technique de décor est présente, entre autres lieux, dans le complexe du sultan Qalawun, le mausolée et la *khanqa* du sultan Barsbay. Le panneau ressemble beaucoup à ceux du *mihrab* du complexe du sultan Barsbay.","obtention":"Ce panneau a été donné au musée en 1903 par Brams Najjar, marchand d'antiquités. Le musée dépendait alors de donations publiques pour enrichir ses collections.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nEttinghausen, R. et Grabar, O., *Art and Architecture of Islam*, Londres, New York, 1987.  \nGrabar, O., “Architecture and Art”, in J. R. Hayes (dir.), *Genius of Arab Civilization: Sources of Renaissance*, Londres, 1983.  \nMustafa, M., *Dalīl mouthaf al-fan al-islami* \\[Guide du Musée d'art islamique\\], Le Caire, 1978.  \nStierlin, H. et Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250-1517*), Londres, New York, 1997.  \nL'Art mamelouk, splendeur et magie des sultans, pp. 102-103.","linkcatalogs":"IAM_EG_FR_001","author":"Al-Sayyed Muhammad Khalifa Hammad","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["décoration géométrique","Incrustations","marbres","mosaïques","nacre","objets religieux","panneaux","stucs"],"materials":["dans un cadre en stuc.","jaune","Mosaïque de marbre de diverses couleurs (blanc","rouge et noir) rehaussée de nacre"]},"fc496894-497a-5358-b6b4-2e9135336e42":{"name":"Mosaïque de l’église de Masouh.","description":"L'église de Masouh se trouve à 10 km au nord de Madaba à Hisban. Des fouilles archéologiques menées en 1970 ont permis de repérer différentes phases de construction allant du Ve siècle J.-C. (donc avant l'ère musulmane) au Ier siècle H (VIIe siècle J.-C.).  \nDeux sols en mosaïques superposés y ont été mis au jour. Le sol inférieur date du VIe siècle J.-C. et n'a pas souffert des destructions iconoclastes. La mosaïque supérieure du Ier siècle H (VIIe siècle J.-C.) a été gravement et systématiquement endommagée par les iconoclastes. Elle a été soigneusement réparée par la suite, comme le montrent des zones de tessères de plus grandes dimensions. Sa zone centrale est remplie par un réseau orthogonal de fleurons. Dans certains panneaux ainsi formés figurent des animaux, dont un lion devant l'inscription qui donne la date de l'église. Une seconde inscription fournit le nom des membres du clergé et des donateurs qui construisirent cet édifice à l'époque de l'évêque Théodore d'Esbus.  \nLe sol de mosaïque dans l'abside sur le côté nord de l'église est en partie préservé. Il est décoré d'enroulements de vigne et entouré d'une bordure de feuilles d'acanthe. à l'intérieur des rinceaux, les motifs animaux et végétaux ont été endommagés par les iconoclastes.  \nDans la nef, le sol se compose d'une bordure de feuilles d'acanthe qui entoure deux panneaux décorés de motifs figuratifs et d'un motif de croix à extrémités concaves. Le panneau oriental met en scène un batelier et un pêcheur portant une rame et un crochet ainsi que des cercles remplis d'oiseaux et de fleurs. Les figures ont été détruites par les iconoclastes et remplacées par des motifs floraux, architecturaux et des croix. Les scènes de chasse, qui font partie d'un bandeau de mosaïque décoratif trouvé dans le presbytère, ont également été détruites au Ier siècle H (VIIe siècle J.-C.).  \nL'église fut reconstruite après cette période. La moitié des colonnes d'origine ont été éliminées et leurs fondations recouvertes de tessères.","short_description":"L’église de Massouh comporte deux sols en mosaïque superposés. Le sol inférieur, du VIe siècle J.-C., n’a pas souffert des destructions iconoclastes, alors que la mosaïque supérieure, du Ier siècle H / VIIe siècle J.-C., a été systématiquement endommagée par les iconoclastes. Les figures ont été soigneusement remplacées par des motifs floraux ou architecturaux et par des croix.","holder":"Parc archéologique de Madaba.","dates":"Seconde moitié du Ier siècle-première moitié du IIe siècle de l’Hégire (seconde moitié du VIIe siècle-première moitié du VIIIe siècle J.-C.).","location":"Hisban.","dimensions":"25 x 15 m.","method_for_datation":"La mosaïque est datée par son inscription dédicatoire, qui mentionne que l'église a été édifiée à l'époque de l'évêque Théodore d'Esbus (fin VIe siècle J.-C.). Van Elderen a conclu en 1986, d'après l'étude des phases archéologiques de la construction, que les destructions iconoclastes s'étaient produites à la fin du VIe siècle. Pour Schick (1995), l'église de Masouh était encore fréquentée au début de la période abbasside.","method_for_provenance":"Cette mosaïque a été trouvée lors de fouilles archéologiques menées dans le complexe monastique d'Hisban en 1970.","provenance":"Hisban, Jordanie.","obtention":"Ce sol en mosaïque a été découvert lors de fouilles archéologiques menées dans l'église en 1970. Pour assurer sa conservation, on l'a prélevé de son site en 1993 et transporté au Parc archéologique de Madaba.","bibliography":"Piccirillo, M., *The Mosaics of Jordan*, Amman, 1993, pp. 252-253.  \nPiccirillo, M., “La chiesa di Massuh e il territorio della diocesi di Esbus”, *Liber Annuus*, 33, 1983, pp. 335-346.  \nSchick, R., *The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and Archaeological Study*, Princeton, 1995, pp. 404-405.  \nVan Elderen, B., “Byzantine Churches and Mosaics in Transjordan”, *in* Geraty, L. and Herr, L. (dir.), *The Archaeology of Jordan and Other Studies* \\[n.d.\\], pp. 237-246.","linkcatalogs":"IAM_JO_FR_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["églises","iconoclasme","inscriptions","mosaïques","tessères","toponyme"],"materials":["Mosaïque."]}}

package/translations/items.it.json

@@ -0,0 +1 @@
+{"117f9344-faa8-5cdb-8423-bab797cf66a2":{"name":"*Ritratto di Paolo V Borghese*","description":"L'opera reca sul lato sinistro la firma “”MARCELLI PROVENZALIS CENTEN. OPUS” e il basso l'iscrizione “PAVLVS. V. BURGHESIVS. ROMANVS. P. O. M. ANN. MDCXXI. PONT. XVI.”. Il mosaico fu commissionato all'artista dal cardinale Scipione Borghese, nipote dello stesso pontefice. Impressionante è la minuzia e la finezza dei dettagli, come il bordo di pelliccia del camauro e della mozzetta. L'espressione combina in perfetto equilibrio la naturalezza dell'individuo con la posa ieratica consona al ruolo del successore di Pietro. In alto a destra è lo stemma papale con l'insegna di Casa Borghese, riconoscibile dall'aquila e dal drago. L'opera è ricordata per la sua straordinarietà nella biografia di Marcello Provenzale, inserita da Giovanni Baglione nel 1642 tra quelle dei maggiori artisti del suo tempo. Per la rara abilità nella produzione di mosaici a tessere minute, realizzati per lo più su cartoni preparati da importanti pittori, Provenzale fu ritenuto dai contemporanei superiore ai maestri dell'età classica. Durante il pontificato di Polo V ricevette numerose e importanti commissioni per la Basilica Vaticana, dove eseguì i mosaici per la cappella Clementina, su disegno di Cristoforo Roncalli, detto il Pomarancio, e quelli della cupola. Provvide inoltre, con larghe integrazioni, al restauro del celebre mosaico del 1300 raffigurante la *Navicella*, opera di Giotto. Fu uno degli artisti prediletti da Scipione Borghese, che lo incaricò della realizzazione di numerose opere, molte delle quali ancora oggi presenti nel Museo, e visse come *protégé* presso il palazzo della principesca famiglia romana.","short_description":"Il ritratto del papa regnante fu eseguito da un artista fidato di Scipione Borghese, che visse nel palazzo del cardinale sotto la sua protezione. Il forte realismo e la tecnica estremamente inusuale e difficile, di cui Provenzale era molto orgoglioso, rappresentano caratteristiche tipicamente barocche.","type":"Mosaico","holder":"Galleria Borghese","owner":"Stato Italiano","initial_owner":"Scipione Borghese","dates":"1621","location":"Roma","dimensions":"Cm 65 x 54","method_for_datation":"Iscrizione","provenance":"Collezione Borghese","obtention":"La collezione Borghese è stata acquistata dallo Stato Italiano nel 1902","bibliography":"Della Pergola P., *Galleria Borghese. I dipinti*, I, Roma, 1955, n. 107. p. 62.  \n   \nStacciali S., in *Opere in mosaico, intarsi e pietra paesina*, catalogo della mostra, Roma, 1971, n. 3, pp. 12-13.  \n   \nGonzález Palacios A., “Provenzale e Moretti: indagine su due mosaici”, in *Antichità viva*, 4, 1976, pp. 26-33.  \n   \n   \nFratarcangeli M., in *Barock Kunst und Kultur im Vatikan im Rom der Päpste.* *1572-1676*, catalogo della mostra (Bonn, Berlin), 2005, n. 124 p. 239.","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","keywords":["marmo","mecenatismo","mosaico","Realismo","ritratto","stemma","tessere","vetro"],"materials":["Commesso di tessere vitree e marmoree"]},"9894288e-e20a-599a-a609-d59380647196":{"name":"Mosaico pavimentale","description":"Durante il riallestimento tardo settecentesco della Villa, voluto da Marco Antonio IV Borghese, l'architetto Antonio Asprucci decise di rivestire completamente il pavimento della “Stanza dell'Ermafrodito” con mosaici antichi: una consuetudine molto apprezzata all'epoca, il cui effetto decorativo raggiungeva effetti di potente suggestione. Il visitatore si muoveva infatti all'interno di un ambiente il cui rivestimento pavimentale, vero e proprio “tappeto di mosaico”, diventava al tempo stesso parte integrante della decorazione moderna e oggetto musealizzato. L'assemblaggio, operato nel 1781, utilizzò mosaici provenienti dagli scavi di un grande stabilimento termale effettuati nella località Castellarcione, possedimento della famiglia Borghese situato  sulla Via Tiburtina presso Bagni di Tivoli, non lontano dalla celebre Villa Adriana. Il mosaico più antico, a fondo bianco con motivo “a stelline” (quattro tessere nere accostate in forma simile a una stella), è circondato da una cornice a meandro policromo. Al centro della sala è un riquadro, più tardo, con una scena di pesca circondato da una cornice a treccia multipla con foglie di acanto agli angoli. Un secondo riquadro coevo, sempre con scena di pesca, è collocato sul gradino nel vano della finestra. L'originale utilizzo di rivestimenti a mosaico autentici, come richiamo all'Antico caratteristico degli ultimi decenni del Settecento, fu una moda che ritroviamo negli stessi anni anche nelle Gallerie Pontificie (celebre la Sala Rotonda del Museo Pio-Clementino con i mosaici del sec. III d.C.) e in palazzi nobiliari, come il raffinatissimo Gabinetto nobile di Palazzo Altieri a Roma.","type":"Mosaico","holder":"Galleria Borghese","dates":"I sec. A.C.; 200-300 d.C.","location":"Roma","dimensions":"455 x 685 cm","method_for_datation":"Sulla base dell'analisi stilistica il mosaico in bianco e nero “a stelline” con cornice a meandro a più colori è datato al sec. I a.C.; gli “emblemata” con scene di pesca al 200-300 d.C. L'assemblaggio risale al 1781.","method_for_provenance":"La provenienza è documentata nella descrizione della Villa del 1796 (Lamberti, Visconti 1796).","provenance":"Scavi di Castellarcione presso Bagni di Tivoli (Roma)","obtention":"I due riquadri con scene di pesca provengono dagli scavi effettuati nel XVIII secolo a Castellarcione, possedimento della famiglia Borghese","bibliography":"Guadalupi Gianni, Coliva Anna, Napoleone Caterina, Minozzi Marina, *Villa Borghese*, Collana Grand Tour, n. 30, Milano: Franco Maria Ricci, 2002.  \nLamberti, Luigi, Visconti, Ennio Quirino, *Sculture del Palazzo della Villa Borghese*, Roma, 1796.  \nMoreno, Paolo, Viacava, Antonella, *I marmi antichi della Galleria Borghese. La collezione archeologica di Camillo e Francesco Borghese*, Roma, 2003.","author":"Marina Minozzi","materials":["Tessere marmoree"]},"c258b71a-ed5a-5e3f-a8b3-0c790492d086":{"name":"Pannello a mosaico","short_description":"La tecnica a mosaico raggiunse l'apogeo nel periodo timuride. Questo pannello comprende tessere nei colori blu-cobalto, turchese, verde smeraldo, bianco e ambra. Al centro un verso del Corano in caratteri cufici di colore bianco.","type":"Mosaico; rivestimento architettonico","holder":"MAO Museo d'Arte Orientale","dates":"Ègira IX secolo / XV secolo","location":"Torino","dimensions":"Altezza cm 43, lunghezza cm 62.7","provenance":"Asia Centrale","keywords":["mosaico","pannello","timuride"],"materials":["Mosaico di frammenti di ceramica"]}}

package/translations/partners.ar.json

@@ -0,0 +1 @@
+{"2a23d23f-5624-56f3-828f-3db6b5689a95":{"name":"متحف متروبوليتان للفنون","description":"يعرض متحف متروبوليتان للفنون أكثر من 5000 عام من الفن من جميع أنحاء العالم ليختبره الجميع ويستمتعون به. ويقوم المتحف في ثلاثة مواقع مميزة في مدينة نيويورك - The Met Fifth Avenue و The Met Breuer و The Met Cloisters. يشارك ملايين الأشخاص أيضًا في تجربة متحف متروبوليتان للفنون عبر الإنترنت.  \nمنذ تأسيسه في عام 1870 ، كان متحف متروبوليتان للفنون يطمح دائمًا إلى أن يكون أكثر من مجرد خزانة للأشياء النادرة والجميلة. وكل يوم ، ينبض الفن بالحياة في صالات العرض بالمتحف ومن خلال معارضه وأحداثه ، ويكشف عن أفكار جديدة واتصالات غير متوقعة عبر الزمن وعبر الثقافات.  \nThe Met Fifth Avenue  \n1000 الجادة الخامسة (في شارع 82)  \nنيويورك ، نيويورك 10028  \n+1212535 7710  \nالأحد - الخميس: 10:00 صباحًا - 5:30 مساءً  \nالجمعة والسبت: 10:00 صباحًا - 9:00 مساءً  \nThe Met Breuer  \n945 شارع ماديسون  \nنيويورك ، نيويورك 10021  \n+1212731 1675  \nيغلق أبوابه الاثنين  \nبفتح أبوابه :  \nالثلاثاء والأربعاء: 10:00 صباحًا - 5:30 مساءً  \nالخميس والجمعة: 10:00 صباحًا - 9:00 مساءً  \nالسبت والأحد: 10:00 صباحًا - 5:30 مساءً  \nThe Met Cloisters  \n99 مارجريت كوربين درايف ، فورت تريون بارك  \nنيويورك ، نيويورك 10040  \n+1212923 3700  \nآذار (مارس) - تشرين الأول (أكتوبر): 10:00 صباحًا - 5:15 مساءً  \nمن 27 مايو إلى 2 سبتمبر 2016: مفتوح حتى وقت متأخر من أيام الجمعة حتى الساعة 7:30 مساءً  \nتشرين الثاني (نوفمبر) - شباط (فبراير): 10:00 صباحًا - 4:45 مساءً  \nتغلق جميع المواقع يوم عيد الشكر ، 25 ديسمبر ، و 1 يناير. ويغلق Met Fifth Avenue يوم الاثنين الأول من مايو.","city":"نيويورك","address":"The Met Fifth Avenue  \n1000 Fifth Avenue (at 82nd Street)  \nNew York, NY 10028  \nSunday–Thursday: 10:00am–5:30pm  \nFriday and Saturday: 10:00am–9:00pm","website":"http://www.metmuseum.org","phone":"+1 212 535 7710"},"36dd7a00-ac4e-5317-9673-604bbb89af53":{"name":"متحف الفنون الشرقية (مؤسسة المتاحف في تورينو)","description":"يمثل متحف تورينو الجديد للفنون الشرقية Turin’s new Museum of Oriental Art تتويجًا لمختلف مجالات الاهتمام في هذا المجال: تفتخر المدينة بتقليد طويل من الدراسات الشرقية في الجامعة - مدعومًا بوجود مركز رئيسي للبحوث المتخصصة (CESMEO) ، في حين شهدت السنوات القليلة الماضية إدراكًا متزايدًا للحاجة إلى إنشاء أدوات محددة لتعزيز معرفتنا وفهمنا للعوالم الثقافية البعيدة. وإن المتحف الذي يعرض إبداعات فنية من ثقافات مختلفة لا يحقق رسالته الخاصة فقط كمستودع لحفظها وعرضها ، ولكنه قبل كل شيء يحث الزوار على توسيع آفاقهم المتمركزة حول العرق.  \nكانت هذه بعض الأسس الأساسية التي أدت إلى فكرة إنشاء متحف للفنون الشرقية (MAO) Museum of Oriental Art ، في تورين على أساس إعادة تعريف وتجديد وتوسيع القسم الشرقي من المتحف المدني للفن القديم Civic Museum of Ancient Art.  \nيقع المتحف الجديد ، في واحدة من أكثر مناطق المدينة حيوية ورائعة ، في ساحة ماتسونيس Palazzo Mazzonis ، والذي تم بناؤه بين القرنين السابع عشر والثامن عشر ، والمعروف ، بأنه كان مملوكًا سابقًا لماركيز سولارو ديلا كيوزا Marquis Solaro della Chiusa قبل أن تنقل ملكيته في عام 1870 لشوفالييه باولو ماتسونيس Chevalier Paolo Mazzonis ، قطب صناعة المنسوجات. وبعد أن أصبح المكتب الرئيسي لشركة Manifattura Mazzonis ، تم إجراء تحسينات واسعة النطاق ، خاصة في الطابق الأول.وقد انهارت أعمال Mazzonis في عام 1968 وظل المبنى غير مستخدم. وقد تم شراؤه من قبل مجلس مدينة تورينو في عام 1980 وتم ترميمه لاحتواء قسم من المحكمة القانونية من عام 1982 إلى عام 2001 وأخيراً أصبح الترميم المناسب موقعًا لمتحف.  \nيحتوي المتحف الآن على حوالي 1500 عمل من جميع أنحاء آسيا. وتنقسم الغرف المستخدمة للمعرض الدائم إلى خمسة \"صالات عرض\" منفصلة ، والتي تتلاءم بشكل طبيعي مع التصميم الإنشائي للمبنى.  \nيطمح MAO أن يكون معبرا قدر الإمكان في اختياره للأعمال الفنية من مختلف البلدان: وتشمل مجموعاته التقاليد الثقافية الرئيسية من القارة الأوربية، بناءً على المجموعات المهمة التي تمتلكها بالفعل مؤسسات مختلفة في تورين ، والتي ألهمت بشكل مباشر التصميم المقترح لـلمتحف الجديد الذي ينقسم إلى خمس مناطق ثقافية محددة بوضوح: جنوب آسيا والصين واليابان ودول الهيمالايا والدول الإسلامية.  \nيهدف الترتيب الذي يتم عرض الأعمال به وعلامات العرض المصاحبة إلى إبراز نقاط الاتصال والتفاعلات الإبداعية بين الدول المختلفة في الفترات التاريخية المختلفة ، وإعادة تقديم تفسير موحد للمسار المقترح.  \nيعمل MAO أيضًا كوسيط ثقافي للزوار ، الذين ليسوا على دراية بالمفاهيم والتقاليد الثقافية التي تشير إليها المعارض. ويهدف إلى إلهام الزوار لاستكشاف أشكال جديدة من الفكر ، وتشجيع الوعي الكامل بقيمة المعرفة الإنسانية.  \nأخيرًا ، يقدم MAO مجموعة واسعة من الخدمات العامة: محطات الوسائط المتعددة ، وكاتالوج عبر الإنترنت على موقع المتحف على الإنترنت ، ومكتبة الكتب ، وإمكانية استخدام مكتبة الفنون وأرشيفات الصور الفوتوغرافية لمؤسسة تورينو للمتاحف Fondazione Torino Musei ، والندوات ، والمؤتمرات ، والمعارض المؤقتة ، والغرف التعليمية.","city":"تورينو","address":"Via San Domenico11  \n10122 Turin","website":"http://www.maotorino.it","phone":"+39 01 14 43 69 27","email":"mao@fondazionetorinomusei.it"},"6001ff30-e9b6-573e-a38c-5ac23b472e6c":{"name":"متحف سان لويس للفن","description":"المهمة  \nيجمع متحف سانت لويس للفنون ويعرض ويفسر ويحفظ الأعمال الفنية عالية الجودة عبر العصور والثقافات ؛ يثقف ويلهم الاكتشاف ويرفع الروح البشرية ؛ ويحافظ على إرث من الإنجاز الفني لشعب سانت لويس والعالم.  \nالتاريخ  \nتأسس متحف سانت لويس للفنون في عام 1879 ، في ختام عقد شهد إنشاء متاحف فنية في مدن كبرى عبر النصف الشرقي من الولايات المتحدة. وتشهد مجموعات هذا المتحف الشاملة على الأهداف الملهمة والتعليمية التي يتطلع إليها مؤسسها والضرورات الأخلاقية والديمقراطية التي تبناها. وما بدأ كمجموعة من قوالب الجبس المتنوعة ، والطباعة المرسبة الكهربائية electrotype ، وأمثلة أخرى للتصميم الجيد في مختلف الوسائط ، سرعان ما أفسح المجال لمجموعة كبيرة ومتنوعة من الأعمال الفنية الأصلية التي تمتد على مدى خمسة آلاف عام وست قارات. وتضمن جودة مجموعة المتحف واتساع نطاقها اليوم مكانًا لها بين أفضل المؤسسات من نوعها.  \n(دليل متحف سانت لويس للفنون للمجموعة)","city":"سان لويس","address":"1 Fine Arts Drive, Forest Park  \nSt. Louis, Missouri 63110","website":"http://www.slam.org","phone":"+1 314.721.0072","email":"info@slam.org"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Further Associated Museums","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"b43ae2c6-2060-5819-bd1c-dd9ca66b9f11":{"name":"متحف مقاطعة لوس أنجلوس للفنون (LACMA)","description":"يعد متحف مقاطعة لوس أنجلوس للفنون (LACMA) ، الذي يضم 100000 قطعة أثرية يعود تاريخها إلى العصور القديمة وحتى الوقت الحاضر ، أكبر متحف فني في غرب الولايات المتحدة. وهو متحف ذو مكانة دولية بالإضافة إلى جزء حيوي من جنوب كاليفورنيا ، وتشارك LACMA مجموعاتها الضخمة من خلال المعارض والبرامج العامة ومرافق البحث التي تجذب ما يقرب من مليون زائر سنويًا.  \nيقع مجمع LACMA المكون من سبعة مبانٍ على مساحة عشرين فدانًا في قلب لوس أنجلوس ، في منتصف الطريق بين المحيط ووسط المدينة. وخضع الحرم لعملية توسعة وتجديد لمدة عشر سنوات تُعرف باسم التحويل Transformation وصُمم بواسطة ورشة عمل Renzo Piano Building Workshop.  \nتشمل مجموعات LACMA العالم الجغرافي وتاريخ الفن بأكمله تقريبًا. ويضم المتحف مجموعة مهمة للغاية من الفن الإسلامي. وهذه الفنون المتنوعة على نطاق واسع ، من منطقة تمتد من جنوب إسبانيا إلى آسيا الوسطى ، تتبع الخيال البصري المميز للفنانين الإسلاميين على مدى أربعة عشر قرنا. وتتكون المجموعة من أكثر من 1700 عمل ، منها حوالي 150 مثال معروض ؛ وتشمل هذه الخزفيات المزججة ، والأعمال المعدنية المرصعة ، والزجاج المطلي بالمينا ، والخشب المنحوت والحجر ، والرسوم التوضيحية للمخطوطات ، والتذهيب ، والخط. وإن نقاط القوة الخاصة في المجموعة هي الفخار والبلاط المصقول من إيران وتركيا ؛ الزجاج ، خاصة من أواخر القرن السابع إلى منتصف القرن الثالث عشر ؛ والفنون الفارسية والتركية للكتاب.  \nبدأ المتحف في التركيز بجدية على الفن الإسلامي في عام 1973 ، من خلال اقتناء مجموعة Nasli M. Heeramaneck ، وهي الهدية الكريمة من Joan Palevsky. على الرغم من أن مجموعة هيرامانيك Heeramaneck تشكل نواة المقتنيات الإسلامية ، فقد تطور تركيز ونطاق المجموعة بشكل كبير منذ عام 1973. وقد حدثت إضافتان مهمتان ، كلاهما هديتان ، في الثمانينيات. في عام 1985 ، ترك الجامع الشهير إدوين بيني الثالث Edwin Binney, 3rd ، أكثر من مائة عمل ، ولا سيما أمثلة على فنون الكتاب والخزف في الفترة العثمانية. وقد تم تسليم ما يقرب من خمسين قطعة زجاجية ، بشكل أساسي من الفترة الإسلامية المبكرة ، من مجموعة هانز وفاريا كون Hans and Varya Cohn's الرائعة إلى المتحف في عام 1988. وقد تم زيادة المجموعة بشكل أكبر على مدى العقدين الماضيين من خلال الهدايا والشراء ، وأبرزها اقتناء تم عام 2002 من مجموعة المدينة للفنون الإسلامية ، التي أصبحت ممكنة إلى حد كبير بفضل هدية سخية من المتبرع والوصي منذ فترة طويلة في LACMA كاميلا تشاندلر فروست Hans and Varya Cohn's . وقد أدت إضافة المجموعات الأخيرة إلى تكوين اهتمام دولي جديد بلوس أنجلوس وبـ LACMA.","city":"لوس أنجلوس","address":"5905 Wilshire Boulevard  \nLos Angeles, CA 90036","website":"http://www.lacma.org/","phone":"323 857 6000","email":"publicinfo@lacma.org"},"ee0a71f8-dc12-5d5d-b02a-4402969e8274":{"name":"متحف الفن الإسلامي","description":"يقع متحف الفن الإسلامي في قصر رئاسي سابق تم تحويله لاحقًا إلى موقع ثقافي وتعليمي في 14 نوفمبر 1986. ويحتوي على أربع غرف موزعة في الطابق الأرضي والطابق العلوي. يحتوي الطابق الأول على:  \n\\- غرفة الخزف التي تضم قطعًا تعود لعصر الأغالبة (800-909 م) والفاطميين (909-1171 م) والعصر الحفصي (1229-1574 م). وتتميز خزفيات العصر الأغالبي باستخدامها للزجاج المعدني ، والخط الكوفي القديم ، والمشاهد الأنثروبومورفية (ذات الأشكال البشرية) anthropomorphic والزوومورفية zoomorphic (ذات الأشكال الحيوانية) القديمة. وقد تم إثراء المساحة أيضًا بمجموعة من بلاط سيراميك إزنيق الأزرق والأبيض.  \n\\- قاعة الجامع الكبير التي تضم عناصر معمارية تنتمي إلى الصرح الديني المركزي للجامع الكبير بالقيروان (49 هـ / 670 م). وتحتوي الغرفة على أفاريز مزينة بزخارف نباتية وكتابية كانت ستشكل جزءًا من سقف المسجد. كما يحتوي الحيز أيضًا على إعادة بناء محراب المسجد وباب مقصوره ونموذج للمسجد.  \n\\- غرفة التسجيل الحجرية تضم مجموعة متنوعة من اللوحات الجنائزية من مقبرة القيروان. بالإضافة إلى ذلك ، فهي تحتوي على نقش تأسيس مدينة القيروان في القرن العاشر والعاصمة المبكرة للخلافة الفاطمية ، وهي موقع قريب من صبرا المنصورية (946-972 م). ويتميز هذا النقش بأسلوب كتابته الفريد وأبعاده المهيبة.  \n\\- قاعة صبرة المنصورية التي تحتوي على قطع أثرية من حفريات صبرا. من بينها فرن الصب الذي كان أحد أقدم الأشياء التي تم العثور عليها في الموقع.  \nويعرض الطابق العلوي مجموعات مهمة من العملات والمجوهرات ، تغطي التاريخ الاقتصادي لإفريقية عبر أكثر من ستة قرون من الحكم الإسلامي. وتشمل هذه العملات المعدنية التي عُثر عليها في عصور الأغالبة والفاطميين والحفصيين والعثمانيين. وتحتوي الحجرة الزجاجية على قبة وتعرض قطع زجاجية مهمة من موقع صبرا الأثري ، وأبرزها فانوس الخليفة الفاطمي المعز (953-975 م). تحتوي غرفة المخطوطات على مجموعة غنية من أوراق المصحف الرقّية التي تنتمي إلى مكتبة المسجد الكبير في القيروان ، بما في ذلك \"المخطوطات الزرقاء\" الشهيرة التي تعود إلى القرن العاشر. إلى القرن التاسع عشر الميلادي.  \nيساعد مثل هذا المعرض الدائم على قراءة تاريخ مدينة القيروان - قصة ستساعد في فهمهما قاعة صبرا المنصورية وغرفة تسجيل الحجرات وغرفة المسجد الكبير بالقيروان بصورة أفضل.","city":"القيروان","address":"Musée des arts islamiques  \nKairouan-Raqqada","phone":"+216 77 228126"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"متحف الفن الإسلامي","description":"بأمر من الخديوي إسماعيل باشا Khedive Ismail Pasha في عام 1880 فإن مجموعة النوادر الأثرية من العصر الإسلامي بدأ عرضها في مسجد الحكيم Al- Hakim . وقد شكّل مجلس المحافظة على الآثار العربية The Council for the Preservation of Arab Antiquities في عام 1881 بالاشتراك مع وزارة الأوقاف Ministry of Awqaf وقد أشرف على صالة الآثار العربية House of Arab Antiquities كما كانت تعرف في ذلك الوقت وحتى عام 1930 عندما نقل المتحف لعهدة وزارة التعليم Ministry of Education.  \nوقد جمع المتحف فقط قطعه من المساجد والأبنية العامة في أول عشرن عاما من عمره. وبعدها قام بأولى حفرياته في عام 1910 بجوار دورونكا Doronka في مصر العليا Upper Egypt وحفرية ثانية جنوب القاهرة التي كشفت عن جزء من مدينة الفسطاط Fustat (أول عاصمة إسلامية لمصر).  \nوقد حصل المتحف على العديد من القطع عن طريق الهبات. وقد تبرع الملك فؤاد الأول . King Fu’ad I بمجموعة قيمة من الأقمشة والموازين والأختام كما فعل الملك فاروق King Farouk والأمير محمد علي Amir Muhammad Ali والأمير يوسف كمال Amir Yusuf Kamal والأمير كمال الدين حسين Amir Kamal al-Din Hussein ويعقوب أرتين باشا Yakub Artin Pasha وعلي إبراهيم باشا Ali Ibrahim Pasha أيضا تبرعوا بمجموعات كاملة.  \nوإن المجموعات التي بلغت 7082 قطعة والتي نقلت للبناء الحالي عندما تم تدشين المتحف الحالي في ديسمبر 1903 . وفي عام 1952 فإن اسم المتحف تغير إلى \" متحف الفن الإسلامي\" ‘Museum of Islamic Art’ ليعكس منظور المجموعة : القطع التي انتجت في العالم الإسلامي التي يعود تاريخها إلى بداية العصر الإسلامي (القرن السابع الميلادي) إلى نهاية القرن التاسع عشر.وعدد القطع المسجلة وصل الآن إلى 103,000 قطعة.  \nوتتضمن المجموعات مصابيح زجاجية مطلية بالمينا والخزف المصري ومحموعة ندرة من فلاتر أوعية المياه ذت الزخرفة المخرمة من الفخار غير المطلي المعروفة بتصاميمها من الزخرفة بالتربيط . وهناك أيضا مجموعات من المشغولات الخشبية والأقمشة والأحجار ذات النقوش بينما مجموعة السجاد تعتبر واحدة من أعظم المجموعات من هذا النوع. ومجموعات الأجهزة العلمية تظهر المدى الذي أسهمت به الحضارة الإسلامية في العديد من المحالات المختلفة . وهناك أيضا مجموعة استثنائية من الأختام ، الأوزان والمقاييس والعملات من الذهب والفضة والنحاس.  \nإن متحف الفن الإسلامي يملك واحدة من المجموعات الأكثر اتساعا وشمولا وتكمل المجموعات الفنية في العالم التي يستمر في تطويرها وتوسيع مجموعاته وتحديث أبنيته ذات 25 صالة ومنشأة وحديقة أثرية.","city":"القاهرة","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"}}

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+{"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

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@@ -0,0 +1 @@
+{"2a23d23f-5624-56f3-828f-3db6b5689a95":{"name":"The Metropolitan Museum of Art","description":"The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in three iconic sites in New York City – The Met Fifth Avenue, The Met Breuer, and The Met Cloisters. Millions of people also take part in The Met experience online.  \n  \nSince it was founded in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing both new ideas and unexpected connections across time and across cultures.  \n  \nThe Met Fifth Avenue  \n1000 Fifth Avenue (at 82nd Street)  \nNew York, NY 10028  \n+1 212 535 7710  \nSunday–Thursday: 10:00am–5:30pm  \nFriday and Saturday: 10:00am–9:00pm  \n  \nThe Met Breuer  \n945 Madison Avenue  \nNew York, NY 10021  \n+1 212 731 1675  \nClosed Monday  \nTuesday and Wednesday: 10:00am–5:30pm  \nThursday and Friday: 10:00am–9:00pm  \nSaturday and Sunday: 10:00am–5:30pm  \n  \nThe Met Cloisters  \n99 Margaret Corbin Drive, Fort Tryon Park  \nNew York, NY 10040  \n+1 212 923 3700  \nMarch–October: 10:00am–5:15pm  \nMay 27–September 2, 2016: Open late on Fridays until 7:30pm  \nNovember–February: 10:00am–4:45pm  \n  \nAll locations closed Thanksgiving Day, December 25, and January 1. The Met Fifth Avenue closed the first Monday in May.","city":"New York","address":"The Met Fifth Avenue  \n1000 Fifth Avenue (at 82nd Street)  \nNew York, NY 10028  \nSunday–Thursday: 10:00am–5:30pm  \nFriday and Saturday: 10:00am–9:00pm","website":"http://www.metmuseum.org","phone":"+1 212 535 7710"},"36dd7a00-ac4e-5317-9673-604bbb89af53":{"name":"Museum of Oriental Art (Fondazione Torino Musei)","description":"Turin’s new Museum of Oriental Art marks the culmination of various strands of interest in this field: the city boasts a long tradition of Oriental studies at the university – backed by the presence of a major centre for specialised research (CESMEO), while the past few years have seen a growing realisation of the need to create specific instruments to further our knowledge and understanding of distant cultural worlds. A museum that displays artistic creations from different cultures not only fulfils its own vocation as a repository for their conservation and exhibition, but above all prompts visitors to expand their own ethnocentric horizons.  \n  \nThese were some of the underlying grounds that led to the idea of creating a Museum of Oriental Art (MAO), in Turin based on the redefinition, renewal and expansion of the Oriental Section of the Civic Museum of Ancient Art.  \n  \nThe new museum, stands in one of the city’s most lively and fascinating areas, is housed in Palazzo Mazzonis, which was built between the 17th and the 18th century, known, which was formerly owned by the Marquis Solaro della Chiusa before being passed in 1870 to Chevalier Paolo Mazzonis, a textile magnate. After becoming the head office of the Manifattura Mazzonis, extensive improvements were carried out, especially on the first floor. The Mazzonis business failed in 1968 and the building remained unused. It was purchased by Turin City Council in 1980 and restored to house a section of the law court from 1982 to 2001 and finally, after appropriate restoration became site of a museum.  \n  \nThe Museum now contains some 1500 works from all over Asia. The rooms used for the permanent exhibition are divided into five separate “galleries”, which have fitted naturally into the structural layout of the building.  \n  \nThe MAO aspires to be as representative as possible in its choice of artworks from the various countries: its collections include the major cultural traditions from the continent, building on the important collections already owned by various institutions in Turin, whose directly inspired the proposed layout for the new museum which is divided into five clearly defined cultural areas: South Asia, China, Japan, Himalayan Countries and Islamic Countries.  \n  \nThe order in which the works are presented and the accompanying exhibit labels aim to highlight the points of contact and creative interactions between the different countries at the various historical periods, reintroducing a unified interpretation to the proposed route.  \n  \nThe MAO also acts as a cultural intermediary for visitors, who are generally unfamiliar with the concepts and cultural traditions to which exhibits refer. It aims to inspire visitors to explore new forms of thought, encouraging a fuller awareness of the value of all human knowledge.  \n  \nLastly, the MAO offers a wide range of public services: multimedia stations, online catalogue on the museum’s website, bookshop, possibility of using the art library and photographic archives of Fondazione Torino Musei, seminars, conferences, temporary exhibitions, and the educational rooms.","city":"Turin","address":"Via San Domenico11  \n10122 Turin","website":"http://www.maotorino.it","phone":"+39 01 14 43 69 27","email":"mao@fondazionetorinomusei.it"},"42fb6391-e1f6-527a-85db-f9638b02d667":{"name":"Higher Institute for the Study of Contemporary History of Tunisia, University of Manouba","description":"The Higher Institute for the Study of Contemporary History of Tunisia (ISHCT) is a research centre for contemporary history in Tunisia. It houses a microfilm archive, audio-visual witness records, a collection of photographs and a library available on request to researchers, journalists, activists and students wishing to conduct in-depth research into the history of the colonisation and decolonisation of Tunisia. There are four research and study units (UER) bringing together historical researchers dedicated to using the different resources to improve understanding of this period of Tunisian history: UER Archives, UER Repositories of Memory and Museums, UER Oral History and UER History. Through the publication of a review (RAWAFID), conference papers, seminars and scientific meetings, memories from witnesses and document collections, ISHCT hopes to enhance the university library in line with advances in documentation and  methodology, thereby helping to stimulate research into this historical period by setting up scientific exchanges in Tunisia and abroad.","city":"Tunis","address":"Campus Universitaire de la Manouba,  \n2010 La Manouba  \nTunis  \nTunisia","phone":"+216 716 009 50","email":"ishmn@ishmn.rnu.tn"},"6001ff30-e9b6-573e-a38c-5ac23b472e6c":{"name":"Saint Louis Art Museum","description":"Mission  \n  \nThe Saint Louis Art Museum collects, presents, interprets, and conserves works of art of the highest quality across time and cultures; educates, inspires discovery, and elevates the human spirit; and preserves a legacy of artistic achievement for the people of St. Louis and the world.  \n  \nHistory  \n  \nThe Saint Louis Art Museum was founded in 1879, at the close of a decade that saw the establishment of art museums in great cities across the eastern half of the United States. This Museum’s comprehensive collections bear witness to the inspirational and educational goals to which its founder aspired and the moral and democratic imperatives he embraced. What began as a collection of assorted plaster casts, electrotype reproductions, and other examples of good design in various media rapidly gave way to a great and varied collection of original works of art spanning five millennia and six continents. Today the quality and breadth of the Museum’s collection secure for it a place among the very best institutions of its kind.  \n  \n(*Saint Louis Art Museum Handbook of the Collection*)**","city":"Saint Louis","address":"1 Fine Arts Drive, Forest Park  \nSt. Louis, Missouri 63110","website":"http://www.slam.org","phone":"+1 314.721.0072","email":"info@slam.org"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Further Associated Museums","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"The British Museum","description":"The British Museum was established by Act of Parliament in 1753, the first national public museum in the world. From the beginning it granted free admission to all “studious and curious persons”. The founding collection was that of Sir Hans Sloane, a wealthy physician and collector. The original British Museum comprised three departments: Printed Books; Manuscripts (including coins); and Natural and Artificial Productions, which included everything from sculpture to mineral samples and zoological specimens. In January 1759 the British Museum opened its doors to the public.  \n  \nAs a product of the Enlightenment, the museum's job was to be a storehouse of knowledge for the use and benefit of the public, advancing all fields of scholarship. The museum therefore aimed to collect all kinds of material; it remains one of the few places in the world in which it is possible to see the world under one roof. During the 19th century the museum acquired representative collections of Greek, Roman, Egyptian and Assyrian antiquities, as well as material from across the Islamic world.  \n  \nThe museum itself had to grow to offer space to display the growing collections. Between 1823 and 1847 the original building was replaced by four large wings built around a central courtyard. In 1854 construction began on the iconic Round Reading Room in the central courtyard. The natural history collections were given their own home in the new Museum of Natural History in 1881. By 1973 the British Library and British Museum were administratively separated, and in 1999 the new British Library building opened at St Pancras. The British Museum site was expanded and modernised. In 2000 the Great Court opened, envisioned as a sunny piazza at the centre of the building, with up-to-date facilities such as lecture theatres, an education centre and facilities for school children, as well as restaurants and shops. In 2014 the World Conservation and Exhibitions Centre opened to the public, offering state-of-the-art facilities to care for, manage, research and display the collections.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"b43ae2c6-2060-5819-bd1c-dd9ca66b9f11":{"name":"Los Angeles County Museum of Art (LACMA)","description":"With 100,000 objects dating from ancient times to the present, the Los Angeles County Museum of Art (LACMA) is the largest art museum in the western United States. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs, and research facilities that attract nearly a million visitors annually.  \n  \nLACMA’s seven-building complex is located on twenty acres in the heart of Los Angeles, halfway between the ocean and downtown. The campus is undergoing a ten-year expansion and renovation known as the Transformation and designed by the Renzo Piano Building Workshop.  \n  \nLACMA’s collections encompass the geographic world and virtually the entire history of art. The museum houses a highly significant collection of Islamic art. These widely diverse arts, from an area extending from southern Spain to Central Asia, trace the distinctive visual imagination of Islamic artists over a period of fourteen hundred years. The collection consists of over 1,700 works, of which some 150 examples are on view; these include glazed ceramics, inlaid metalwork, enameled glass, carved wood and stone, and manuscript illustration, illumination, and calligraphy. Particular strengths of the collection are glazed pottery and tiles from Iran and Turkey; glass, especially from the late seventh to the mid-thirteenth century; and Persian and Turkish arts of the book.  \n  \nThe museum began to concentrate seriously on Islamic art in 1973, with the acquisition of the Nasli M. Heeramaneck Collection, the generous gift of Joan Palevsky. Although the Heeramaneck collection forms the nucleus of the Islamic holdings, the focus and scope of the collection have developed considerably since 1973. Two important additions, both gifts, occurred in the 1980s. In 1985 the noted collector Edwin Binney, 3rd, bequeathed more than one hundred works, in particular examples of the arts of the book and ceramics of the Ottoman period. Approximately fifty glass objects, primarily of the early Islamic period, from Hans and Varya Cohn's splendid collection were given to the museum in 1988. The collection has been augmented further over the past two decades through gift and purchase, most notably the acquisition in 2002 of the Madina Collection of Islamic Art, made possible in large part by a generous gift from longtime LACMA benefactor and Trustee Camilla Chandler Frost. Its addition has created a new international focus on Los Angeles and on LACMA.","city":"Los Angeles","address":"5905 Wilshire Boulevard  \nLos Angeles, CA 90036","website":"http://www.lacma.org/","phone":"323 857 6000","email":"publicinfo@lacma.org"},"e6fa35a4-4771-5864-be6c-839e8bac288a":{"name":"MIBACT | Borghese Gallery","description":"The Borghese Gallery is one of the seven museums under the Soprintendenza per il Patrimonio storico artistico ed etnoantropologico e per il Polo museale della città di Roma (Superintendence for the historical, artistic and ethno-anthropological heritage and the museums of Rome). The palace was built in the 17th century by the architects Ponzio and Vasanzio inside the largest park in Rome and was intended to provide a suburban villa and accommodate Cardinal Scipione Borghese’s passion for collecting. A kind of museum before the term existed, it houses one of the most enchanting collections of art in the world, with works by Raphael, Titian, Caravaggio, Lanfranco, Domenichino, Gian Lorenzo Bernini and Canova, the 18th-century room in Egyptian style and even a huge collection of Roman sculptures, ancient mosaics as well as precious wood furnishings.  \n  \nThe origin of the collection stemmed from Scipione’s interest in antique and classical art and his desire to exalt the nobility of his family, but later it was enriched with gifts and acquisitions. In particular, in 1607, through the requisition of the paintings from Cavalier d’Arpino workshop and the acquisition of Della Porta and Ceuli collections, the cardinal took possession of dozen of works of art; in 1608 he bought 71 extraordinary paintings belonging to Cardinal Sfondrato, including the famous *Amor sacro, Amor profano* by Titian.  \n  \nAt the end of 1700s Marco Antonio IV Borghese entrusted Antonio Asprucci to launch a radical renovation that followed the modern criteria of the neoclassical style. In 1805 Camillo Borghese commissioned the sculptor Canova to portray Pauline Bonaparte as a *Venus Victrix*. A serious loss was sustained in 1807, when over 695 works were sold to Napoleon and moved to the Louvre in Paris. Since 1833 a trust forbade any other dispersal until 1902, when the Galleria Borghese was acquired by the Italian state.","city":"Rome","address":"Piazzale Scipione Borghese, 5  \nI-00197 Roma  \nItaly","website":"http://galleriaborghese.beniculturali.it/it","phone":"+39 06 8413979","email":"sspsae-rm.galleriaborghese@beniculturali.it"},"ee0a71f8-dc12-5d5d-b02a-4402969e8274":{"name":"Museum of Islamic Art","description":"The Museum of Islamic Arts of Kairouan is located in Raqqada, in a former presidential palace that was converted into a cultural and educational centre in 1986. It contains four rooms on the main floor and upstairs.  \n  \nOn the ground floor are:  \n– The ceramics room, which houses objects dating back to the Aghlabid, Fatimid and Hafsid eras. Those of the Aghlabid era are characterised by the use of metallic lustre glazes, archaic Kufic script and stylised zoomorphic and anthropomorphic images. This room displays a collection of blue Iznik ceramic tiles from Anatolia.  \n  \n– The hall of the Great Mosque, which houses religious objects such as friezes with floral and epigraphic motifs that form part of the roofing. There is also a reconstruction of the *mihrab* from the mosque and the door of the *maqsoura* (private enclosure).  \n  \n– The Lapidary Inscriptions Room, which is under development, will house flat, prismatic and column-barrel gravestones from the Kairouan Cemetery. It will also contain the inscription of the foundation of the city of Sabra al-Mansouriya, characterised by its writing style and its imposing size.  \n  \n\\- The Sabra al-Mansouriya Hall, expected to receive objects from the Sabra excavation, now contains the casting furnace found on the same site.  \n  \nUpstairs:  \nThe glass cases of the coin and jewellery room hold a large collection of coins dating back to the Aghlabid, Fatimid, Hafsid and Ottoman eras, showing their evolution over time. This room also contains glass objects from the Sabra site and the lantern from al-Mouiz.  \n  \nThe manuscript room contains a rich collection of parchment Qur’an folios from the library of the Great Mosque of Kairouan displaying the evolution of writing and ornamentation styles (3rd / 9th to the 13th / 19th century). The collection owes its unique reputation to the famous “blue parchment” of the 4th / 10th century. Enclosing these folios are leather bindings embossed with floral and geometric designs.  \n  \nAn exhibition such as this one helps us interpret the history of the city of Kairouan. The newer Sabra Hall, the Hall of Lapidary Inscriptions and the Hall of the Great Mosque of Kairouan will further our understanding.","city":"Kairouan","address":"Musée des arts islamiques  \nKairouan-Raqqada","phone":"+216 77 228126"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Museum of Islamic Art","description":"At the order of Khedive Ismail Pasha in 1880 the collection of archaeological rarities from the Islamic era was begun in the mosque of Al- Hakim. The Council for the Preservation of Arab Antiquities, created in 1881 in association with the Ministry of Awqaf, supervised the House of Arab Antiquities, as it was then known, until 1930 when the museum was taken into the Ministry of Education.  \n  \nThe museum acquired only from mosques and public buildings in its first 20 years. Then it undertook its first excavation in 1910 in the vicinity of Doronka in Upper Egypt and a second excavation south of Cairo uncovering a section of the city of Fustat (first Islamic capital of Egypt).  \n  \nThe museum acquired many items through donations. King Fu’ad I gave a valuable collection of textiles, scales and seals as did King Farouk, Amir Muhammad Ali and Amir Yusuf Kamal. Amir Kamal al-Din Hussein, Yakub Artin Pasha and Ali Ibrahim Pasha also donated complete collections.  \n  \nThe collections, amounting to 7082 artefacts, were transferred to their current building, when the present museum was inaugurated in December 1903. In 1952, the name of the museum was changed to the ‘Museum of Islamic Art’ to reflect the scope of the collection: objects produced in the Islamic world and dating from the beginning of the Islamic era (AD 7th century) to the end of the AD 19th century. The number of recorded objects has now reached 103,000.  \n  \nThe collections include enamelled glass lamps, Egyptian ceramics and a rare collection of filigree waterpot filters of unpainted earthenware renowned for their lacework designs. There are also collections of woodwork, textiles and stones with inscriptions, while the collection of carpets is considered to be one of the greatest of its kind. Collections of scientific instruments display the extent to which Islamic civilisation has contributed to knowledge in many different fields. There is also an extraordinary collection of seals, weights, measures, gold, silver and copper coins.  \n  \nThe Museum of Islamic Art, having one of the most comprehensive and complete Islamic art collections in the world continues to develop and expand its collections and to modernise the building with its 25 halls, facilities and archaeological garden.","city":"Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"},"f5c11bd8-33ca-5552-a5d9-8437afd6ee27":{"name":"The Lebanese University","description":"The Lebanese University is the only public institution for higher learning in Lebanon. The university has 17 faculties across Lebanon and serves various cultural, religious and social groups of students and teachers.  \n  \nThe independent university enjoys administrative, academic and financial freedom. Among its educational goals are creating a unique mix of cultures and providing the basic and essential education to allow students to enter various professions.  \n  \nIn spite of the crisis in the region that has existed since 1975, leaving wounds and tragedies, the Lebanese University has remained the national home of science. Rivalling the most prestigious universities in Lebanon and abroad, and leading the process of human development that spread all over the country, its graduates became ambassadors of Lebanon in all the corners of the earth.  \n  \nOur university respects the national demand for academic freedom, which has become a right of scholars and specialists, based on laws and international conventions and regional organisations and sometimes more, applying the important rules of human rights: the right of learning and seeking knowledge with higher education and participation in international projects to develop academic programmes and exchange of research.The university has maintained the quality of higher education, although we seek more contact with the spirit of this modern age and its promising accomplishments by increasing relations and agreements with other universities and institutions all over the world. In spite of the political pressures on the people of the university and attempts to split them into factions, the majority of them have remained faithful to the spirit of the national organisation and the struggles of the early pioneers who insisted on building the edifice of national higher education, in the framework of the values of freedom and justice.","city":"Beirut","address":"Central Administration, Museum, Beirut  \n  \nPostal address: P.O. Box 6573/14 Badaro, Museum  \nBeirut  \nLebanon","website":"http://www.ul.edu.lb/","phone":"+961 1 612830; 1 612831","email":"ibady@ul.edu.lb"},"fae81dae-0250-52ec-acc1-171da28b9eef":{"name":"Borghese Gallery","description":"The Casino Borghese ­– today the Borghese Museum and Gallery – was commissioned from Flaminio Ponzio by Pope Paolo V's nephew, Cardinal Scipione Caffarelli Borghese, who wanted a suburban villa to house his art collections. It was completed after Ponzio's death by Giovanni Vasanzio in 1613–15.  \n  \nCasino Borghese lies inside a great park and the garden is divided into three precincts divided by a series of spaces and buildings: the Casino, three Secret Gardens, the Aviary, the Meridiana Pavilion.  \n  \nCardinal Borghese's antique collection was augmented by archaeological excavations on the family property and by acquisitions such as the collections of Ceoli and Tommaso e Giovan Battista Della Porta.  \n  \nThe cardinal was uninterested in medieval art, but was very interested in renaissance and contemporary art. He used his powerful position to increase his collection by any means, including confiscation. He imprisoned Domenichino to obtain his *La Caccia di* *Diana* and ordered the secret removal to Rome of Raphael's *Deposition* from the Baglioni Chapel in Perugia.  \n  \nScipione commissioned works from the most important contemporary artists: Bernini, Caravaggio, Guido Reni, Guercino, Lanfranco, Domenichino, Algardi, Cavalier d'Arpino, Rubens, Lavinia Fontana, Nicolas Cordier and Antonio Susini. He also bought many paintings from the Ferrara School. With Scipione the renaissance concept of the aristocratic patron was transformed into the 'modern' collector.  \n  \nAfter the marriage of Paolo Borghese and Olimpia Aldobrandini (1682) part of the Aldobrandini inheritance was incorporated in the Borghese collection.  \n  \nBetween 1770 and 1793 Marcantonio IV Borghese renewed the villa in neoclassical style. His son Camillo married Pauline Bonaparte and was persuaded by his brother-in-law, Napoleon, to 'sell' him (1807) a considerable part of the archaeological collection, which now is in the Louvre; fortunately Camillo also bought many works such as Correggio's *Danae* (1827) and Guercino's *Prodigal Son* and commissioned from Canova (1805–8) a sculpture of Pauline as *Venus Victrix*, a neoclassical masterpiece. Gaps caused by the 'sale' were filled with new finds from recent excavations and works from various Borghese residences.  \n  \nIn 1902 the Casino Borghese and its collection were acquired by Italian Government.  \n  \nAmong the great pieces in the collection are: Titian's *Sacred and Profane Love*; marble sculptures by Bernini including *Apollo and Daphne*, *Pluto and Proserpina*, *David*, *Aeneas and Anchises*; paintings by Caravaggio including *Boy with a Basket of Fruit*, *Madonna of the Palafrenieri* and *David with the Head of Goliath*; and many works by Raphael, Rubens, Pinturicchio, Perugino, Titian, Domenichino, Carracci and many others.","city":"Rome","address":"Piazzale Scipione Borghese, 5  \nI - 00197 Rome","website":"http://galleriaborghese.beniculturali.it/it","phone":"+39 06 8413979"}}

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+{"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Otros museos asociados","description":"Parque Arqueológico de Madaba  \nHisban, Jordania  \n  \nMisión Arqueológica Española  \nAmmán, Jordania"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"ee0a71f8-dc12-5d5d-b02a-4402969e8274":{"name":"Museo de Arte Islámico","description":"El Museo de Artes Islámicas de Kairuán está ubicado en Raqqada, en un expalacio presidencial que fue convertido en un centro cultural y educativo en 1986. Consta de cuatro salas en la planta baja y la planta superior.  \n  \nEn la planta baja se encuentran:  \n– La sala de cerámicas, que alberga objetos pertenecientes a las épocas aglabí, fatimí y hafsí. Los objetos de la época aglabí se caracterizan por el uso de esmaltes de brillo metálico, escritura cúfica arcaica e imágenes zoomórficas y antropomórficas estilizadas. Esta sala expone una colección de azulejos de Iznik procedentes de Anatolia.  \n  \n– La sala de la Mezquita Mayor, que acoge artículos religiosos, como frisos con motivos florales y epigráficos que forman parte de su techumbre. También destaca la reconstrucción de un *mihrab* de la mezquita y la puerta de la *maqsura* (zona privada).  \n  \n– La sala de inscripciones lapidarias que, aunque está en fase de desarrollo, contendrá una serie de lápidas del cementerio de Kairuán, al igual que incluirá la inscripción de la fundación de la ciudad de Sabra al-Mansuriya, marcada por su estilo de escritura y su imponente tamaño.  \n  \n– La sala de Sabra al-Mansuriya, que se espera que reciba objetos del yacimiento de Sabra, pero que por ahora alberga el horno de fundición encontrado en dicho yacimiento.  \n  \nEn el piso superior:  \nLas vitrinas en la sala de monedas y joyería conservan una gran colección de monedas que datan de las épocas aglabí, fatimí, hafsí y otomana, evidenciando su evolución en el tiempo. Esta sala también contiene objetos de vidrio del yacimiento de Sabra y la lámpara de al-Muizz.  \n  \nLa sala de manuscritos reúne una abundante colección de folios de Corán en pergamino procedentes de la biblioteca de la Mezquita Mayor de Kairuán, los cuales permiten apreciar la evolución de los estilos de escritura y ornamentación (siglos III-XIII / IX-XIX). La colección tiene un prestigio único gracias al famoso \"Corán azul\" del siglo IV / X. Estos folios están encuadernados en cuero con diseños florales y geométricos.  \n  \nUna exposición como esta nos permite interpretar la historia de la ciudad de Kairuán. La nueva sala de Sabra, la sala de inscripciones lapidarias y la sala de la Mezquita Mayor de Kairuán contribuirán a nuestra comprensión.","city":"Kairouan","address":"Musée des arts islamiques  \nKairouan-Raqqada","phone":"+216 77 228126"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Museo de Arte Islámico","description":"Por orden del jedive Ismail Pasha en 1880, la colección de rarezas arqueológicas de la era islámica se inició en la mezquita de Al-Hakim. El Municipio para la Conservación de Antigüedades Árabes—creado en 1881 en asociación con el Ministerio de Awqaf—supervisó la Casa de Antigüedades Árabes, como se la conocía entonces, hasta 1930, cuando el museo pasó a manos del Ministerio de Educación.  \n  \nEl museo solo adquirió artículos de mezquitas y edificios públicos en sus primeros veinte años. Luego emprendió su primera excavación en 1910 en las cercanías de Doronka en el Alto Egipto y una segunda excavación al sur de El Cairo descubriendo una sección de la ciudad de Fustat (la primera capital islámica de Egipto).  \n  \nEl museo adquirió muchos artículos a través de donaciones. El rey Fu'ad I regaló una valiosa colección de textiles, escamas y sellos, al igual que el rey Faruq, Amir Muhammad Ali y Amir Yusuf Kamal. Amir Kamal al-Din Hussein, Yakub Artin Pasha y Ali Ibrahim Pasha también donaron colecciones completas.  \n  \nLas colecciones, que ascienden a 7.082 artefactos, se transfirieron a su edificio actual cuando el museo existente se inauguró en diciembre de 1903. En 1952, el nombre del museo se cambió a \"Museo de Arte Islámico\" para reflejar el alcance de la colección: objetos producidos en el mundo islámico que datan del comienzo de la era islámica (siglo VII d.C.) hasta finales del siglo XIX d.C. El número de objetos registrados ha llegado a 103.000.  \n  \nLas colecciones incluyen lámparas de vidrio esmaltado, cerámica egipcia y una rara colección de filtros de agua de filigrana de loza sin pintar reconocida por sus diseños de encaje. También hay colecciones de artesanía en madera, textiles y piedras con inscripciones, mientras que la colección de alfombras está considerada como una de las más grandes de su clase. Las colecciones de instrumentos científicos muestran hasta qué punto la civilización islámica ha contribuido al conocimiento en muchos campos diferentes. También hay una colección extraordinaria de sellos, pesas, metros, monedas de oro, plata y cobre.  \n  \nEl Museo de Arte Islámico, que tiene una de las colecciones de arte islámico más extensas y completas del mundo, continúa desarrollando y ampliando sus colecciones y modernizando el edificio con sus veinticinco salas, instalaciones y jardín arqueológico.","city":"El Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"}}

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@@ -0,0 +1 @@
+{"42fb6391-e1f6-527a-85db-f9638b02d667":{"name":"Institut Supérieur d’histoire contemporaine de la Tunisie, Université de la Manouba","description":"L’I.S.H.C.T est un centre de recherche en histoire contemporaine de la Tunisie. Il abrite un fonds d’archives microfilmées, un ensemble de témoignage audio-visuel, une collection de photographie ainsi qu’une bibliothèque ouverte aux sollicitations des chercheurs, journalistes, militants ou étudiants désireux d’effectuer des investigations approfondies sur l’histoire de la colonisation et de la décolonisation de la Tunisie. Quatre unités d’étude et de recherche groupant des chercheurs historiens se consacrent à l’exploitation de différents matériaux pour une meilleure connaissance de cette période de l’histoire de la Tunisie : U.E.R archivistique, U.E.R. Lieux de mémoire et musées, U.E.R. Histoire Orale, U.E.R. Historique. A travers la publication d’une revue (RAWAFID), des actes de colloques, séminaires et journées scientifiques, des mémoires de témoins et de collections de documents, l’ISHCT espère enrichir la bibliothèque universitaire au fur et à mesure de ces avancées documentaires et méthodologiques et contribuer ainsi à doter cette période historique d’une dynamique de recherche en suscitant les échanges scientifiques en Tunisie et à l’étranger.","city":"Tunis","address":"Campus Universitaire de la Manouba,  \n2010 La Manouba  \nTunis  \nTunisia","phone":"+216 716 009 50","email":"ishmn@ishmn.rnu.tn"},"609d991f-8031-5bb5-a9b6-a18f8a52f5aa":{"name":"Autres musées associés","description":"Madaba Archaeological Park  \nHisban, Jordan  \n  \nSpanish Mission  \nAmman, Jordan"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","description":"Fondé en 1753 par Acte du Parlement, le British Museum s’installait dès l’année suivante à Montagu House, une résidence aristocratique sur le site de l’actuel musée à Bloomsbury, Londres. La collection fondatrice fut cédée à la nation britannique par Sir Hans Sloane, un riche physicien et collectionneur, mort en 1753, contre paiement de 20 000 livres à ses deux filles. Outre la collection d’objets de Sloane et sa bibliothèque, le premier British Museum possédait quatre autres importantes collections de livres. C’est d’ailleurs à un bibliothécaire en chef qu’était confiée la direction des trois départements du musée: Livres imprimés (y compris la presse); Manuscrits (de même que monnaies et dessins) ; Productions naturelles et Productions artificielles, qui rassemblaient toutes sortes de pièces, de la sculpture aux échantillons minéraux, des momies aux spécimens zoologiques. En janvier 1759, le British Museum ouvrait ses portes au public.  \n  \nDans la mesure où l’Acte de 1753 incarnait les idées universalistes des Lumières, pour qui tous les arts et toutes les sciences formaient un seul et même vaste réseau de corrélations, la tâche du Musée était de faire progresser tous les champs du savoir pour les chercheurs et les “esprits curieux” – et pour le meilleur profit du grand public. En tant que dépositaire du savoir, le British Museum avait vocation à tout collectionner. Une telle position impliquait inévitablement un développement constant et la nécessité de bâtiments plus grands dans lesquels stocker des collections de plus en plus volumineuses. Entre 1823 et 1847, le bâtiment d’origine fut remplacé par quatre grandes ailes construites autour d’une cour centrale. La bibliothèque continua à s’accroître à un tel rythme qu’une nouvelle salle de lecture s’imposait. Les travaux commencèrent en 1854 par la construction, dans la cour centrale, de la nouvelle Salle de lecture ronde à coupole.  \n  \nDans les années 1860, le besoin d’un nouveau bâtiment capable d’héberger les collections d’histoire naturelle en plein développement était reconnu, et en 1881 le nouveau Muséum d’histoire naturelle ouvrait au public. En 1973, la British Library et le British Museum étaient séparés administrativement, et dans les années 1990, les travaux d’un nouvel édifice pour la bibliothèque furent entrepris. La nouvelle British Library ouvrit en 1999, laissant au British Museum l’opportunité de s’agrandir et de se moderniser. En 2000, le British Museum ouvrait la Great Court, conçue comme une piazza ensoleillée au centre du bâtiment, mais dotée d’équipements modernes tels que des salles de conférence, des restaurants, une cafétéria pour les scolaires et des boutiques.  \n  \nLa collection initiale du musée, qui comptait quelques objets islamiques, s’enrichit considérablement au cours des XIXe et XXe siècles par des achats, des dons et des legs. Avec le Victoria and Albert Museum, le British Museum abrite la plus importante collection de céramiques d’Iznik au monde. Les objets médiévaux en métal incrusté, les collections archéologiques, les œuvres sur papier et sur verre émaillé constituent d’autres ensembles de grande valeur. La collection, avec les pièces archéologiques, compte environ 40 000 objets.","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"},"ee0a71f8-dc12-5d5d-b02a-4402969e8274":{"name":"Musée des arts islamiques de Kairouan","description":"Le Musée des arts islamiques de Kairouan est installé dans un ancien palais présidentiel transformé en lieu culturel et éducatif le 14 novembre 1986. Il renferme quatre salles, distribuées au rez-de-chaussée et à l’étage. On distingue au rez-de-chaussée:  \n  \n\\- La salle des céramiques, qui abrite des objets remontant aux époques aghlabide, fatimide et hafside. Ceux de l’époque aghlabide sont caractérisés par l’usage du reflet métallique, par l’utilisation de l’écriture coufique archaïque et par les décors zoomorphes et anthropomorphes stylisés. Cet espace s’enrichit d’une collection de carreaux de céramique d’Iznik colorés en bleu.  \n  \n\\- La salle de la Grande Mosquée, qui abrite des éléments muséographiques appartenant à ce monument religieux tels que des frises décorées de motifs floraux et épigraphiques et faisant partie de la toiture. On trouve également une reconstitution du mihrab de la mosquée et la porte de la maqsoura. Une maquette représentant le monument dans son ensemble est en cours de réalisation et sera exposée dans cette salle.  \n  \n\\- La salle des inscriptions lapidaires, qui est actuellement en cours d’aménagement ; elle abritera des stèles funéraires plates, prismatiques et en fût de colonne provenant du cimetière de Kairouan. En outre, elle accueillera l’inscription de la fondation de la ville de Sabra al-Mansouriya, caractérisée par son style d’écriture et par ses imposantes dimensions.  \n  \n\\- La salle de Sabra al-Mansouriya, qui recevra les objets exhumés de la fouille de Sabra ; elle ne renferme actuellement que le moulage du four à barres mis au jour sur le même site.  \n  \nÀ l’étage, les vitrines de la salle des monnaies et bijoux conserve une importante collection de pièces de monnaie remontant aux époques aghlabide, fatimide, hafside et ottomane et retraçant l’évolution de ces objets. Cette salle contient aussi des objets en verre provenant du site de Sabra et la lanterne d’al-Mouiz. La salle des manuscrits renferme une riche collection de feuillets de coran en parchemin appartenant à la bibliothèque de la Grande Mosquée de Kairouan et mentionnant l’évolution des styles d’écriture et d’ornementation (du IIIe/IXe au XIIIe/XIXe siècle), et doit l’essentiel de sa réputation au fameux “parchemin bleu” du IVe/Xe siècle. À ces feuillets, il faut ajouter les reliures en cuir rehaussées de décors floraux et géométriques.  \n  \nUne telle exposition permanente aide à la lecture de l’histoire de la ville de Kairouan – histoire que l’ouverture de la salle de Sabra, de la salle des inscriptions lapidaires et de la salle de la Grande Mosquée de Kairouan contribuera encore à mieux appréhender.","city":"Kairouan","address":"Musée des arts islamiques  \nKairouan-Raqqada","phone":"+216 77 228126"},"f0c1b6b9-8198-5a97-9aea-8ebedfa90ca3":{"name":"Musée d’art islamique","description":"C’est le khédive Ismaïl Pacha qui initia à la mosquée al-Hakim la collection de curiosités d’époque islamique. Et c’est le Conseil pour la préservation des antiquités arabes, créé en 1881 en association avec le ministère des Fondations pieuses (Awqaf), qui fut en charge de la Maison des antiquités arabes, comme on l’appelait alors, jusqu’en 1930, date à laquelle le musée passa au ministère de l’Éducation.  \n  \nAu cours de ses 20 premières années, les acquisitions du musée ne provenaient que des mosquées et des bâtiments publics. Plus tard, le musée entreprit sa première fouille en 1910 dans les environs de Doronka en Haute Égypte, puis une seconde au sud du Caire, mettant au jour une section de la ville de Fustat (première capitale islamique d’Égypte).  \n  \nLe musée a acquis de nombreuses pièces grâce à des dons. Le roi Fouad Ier a légué une collection de textiles, de balances et de sceaux de grande valeur, tout comme le roi Farouk, l’émir Muhammad Ali et l’émir Youssouf Kamal. L’émir Kamal al-Din Hussein ainsi que Yakoub Artin Pacha et Ali Ibrahim Pacha ont également offert des collections complètes.  \n  \nLes collections, riches de 7 082 pièces, ont été transférées dans leur bâtiment actuel en décembre 1903 à l’occasion de l’inauguration du présent musée. En 1952, le musée a été rebaptisé “Musée d’art islamique” pour refléter l’ampleur des collections : des objets produits dans le monde islamique et couvrant une période allant du début de l’ère islamique (VIIe siècle) à la fin du XIXe siècle. Le nombre de pièces enregistrées atteint maintenant les 103 000.  \n  \nLes collections comprennent des lampes en verre émaillé, des céramiques égyptiennes et une rare collection de filtres de gargoulettes en filigrane à décor peint sous glaçure, ces pièces étant célèbres pour leurs motifs d’entrelacs. À noter également des collections de bois, de textiles et de pierres à inscriptions, et une collection de tapis qui est considérée comme l’une des plus importantes de sa catégorie. Les collections d’instruments scientifiques montrent bien à quel point la civilisation islamique a contribué à la connaissance dans des domaines aussi nombreux que différents. Il y a aussi une extraordinaire collection de sceaux, poids et mesures, et de pièces de monnaies en or, argent, et cuivre.  \n  \nRiche de l’une des plus importantes collections d’art islamique au monde, le Musée d’art islamique continue à développer ses collections, et à moderniser le bâtiment avec ses 25 pièces, ses bureaux et son jardin archéologique.","city":"Cairo","website":"https://www.miaegypt.org/","phone":"+20 2 2390 1520"}}

package/translations/partners.it.json

@@ -0,0 +1 @@
+{"36dd7a00-ac4e-5317-9673-604bbb89af53":{"name":"MAO Museo d'Arte Orientrale (Fondazione Torino Musei)","description":"Il Museo di Arte Orientale apre a Torino in un contesto favorevole dato dalla tradizione universitaria di studi orientalistici nella città e dalla presenza di un importante centro di studi specifico (il CESMEO); inoltre in questi anni la necessità di creare strumenti per la conoscenza e la comprensione di mondi culturali lontani ha fatto in modo che il museo, data la sua naturale vocazione, potesse contribuire all’ampliamento dell’orizzonte etnocentrico del visitatore.  \n  \nSu questi presupposti nasce l’idea di creare a Torino un Museo d’Arte Orientale, prevedendo la ridefinizione, il rinnovamento e l’ampliamento della Sezione Orientale del Museo Civico d’Arte Antica.  \n  \nIl Museo, collocato in una delle zone più vive ed affascinanti della città, ha sede in Palazzo Mazzonis (databile tra il XVII ed il XVIII), che fu di proprietà dei marchesi Solaro della Chiusa e che passò nel 1870 al Cavaliere Paolo Mazzonis, industriale tessile. Adibito a sede della manifattura, vide molti lavori di abbellimento soprattutto al primo piano ma con la crisi del settore tessile, la ditta Mazzonis cessò le attività nel 1968 ed il palazzo restò inutilizzato. Acquistato dal Comune di Torino nel 1980 ha ospitato gli uffici giudiziari dal 1982 al 2001, per divenire infine dopo gli opportuni restauri sede museale.  \n  \nIl patrimonio del museo comprende circa 1500 opere provenienti da vari paesi dell’Asia, allestite in base all’area di provenienza in cinque distinte “gallerie”, le quali hanno trovato una naturale corrispondenza nella struttura edilizia dell’edificio.  \n  \nIl MAO aspira alla più ampia rappresentazione della produzione artistica dei vari paesi dell’Asia, in quanto vi trovano spazio le più importanti tradizioni culturali di quel continente e ciò si coniuga con la preesistenza di significative collezioni presso diverse istituzioni della nostra città, i cui preesistenti nuclei collezionistici hanno direttamente ispirato l’articolazione del progetto espositivo del nuovo Museo secondo cinque aree culturali ben definite: Asia Meridionale, Cina, Giappone, Paesi Himalayani e Paesi islamici.  \n  \nL’ordine di presentazione delle opere e il corredo didascalico mirano a mettere in evidenza i punti di contatto e le interazioni creative tra i diversi paesi nei diversi momenti storici, reintroducendo un filo unitario nel percorso museale.  \n  \nIl MAO si propone inoltre quale strumento di mediazione culturale per i visitatori generalmente lontani dalle concezioni e dai climi culturali ai quali le opere esposte si riferiscono ed intende ispirare nel visitatore nuove forme di pensiero fino alla consapevolezza di quanto sia preziosa ogni espressione del sapere umano.  \n  \nIl MAO, infine, propone numerosi servizi al pubblico: postazioni multimediali poste lungo il percorso, approfondimenti e catalogazione on line offerta dal sito del museo, bookshop, possibilità di accesso alla Biblioteca d’arte ed all’Archivio fotografico della Fondazione Torino Musei, seminari, conferenze, convegni e mostre temporanee ed un’aula didattica.","city":"Torino","address":"Via San Domenico11  \n10122 Turin","website":"http://www.maotorino.it","phone":"+39 01 14 43 69 27","email":"mao@fondazionetorinomusei.it"},"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

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+{"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}

package/translations/partners.tr.json

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+{"af01a84d-b174-5718-b9a7-b741c8957086":{"name":"British Museum","city":"London","address":"Great Russell St.,  \nLondon WC1B 3DG  \nUnited Kingdom","website":"http://www.britishmuseum.org","phone":"+44 20 7323 8000 / 8299","email":"information@britishmuseum.org"}}