npm - @museumwnf/mosaics-data - Versions diffs - 1.0.4 → 1.0.6 - Mend

@museumwnf/mosaics-data 1.0.4 → 1.0.6

This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.

Files changed (10) hide show

package/dynasties.json +1 -1
package/items.json +1 -1
package/manifest.json +1 -1
package/package.json +1 -1
package/partners.json +1 -1
package/translations/items.ar.json +1 -1
package/translations/items.en.json +1 -1
package/translations/items.es.json +1 -1
package/translations/items.fr.json +1 -1
package/translations/items.it.json +1 -1

package/dynasties.json CHANGED Viewed

	@@ -1 +1 @@
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package/items.json CHANGED Viewed

	@@ -1 +1 @@
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Iran Library, Tehran: Bongah Tarjomeh va Nashr Ketab, 1957: ill. fig. 69 (b/w).Dimand, Maurice S., A Handbook of Muhammadan Art, New York: The Metropolitan Museum of Art, 1958: ill. fig. 69 (b/w).Dimand, Maurice S., A Handbook of Muhammadan Art. Publications, 36, Lahore: The Panjabi Adabi Academy, 1964: ill. fig. 69 (b/w).Ekhtiar, 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: 43–44, no. 21, ill 43 (colour).Ettinghausen, Richard, Grabar, Oleg and Jenkins-Madina, Marilyn, Islamic Art and Architecture 650–1250, New Haven/ London: Yale University Press, 2001: 65, ill. fig. 98 (colour).George, Alain, The Rise of Islamic Calligraphy, London: Saqi, 2010.Jenkins-Madina, Marilyn, \"\"Islamic Art in the Metropolitan Museum of Art\"\", Arts & the Islamic World, 3/3 (Autumn 1985): 51, ill. figs. 1, 2.","dynasty":"العصر العباسي","translator":"أحمد باسل رضوان","keywords":["العصر العباسي ، مصر ، خشب ، فسيفساء ، تطعيم بالعظم ، عنصر معماري ، تزيين معماري ، نجارة ، غطاء قبر ، عامود ،قطعة جنائزية /دفن ، نماذج هندسية ، تزيين هندسي ، تطعيم ، مطعم ، تأثير ساساني ، تأثيرات بيزنطية"],"materials":["خشب (تين) ، فسيفساء مع عظم وأربعة أنواع من الخشب"]},"38ac8909-b6b3-578f-84ca-ee3dab9091b2":{"name":"لوحة فسيفسائية من ماعين.","description":"تقع ماعين إلى الغرب من مادبا، وهي آخر القرى التي سُكنت على الطريق المؤدي إلى حمامات ماعين والزارة. خلال الحفريات الأثرية التي أجريت من قبل دائرة الآثار العامة في عام 1973، تم العثور على مجمع كنائس على تل يقع جنوب غرب ماعين يحتوي على أرضيات فسيفسائية. \n \nتوجد الأرضية الفسيفسائية الأكثر أهمية في صحن كنيسة الأكروبولس، وأرِّخت هذه الأرضية استناداً إلى النقش الذي تحمله بالعام 100 / 719 - 720. تتضمن هذه الأرضية الفسيفسائية سجادة وسطية محاطة بعدة إطارات غير متساوية في العرض، يزيد عرض بعضها على مترين. الإطار الأول يحتوي على مربعات صفراء اللون ومقاطع سوداء اللون. يتبع هذا الإطار إطار آخر مزخرف بأشكال زهرة الأكانثوس التي تحوي داخلها مشاهد صيد وحيوانات برية دُمِّر معظمها أثناء حرب الأيقونات (إزالة الأشكال الإنسانية وأشكال الحيوانات) واستبدلت بزخارف نباتية متنوعة. يلي هذا الإطار إطار آخر يتضمن أشكال أبنية محاطة بأشجار فواكه، ويظهر فيه إحدى عشرة بناية، كل واحدة منها تحمل اسم موقع جغرافي باللغة الإغريقية خاص بإحدى المدن الواقعة على شرق وغرب نهر الأردن، كل هذه المدن كانت ذات أهمية دينية ما عدا مدينة ماعين التي تميزت بطابع مدني. \n \nالجزء الأوسط من هذه الأرضية الفسيفسائية كان مزخرفاً بأشكال هندسية وأشكال آدمية وحيوانية دُُمِّرت خلال حرب الأيقونات، واستبدلت بزخارف جديدة تشتمل على شكل سلة فاكهة وشكل قارب شراعي. احتوت الأرضية أيضاً على شكل ثور تم تدميره واستبداله بشكل شجرة، لكن أطرافه الخلفية وذيله وأحد أطرافه الأمامية ما زالت كلها واضحة. \nيوجد في الجزء الشرقي من صحن الكنيسة إطار مزخرف بأزهار يظهر فيه لوح مستطيل بداخله نقش وهذا الشكل معروف بإسم Tabula Ansata ، ويحيط بهذا اللوح أشكال هندسية وثلاثة أكاليل من كروم العنب تنبثق من جرة صغيرة. \n \nتوجد أرضية فسيفسائية أخرى في الغرفة الواقعة إلى شمال الكنيسة. تبلغ أبعاد هذه الأرضية 6.8 x 3.5 م، وزخرفت بثلاثة ألواح. لم يتبقَ في اللوح الأوسط من الأرضية إلا الجزء العلوي من الزخرفة وبعض الدوائر المتداخلة. أما في اللوح الشرقي فيمكن رؤية ذيل وقدمي وظهر حيوان، وشجيرات، والطرف العلوي من قرني حيوان ما. وفي أعلى هذه الأشكال يوجد نقش باللغة الإغريقية. دُمِّر هذا المنظر خلال حرب الأيقونات، وكان في الأصل يتضمن مشهداً لحيوان يشبه البقرة وأسد ينظران إلى شجرة. واستبدل هذا المنظر بشجيرات على الجهة اليسرى وإبريق على الجهه اليمنى، واستبدلت أيضاً أغصان الشجرة في الوسط.","short_description":"الأرضيات الفسيفسائية لكنيسة ماعن الأكروبولية، مُؤرَّخة بنقش يعيدها إلى عام 100هـ/719 – 720م. يشتمل الصحن على صور أحد عشر مبنى، تمثل مدناً في الأردن وفلسطين، كما هي معروفة بأسماء يونانية. جميع الصور تعرَّضت للتخريب على أيدي حاطمي الأوثان، والإبدال بسلسلة من الأشكال المختلفة.","holder":"متنزه مادبا الأثري.","dates":"عام 100 هجري/ 719-720 ميلادي.","location":"مادبا.","dimensions":"الطول: 16.5 م؛ العرض: 9.5 م.","method_for_datation":"أرِّخت القطعة استناداً إلى التاريخ الذي يحمله النقش الموجود على الأرضية الفسيفسائية. وبدراسة الأسلوب الفني المستخدم في هذه الأرضية الفسيفسائية، يتضح أن الفنان الذي صنع الأرضية الأصلية هو نفسه الذي دمرها خلال حرب الأيقونات، إذ أن الأسلوب الفني المتبع في صنع أشجار الفواكه في القطعة الأصلية هو نفس الأسلوب المتبع في القطعة البديلة في السجادة الوسطى أو المركزية.","method_for_provenance":"تم العثور على هذه الأرضية في الكنيسة ضمن المجمع الكنسي في ماعين .","provenance":"ماعين.","obtention":"عُثر على هذه الأرضية الفسيفسائية أثناء التنقيبات الأثرية التي أجريت في الموقع، وتم نقلها من موقعها الأصلي إلى متنزه مادبا الأثري بهدف المحافظة عليها وحمايتها وترميمها.","bibliography":"\\- .De Vaux, R. “Une Mosaïque Byzantine a Ma'in (Transjordanie).” Revue Biblique, 1938, pp. 227 – 258 \n\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- .Piccirillo, M. “Le Antichita Bizantine de Ma'in e Dintorni.” Liber Annuus, no. 35, 1985, pp. 339 – 364 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical \n.and Archaeological Study. Princeton, 1995","dynasty":"الفترة الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 84 - 87).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["حرب الأيقونات","صحن الكنيسة","فسيفساء","قطع فسيفسائية","كنيسة","نقش."],"materials":["مكعبات من الفسيفساء الحجرية."]},"4159a293-3ddf-5001-9a68-0994c000b7d3":{"name":"بلاطة","short_description":"تنتمي هذه البلاطة لعصر الحكم التيموري في إيران وآسيا الوسطى (عام 771-913 هجرية /370 -1507 ميلادي) .لقد قامت الأسرة الحاكمة العظيمة والأخيرة التي ظهرت من سهول آسيا الوسطى ، وهم التيموريون برعاية إقامة الأبنية التي كانت غالبا تنشأ على نطاق ضخم وتكسى بإكساء تزييني رائع من البلاط المزجج الناصع. ونظرا لأن المادة الإنشائية الأساسية كانت الطوب المشوي الملون الداكن فإن البلاطات المزججة أعطت التزيين الملون. وإن عناصر التصميم المزهر لهذه البلاطة تم قصها من بلاطات مزججة ذات ألوان مختلفة وجمعت كفسيفساء ، وقد وضعت في مكانها على سطح البناء الخارجي حيث انضمت لأجزاء أخرى لتشكيل جزء أكبر من تصميم أكثر تعقيدا. وفي الواقع هناك العديد من البلاطات المتطابقة تقريبا أو المرتبطة في مجموعات متحفية أخرى في برلين (MIA ) وشيكاغو (AIC ) وباريس ( MdL ).","type":"عناصر معمارية","holder":"متحف مقاطعة لوس أنجلس للفن","dates":"القرن التاسع الهجري /الخامس عشر الميلادي","location":"لوس أنجلس","dimensions":"59.7 × 3.8 سم","method_for_datation":"التزيين والنظام اللوني والتقنية ترتبط بشكل وثيق مع البلاطات التي ما تزال مركبة في الأبنية التيمورية كما على سبيل المثال في مسجد ومجمع مدرسة جوهر شاد ، هيرات ، التي تعود لعام 820-841 هجري/1417-38 ميلادي.","method_for_provenance":"تقنية البلاط الفسيفسائي وهي شكل من التزيين المعماري التي فيها تجمع قطع السيراميك المزججة ذات أشكال وأحجام مختلفة معا لتوليد جدار متعدد الألوان هي مرتبطة بشكل خاص بالأراضي الإيرانية.","provenance":"إيران أو آسيا الوسطى","obtention":"كانت القطعة سابقا في إطار خشبي من طراز القرن التاسع عشر مما يعني أنها تركت في مكانها الأصلي منذ ذلك الحين . مجموعة سي إدوارد ويلز ( توفي أواخر القرن العشرين) ، كونكتيكت حتى عام 977 (مزاد Sotheby Parke-Bernet ، نيويورك ، فيراير 1977، مزاد 3948 ، دفعة 72 بيعت إلى ) ، مجموعة معن ز. مادينا (1926 -2013) ، نيويورك ،حتى 2002 ( بيعت إلى) LACMA ، مجموعة مادينا للفن الإسلامي ، هدية من كاميليا شاندلدر فروست.","dynasty":"العصر التيموري","translator":"أحمد باسل رضوان","keywords":["بلاطة ، عجينة خزف ، سيراميك ، مزجج ، بلاطات مزججة ، فسيفساء ، تيموري ، أشكال مزهرة ، عنصر معماري"],"materials":["عجينة خزف ، مزججة ومقصوصة الشكل ومجمعة بشكل فسيفساء"]},"486238d7-a097-5c5c-aed4-3125d1f36409":{"name":"أرضية فسيفسائية.","description":"بُني العديد من القصور في الأراضي السورية الفلسطينية خلال الفترة الأموية في النصف الأول من القرن 2 / 8، مثل قصر هشام بن عبد الملك في أريحا، وقصري الحير الغربي والشرقي في سوريا، وقصير عمرة والقصرالأموي في قلعة عمّان وقصر الحلابات والموقر والقسطل في الأردن. هذه القصور كانت غنية بزخارفها الجصية ورسوماتها الجدارية وأرضياتها الفسيفسائية. \n \nاكتشفت هذه الأرضية الفسيفسائية بطريق الصدفة عام 2000 م عن طريق بعض الحفريات غير الشرعية في موقع القسطل. لحسن الحظ، الأرضيات الفسيفسائية في الغرف الشمالية من القصر محفوظة بشكل جيد. وهي مثال جيد للنوعية الممتازة للفسيفساء التي أنتجت في الفترة الأموية في مثل هذه القصور. \n \nالأرضية الفسيفسائية في الغرفة الشمالية تبلغ أبعادها 3030 × 3030 م، وتتألف من صرّة مركزية يحيط بها إطار من الجدلات المحفوفة بخطوط محولة إلى شكل حرف Tبألوان متعددة. أمّا المركز فيتشكل من إطارين مجدولين متقاطعين يؤلفان إطاراً ثماني الشكل يحوي في وسطه الموضوع الرئيسي للوحة: لوحة أسد يفترس ثوراً. وتظهر في اللوحة مخالب الأسد وأسنانه الحادة وهي تخترق عنق الثور محاولاً إسقاطه على الأرض. هذه الفسيفساء ذات نوعية عالية خاصة من ناحية التعدد الكبير للألوان المستخدمة وحجم المكعبات الفسيفسائية والظلال، ووظفت جميعها لخلق مشهد أقرب إلى الحقيقة. يظهر على زوايا الأرضية أشكال طيور ونباتات نفذت على خلفية بيضاء اللون ضمن أرباع دوائر. أما الإطار الموجود في الجهة الشمالية الشرقية فيصور شكل بطة تدير رأسها إلى الخلف. ويظهر في الزاوية الجنوبية الشرقية طير يأكل شيئاً من النبات: الإطارات الأخرى في الجهات الشمالية والجنوبية والغربية محفوظة جزئياً، ومن الممكن أنها كانت تحمل صوراً لطيور ونباتات. \n \nالغرفة الجنوبية تشبه الغرفة الشمالية وأرضيتها الفسيفسائية تشبه الأرضية الفسيفسائية في الغرفة الشمالية من حيث تشكيلاتها الهندسية وإطاراتها، غير أن المشهد المركزي مختلف إذ يحتوي على صورة فهد يفترس غزالاً. هذا المشهد أيضاً يبدو حقيقياً وواقعياً، إذ أنه يظهرالتفاصيل مثل العيون الحادة والأنياب التي تخترق عنق الغزال وتجعله ينزف بشدة. هنا يمكن للمرء أن يشعر بالعنف الشديد للفهد والعذاب الذي يعاني منه الغزال. إن مشاهد مثل هذه كانت مرتبطة بإظهارالقوة، وهي توّجه رسالة تحذيرلأعداء الأمويين. يمكن رؤية أمثلة مشابهة لهذه الأرضيات في القصورالأموية، مثل قصر الحلابات في الأردن، وقاعة الاستقبال في مجمع الحمامات في خربة المفجر في أريحا.","short_description":"أرضيتان فسيفسائيتان، من القسطل، الذي أمر بإنشائه يزيد بن عبد الملك (الذي حكم ما بين عامي 101 إلى 105 هـ/من 720 إلى 724م) أو ابنه الوليد (الذي حكم ما بين عامي 125 – 126 هـ/من 743 إلى 744م)؛ إحداهما تصور أسداً ينقضُّ على ثور، والأخرى فهداً يطارد ظبياً. اقترنت مثل هذه المشاهد باستعراض القوة، والتنبيه إلى حتمية هزيمة الخصوم.","owner":"مجمع القصر في القسطل.","initial_owner":"يزيد بن عبدالملك (حكم في الفترة 101 – 105 / 720 - 724) وابنه الوليد الثاني (حكم في الفترة 125 – 126 / 743 - 744).","dates":"101-105 ﻫ/ 720 - 724 م ، أو 125- 126 ﻫ/ 743 - 744 م.","location":"القسطل","dimensions":"الطول:3.30 م؛ العرض: 3.30 م.","method_for_datation":"القصر والفسيفساء الموجودة فيه أُرجع تاريخها إلى الفترة الأموية عن طريق ابيات من الشعر للشاعر كثير عزة الذي ربط قصري الموقر والقسطل بالخليفة يزيد ابن عبد الملك وابنه الوليد الثاني. كذلك فإن التنقيبات الأثرية التي أجريت عام 1983 كشفت عن كسر فخارية وقطع جصية محفورة وقطع من الفريسكو تدل على أن المبنى تم بناؤه في الفترة الأموية.","method_for_provenance":"حُدِّدت القسطل مكاناً لصنع القطعة لأنه تم العثور عليها في مجمع القصر في القسطل، وما زالت في موقعها الأصلي.","provenance":"القسطل.","bibliography":"\\- .Bisheh, G. “Two Umayyad Mosaic Floors from Qastal.” Liber Annuus, no. 50, 2000, pp. 431- 437 \n\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and \n.Archaeological Study. Princeton, 1995","dynasty":"الفترة الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 112- 114).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["أشكال حيوانية","أشكال نباتية","أشكال هندسية","فسيفساء","قصر."],"materials":["فسيفساء."]},"55dc9af5-2f7e-57e8-aec1-9a5889250732":{"name":"زبدية زجاجية بتقنية ميلفيوري","short_description":"كانت تقنية الميل فيوري (ألف زهرة) قد أعيد اكتشافها في القرن الثامن أو التاسع في بلاد الرافدين وربما استخدمت في إنتاج القطع للخلفاء العباسيين في بغداد وسامراء . وإن عددا من الزبديات والبلاطات الباقية تبين أن التقنية قد استخدمت في كل من المفروشات المحلية والتزيين الداخلي والأمثلة مثل هذا المبين هنا تظهر تعقيد ومجال عمل صانعي الزجاج العباسيين.","type":"زجاج","holder":"متحف المتروبوليتان للفن","dates":"أواخر القرن الثاني – القرن الثالث الهجري / القرن التاسع الميلادي","location":"نيويورك","dimensions":"الارتفاع : 5.1 سم قطر الإطار : 14.3 سم","provenance":"ربما العراق","obtention":"مؤسسة روجرز ،2001 البائع : معرض منصور ، لندن المالك السابق (التاجر ): (معرض منصور ، لندن لغاية 2001 ، بيع إلى متحف المتروبوليتان للفن)","bibliography":"Journal of Glass Studies 44 (2002). p. 217, ill. (b/w).Metropolitan Museum of Art Bulletin vol. 59 (2000–2001). pp. 14–15, ill. (colour).Carboni, Stefano, Whitehouse, David, Brill, Robert H. and Gudenrath, William, Glass of the Sultans, New Haven: Yale University Press, 2001: 58–59.Ekhtiar, 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).","dynasty":"العصر العباسي","translator":"أحمد باسل رضوان","keywords":["العصر العباسي ، العراق ، ميل فيوري ، زجاج ، زبدية ، زجاج ملون ،الحياة اليومية ، مستلزمات محلية ، أوعية محلية ، تزيين مزهر ، أشكال مزهرة"],"materials":["زجاج ،أخضر ، أصفر غير شفاف ، وفسيفساء حمراء غير شفافة ، ملتحم / منصهر ، متدلي ، مشحوذ ومصقول ، قاعدة / رجل مضافة"]},"5722c4e0-76c3-5fb1-8956-11019061b77b":{"name":"لوحة بلاطة فسيفسائية ذات تصميم ذو أزهار وأشجار كرمة متداخلة","short_description":"اللوحة الفسيفسائية هي بشكل الطائرة الورقية ومقصوصة من الأسفل وهي مثبتة في إطار من قالب بلاستر أبيض مؤطر.ولها حدود خارجية من كل الأطراف عدا الأسفل حيث يوجد عصابة فيروزية وبعدها عصابة سوداء وبعدها عصابة ذهبية مسمرة وكل واحدة هي أقل ثخانة من التي تليها. والأرضية الرئيسية للفسيفساء هي بلون أزرق ملكي ومزينة بسلسلة من أشجار الكرمة المتداخلة باللون الذهبي المسمر والأبيض والفيروزي ومفصولة عن بعضها بأزهار مختلفة ذات بتلات بلون وردي شاحب أو أسود وكل منها مؤطرة خارجيا باللون الأبيض ومن بين الأزهار وأشجار الكرمة يوجد أوراق بلون أخضر الغابة مؤطرة خارجيا بالذهبي المسمر والذي يتراوح في إشباعه والعنصر المركزي للوحة هو مفصص بشكل مقبب ذو أرضية سوداء ومحاط بلون ذهبي مسمر مزين بأشجار الكرمة الفيروزية وأزهار ذات بتلات بمراكز وردية وذلك حول زهرة مركزية مؤطرة خارجيا بالأبيض ومع وردي شاحب ومركز بشكل دمعة محاط بإطار خارجي أزرق ملكي وبعدها بتلات وردية بشكل دمعة وبعدها أوراق مدببة بلون أزرق ملكي.","type":"خزف","holder":"متحف سانت لويس للفن","dates":"885-886 هجري /1480-81 ميلادي","location":"سانت لويس","dimensions":"الطول : 113 سم × العرض : 76.8 سم","method_for_datation":"مراجعة دراسية و/أو مقارنة مع قطع مشابهة من نفس الفترة","method_for_provenance":"هذه اللوحة أتت من البوابة الداخلية لضريح رجل مقدس في أصفهان في وسط إيران","provenance":"أصفهان ، إيران ، آسيا","obtention":"شراء المتحف 1923","translator":"أحمد باسل رضوان","keywords":["فسيفساء ، بلاطة ، لوحة ، خزف ، مزجج ، عجينة خزف ، أصفهان ، إيران ، آسيا ، فارسي"],"materials":["وعاء خزفزي مزجج"]},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"لوحة من الفسيفساء.","description":"تشكل هذه اللوحة جزءا من فسيفساء تقارب مساحتها الخمسين متراً مربعاً. كانت الزخرفة الأولية محاطة بحاشية تتوالى فيها الأشكال الهندسية والعناصر الزهرية. تتميز أرضية الفسيفساء بزخارف من المشبكات الجديلية رباعية الفصوص، التي تتداخل فيما بينها، وتؤدي إلى رسم أشكال هندسية متنوعة. وبعد رفع الفسيفساء، جرى توزيع عدد من اللوحات المكونة لها على عدة متاحف تونسية. \nتتناوب الخطوط الحمراء والبيضاء والسوداء في اللوحة التي حصل عليها متحف رقادة، وتحدد زخرفة على شكل ورقة ليلج محاطة ضمن مثمن، وزخرفة تويجة تضم أربعة نهايات بيضوية الشكل واقعة ضمن دائرة، ثم حصرت العناصر كلها بين جدائل زخرفية بيضوية. تشكل هذه الفسيفساء مثالاً فريداً من الفن الإفريقي (التونسي) خلال العصر الفاطمي؛ لكن بعض مؤرخي الفن يؤكدون أنها تشهد على استمرار فن الفسيفساء في تونس إبان العصور الوسطى. وبالفعل، فإن تقنية تنفيذ الفسيفساء في مدينة المهدية تمثل استمراراً للتقليد القديم لإفريقيا الرومانية والبيزنطية، ولكن كل شيء يحمل على الاعتقاد أنها من صنع الحرفيين البيزنطيين، الذين تم اختطافهم وسجنهم خلال الغارات المتوالية التي قام بها جيش القائم على جزيرة صقلية وعلى إيطاليا.","short_description":"تشكل هذه الفسيفساء مثالا فريدا للفن الإفريقي خلال الفترة الفاطمية؛ ويظن بعض مؤرخي الفن أنها تخلد التقليد القديم لإفريقيا الرومانية والبيزنطية. وقد كانت هذه اللوحة تشكل جزءا من فسيفساء تقارب مساحتها 58 متر مربع، تجمع بين الأشكال الهندسية والمواضيع الزهرية.","holder":"متحف الفنون الإسلامية؛ رقادة؛ القيروان.","initial_owner":"الأمير الفاطمي القًائم.","dates":"عام 303 هجري/916 ميلادي.","location":"المهدية.","dimensions":"الطول: 107 سم؛ العرض: 106 سم.","method_for_datation":"تم استخراج هذه الفسيفساء خلال التنقيبات التي جرت في عام 1956 في قاعة الاستقبال أو في قاعة الاجتماعات المتواجدة في قصر القًائم. ومن المنطقي، أن نرجع تأريخها إلى فترة تشييد هذا القصر في عام 303 هجري/916 ميلادي، كما تؤكد ذلك المصادر التاريخية. لكن، قد يكون من الممكن أيضاً نسبتها إلى فترة لاحقة من أعمال التزيين والترتيب التي جرت في قلب المعلمة، والتي يمكن تأريخها على الأرجح إبان فترة حكم القًائم، قبل تأجج ثورة الخارجي الملقب ب\" صاحب الحمار\" في عام 332 هجري/944 ميلادي.","method_for_provenance":"يشهد اكتشاف هذه الفسيفساء في موقعه على أنه إنتاج محلي، ولكن أصل الحرفيين يبقى في حاجة لدلائل للإثبات.","provenance":"(هنا المصدر) تنقيبات في قصر القائم في مدينة المهدية.","obtention":"بعد نزع الفسيفساء من قصر القائم في مدينة المهدية، تم عرضها في متحف باردو. وفي عام 1986، جرى إرسال ثلاث لوحات إلى مستودع المتحف الوطني للتراث في القيروان، حصل متحف الفنون الإسلامية في رقادة، في عام 1993،على واحدة منها ليتم عرضها في الجزء الثاني من الترتيبات الجارية بالمتحف (عام 2005).","bibliography":"\\- Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, Fifth \n.international colloquium on ancient mosaics, USA, 1994, pp. 307-318 \n\\- .Louhichi, A., “La mosaïque de Mahdia : contexte et interprétation”, Africa, XX, 2004, pp. 143-166 \n\\- Zbiss, S. M., “Mahdia et Sabra Mansuriya : nouveaux documents d'art fatimide d'Occident”, Journal \n.asiatique, CCXLIV, 1956, pp. 79-93","dynasty":"الفترة الفاطمية","linkcatalogs":".Ifriqiya, pp. 176-177","author":"Mourad Rammah","copy_editor":"مارجوت كورتز","translator":"غادة الحسين من: اللغة الفرنسية","translation_copy_editor":"(من: الفرنسية).احمد الطاهري","keywords":["الفسيفساء","زخرفة زهرية.","زخرفة هندسية"],"materials":["قطع فسيفساء من الحجر الجيري."]},"c258b71a-ed5a-5e3f-a8b3-0c790492d086":{"name":"لوحة فسيفساء","short_description":"وصلت تقنية الفسيفساء إلى أوجها خلال عصر الدولة التيمورية. وهذه اللوحة تتضمن أزرق الكوبالت ، اللون الفيروزي ، الأخضر الزمردي والأبيض وفسيفساء كهرمانية. وفي المركز يوجد آية من القرآن مكتوبة بالخط الكوفي الأبيض.","type":"فسيفساء","holder":"متحف الفنون الشرقية","dates":"القرن التاسع الهجري / القرن الخامس عشر الميلادي","location":"تورينو","dimensions":"الارتفاع : 43 سم ، الطول : 72.6 سم","provenance":"آسيا الوسطى","dynasty":"عصر الدولة التيمورية","translator":"أحمد باسل رضوان","keywords":["فسيفساء ، خزف ، تيموري"],"materials":["فسيفساء"]},"eddda363-37ec-580d-af63-63f93facde5f":{"name":"لــــوحة رخاميــة.","description":"تتكون هذه اللوحة الرخامية من أربعة عقود مدببة صمّاء شكِّلت من قطع رخامية بيضاء وسوداء وصفراء وحمراء. وترتكز هذه العقود على ثلاث دعامات وسطية مربعة ودعامتين طرفيتين مستطيلتين. ويؤطر الدعامات الوسطية من الأعلى والجوانب إطارات بيضاء عريضة، أما الدعامتان الطرفيتان فقد أطرت كل منهما من الأعلى ومن جانبها الداخلي فقط. وتحوي هذه الإطارات داخلها مسطحات حمراء يتوسط كل منها في الدعامات الوسطية حليتان دائريتان من اللونين الأبيض والأحمر. وقد ملئت المسطحات المحصورة داخل العقود بزخارف هندسية تتكون من صلبان ونجوم ثمانية صنعت من رخام متعدد الألوان وأطرت بالصدف. أما المسطحات المثلثة الواقعة بين المنحنيات الخارجية للعقود فقد ملئت بمضلعات ونجوم سداسية تنقسم بدورها إلى وحدات صغيرة مثلثة ونجمية. واستخدم الصدف في تزيين حواف هذه المسطحات والوحدات المثلثة الصغيرة. كانت اللوحات الرخامية المكفتة بعدة أنواع من الحجر والصدف من العناصر الزخرفية الأساسية للعمارة المملوكية المبكرة، واستخدمت بصفة أساسية لإبراز المحراب والقبلة. وقد ظهر هذا النمط من الزخارف بشكل متميز في مجمع السلطان قلاوون المشيد عام 683 – 684 هـ/ 1284 - 1285 م. واستمر هذا التقليد خلال القرن 15 م، إذ نجد أمثلة مشابهة في ضريح وخانقاه برسباي، وهو مجمع شيد عام 835 هـ / 1431 م في مدافن القاهرة الشمالية (أنظر كتالوج الفن المملوكي، ص 102 – 103). ويحوي محراب هذا المجمع لوحات زينت بعقود تشبه العقود التي تحويها هذه اللوحة.","short_description":"هذه اللوحة الرخامية المكفَّتة بالأحجار متعدِّدة الألوان والصدف، تحمل السمات الزخرفية الأساسية للعمارة المملوكية المبكرة، وقد استخدمت بصفة رئيسية لإظهار محاريب القبلة. ونرى هذا الأسلوب في كثير من االعمائر، مثل ضريح السلطان قلاوون.","holder":"متحف الفن الإسلامي","dates":"القرن 9 هـ / 15 م.","location":"القاهرة","dimensions":"الارتفاع: 29.5 سم ؛ الطول: 104 سم.","method_for_datation":"أنظر أعلاه.","method_for_provenance":"أنظر أعلاه.","provenance":"القاهرة.","obtention":"أهداها برمس نجار، أحد تجار الآثار، للمتحف عام 1903 م. ومن الجدير بالذكر أن المتحف اعتمد في بداية تجميع مقتنياته على الإهداء من الأفراد والشخصيات العامة.","bibliography":"\\-مصطفى، محمد. دليل متحف الفن الإسلامي. الطبعة الرابعة، القاهرة، 1978. - Atil, E. Renaissance of Islam: Art of the Mamluks. Washington, D. C., 1981. \n \nGrabar , O. “Architecture and Art,” in: Hayes, J. R. ed. The Genius of Arab Civilization: Source of Renaissance. London, 1983. \n \nEttinghausen, R. and Grabar, O. The Art and Architecture of Islam: 650 – 1250. London and New York, 1987.","dynasty":"العصر المملوكي","linkcatalogs":"IAM_EG_EN_001","author":"السيد محمد خليفة حماد","copy_editor":"مجد موسى","keywords":["أشياء دينية","تكفيت","جص","رخام","زخرفة هندسية","صدف","فسيفساء","لوحة."],"materials":["رخام من الألوان الأبيض والأصفر والأحمر والأسود مزين بالصدف وموضوع ضمن إطار من الجص."]},"fc496894-497a-5358-b6b4-2e9135336e42":{"name":"فسيفساء مسوح.","description":"تقع كنيسة مسوح في حسبان على بُعد 10 كم شمال مدينة مادبا. في عام 1970، أجريت فيها عدة تنقيبات أثرية اتضح من خلالها أن الموقع يرجع إلى عدة فترات بدءاً من القرن 5 م ( قبل الإسلام، وقبل التأريخ الهجري الذي يبدأ عامه الأول في 16 تموز عام 622 م) وحتى القرن 1 / 7. \n \nعُثر في الكنيسة على طبقتين من الأرضيات الفسيفسائية: تعود الطبقة السفلية منها إلى القرن 6 م، ولم يطرأ عليها أي تغيير؛ وتعود الطبقة العلوية من الأرضية إلى القرن 7 م، ودُمِّّرت أجزاء كبيرة منها خلال حرب الأيقونات (إزالة الأشكال الإنسانية وأشكال الحيوانات) وتم استبدالها بقطع فسيفسائية أكبر حجماً. \n \nتتكون هذه الأرضية الفسيفسائية من سجادة مزخرفة بشبكة مستطيلة من الوريدات يظهر داخل بعضها أشكال حيوانات، أحدها يصور أسداً ينظر باتجاه كتابة يذكر فيها تاريخ بناء هذه الكنيسة. وهناك كتابة أخرى تظهر في هذه الأرضية الفسيفسائية تبين أسماء الأشخاص الذين بنوا الكنيسة، وأسماء المتبرعين للكنيسة في زمن المطران ثيودور، وأعضاء رجال الدين المسيحيين. \n \nتوجد أرضية فسيفسائية في المذبح زخرفت بلفائف من أوراق العنب محاطة بإطار مزخرف بأوراق الأكانثوس يوجد داخلها أشكال حيوانية ونباتية دُمِّرت خلال حرب الأيقونات. \nتحتوي الأرضية الفسيفسائية الموجودة في صحن الكنيسة على إطار من نبتة الأكانثوس يحيط بلوحين مزخرفين بأشكال آدمية وحيوانية ضمن شبكة مصلبة ذات نهاية مقعرة تملأ الجزء الشرقي من صحن الكنيسة. تصور اللوحة الشرقية مشهداً لمركب وصياد معه صنارة ودوائر مليئة بطيور وأزهار. دُمِّرت هذه الأشكال خلال حرب الأيقونات، واستبدلت بزخارف نباتية وصلبان وبعض المباني. كذلك فإن مناظر الصيد التي هي جزء من الشريط الزخرفي لفسيفساء الكنيسة قد دُمِّرت خلال فترة حرب الأيقونات في القرن 1 / 7. \n \nوبعد هذه الفترة تم إعادة بناء واستخدام الكنيسة، ولكن جزءاً من الأعمدة الأساسية أزيلت وغطيت حفر الأساس بقطع فسيفسائية بيضاء اللون.","short_description":"لكنيسة مسّوح طبقتا فسيفساء أرضيتان. السفلى العائدة إلى القرن السادس الهجري/ الثاني عشر الميلادي، مُتعرِّضة لتخريب حاطمي الأوثان، في حين أن الطبقة العليا العائدة إلى القرن الأول الهجري/ السابع الميلادي، تعرَّضت لنوع من التعديل المنهجي على أيدي حاطمي الأوثان والأيقونات. جرى بعناية إبدال الصور بصلبان، أو أشكال نباتية ومعمارية.","holder":"متنزه مادبا الأثري.","dates":"النصف الثاني من القرن 1 – النصف الأول من القرن 2 / النصف الثاني من القرن 6 – النصف الأول من القرن 7.","location":"مادبا.","dimensions":"الطول: 25 م؛ العرض: 15 م.","method_for_datation":"أرخت الأرضية الفسيفسائية استناداً إلى النقش الذي تحويه، إذ يشير إلى فترة المطران ثيودور (نهاية القرن 6 م). يستنتج( Van Eldern 1986)، من خلال الطبقات الأثرية الموجودة في الكنيسة، أن الكنيسة دُمِّرت خلال حرب الأيقونات في نهاية القرن 6 م. ويعتقد (Schick 1995) أن مسوح قد سكنت في الفترة العباسية.","method_for_provenance":"حددت حسبان مكاناً لصنع القطعة نظراً لأنه تم العثور على الفسيفساء خلال الحفرية الأثرية التي أجريت في حسبان عام 1970.","provenance":"حسبان.","obtention":"عُثر على الأرضية الفسيفسائية أثناء التنقيبات الأثرية التي أجريت في الموقع، ولكن تم نقلها من موقعها الأصلي إلى متنزه مادبا الأثري بهدف المحافظة عليها وترميمها.","bibliography":"\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- ,Piccirillo, M. “La Chiesa di Massuh e il Territorio della Diocesi di Esbus.” Liber Annuus, no. 33, 1983 \n.pp. 335 – 346 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical \n.and Archaeological Study. Princeton, 1995 \n\\- .Van Eldern, B. “Byzantine Churches and Mosaics in Transjordan.” In: Geraty, L. and Herr, L. eds \n.\\[.The Archaeology of Jordan and Other Studies. \\[n. d","dynasty":"الفترة البيزنطية / الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 85).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["حرب الأيقونات","حركة تشويه الصور","فسيفساء","كنيسة ."],"materials":["مكعبات فسيفسائية حجرية."]}}
1	+ {"25ddcf33-765c-5e79-96ad-5108a6555de1":{"name":"لوح من قبر أو تابوت رمزي ذو تزيين بالصدف والخشب","short_description":"هذه اللوحة هي المثال الباقي الأكثر كمالا من نوعه وقد أتت من جانب غطاء قبر أو من علبة لمصحف متعدد المجلدات والتشابهات مع اللوحة في مجموعة متحف الفن الإسلامي في القاهرة يعني أن الاثنتين قد زينتا الجوانب الطويلة لبناء واحد في مقبرة عين السيرة في مصر . وبالإضافة لتشكيلهما المشترك من خشب التين المطعم بالعاج وأنواع أخرى من الخشب فإن كلا اللوحتين تتضمنان عناصر تزيينية من الموروث الساساني القديم والأشكال الهندسية مستمدة مباشرة من الفسيفساء الرومانية بينما التصاميم التي تشبه الجناح في زوايا القوس هي من أصل ساساني.","type":"مشغولة خشبية","holder":"متحف المتروبوليتان للفن","dates":"القرن الثاني الهجري /النصف الثاني من القرن الثامن الميلادي","location":"نيويورك","dimensions":"الارتفاع : 47.6 سم ، العرض : 194.2 سم الحامل : الارتفاع : 62.2 سم ، العرض : 31.7 سم ، القطر :15.2 سم ، الوزن : 44 كغ مع الحامل والغطاء البلاستيكي","provenance":"ربما مصر","obtention":"مؤسسة صاموئيل د. لي ، 1937 البائع : باول مالون ، باريس المالك السابق (التاجر) : (باول مالون ، باريس حتى 1937 ، بيعت لمتحف المتروبوليتان للفن)","bibliography":"Dimand, Maurice S., A Handbook of Muhammadan Art, New York: The Metropolitan Museum of Art, 1944: 125, ill. fig. 69 (b/w).Dimand, Maurice S., A Handbook of Mohammadan Art. Iran Library, Tehran: Bongah Tarjomeh va Nashr Ketab, 1957: ill. fig. 69 (b/w).Dimand, Maurice S., A Handbook of Muhammadan Art, New York: The Metropolitan Museum of Art, 1958: ill. fig. 69 (b/w).Dimand, Maurice S., A Handbook of Muhammadan Art. Publications, 36, Lahore: The Panjabi Adabi Academy, 1964: ill. fig. 69 (b/w).Ekhtiar, 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: 43–44, no. 21, ill 43 (colour).Ettinghausen, Richard, Grabar, Oleg and Jenkins-Madina, Marilyn, Islamic Art and Architecture 650–1250, New Haven/ London: Yale University Press, 2001: 65, ill. fig. 98 (colour).George, Alain, The Rise of Islamic Calligraphy, London: Saqi, 2010.Jenkins-Madina, Marilyn, \"\"Islamic Art in the Metropolitan Museum of Art\"\", Arts & the Islamic World, 3/3 (Autumn 1985): 51, ill. figs. 1, 2.","dynasty":"العصر العباسي","translator":"أحمد باسل رضوان","keywords":["العصر العباسي ، مصر ، خشب ، فسيفساء ، تطعيم بالعظم ، عنصر معماري ، تزيين معماري ، نجارة ، غطاء قبر ، عامود ،قطعة جنائزية /دفن ، نماذج هندسية ، تزيين هندسي ، تطعيم ، مطعم ، تأثير ساساني ، تأثيرات بيزنطية"],"materials":["خشب (تين) ، فسيفساء مع عظم وأربعة أنواع من الخشب"]},"38ac8909-b6b3-578f-84ca-ee3dab9091b2":{"name":"لوحة فسيفسائية من ماعين.","description":"تقع ماعين إلى الغرب من مادبا، وهي آخر القرى التي سُكنت على الطريق المؤدي إلى حمامات ماعين والزارة. خلال الحفريات الأثرية التي أجريت من قبل دائرة الآثار العامة في عام 1973، تم العثور على مجمع كنائس على تل يقع جنوب غرب ماعين يحتوي على أرضيات فسيفسائية. \n \nتوجد الأرضية الفسيفسائية الأكثر أهمية في صحن كنيسة الأكروبولس، وأرِّخت هذه الأرضية استناداً إلى النقش الذي تحمله بالعام 100 / 719 - 720. تتضمن هذه الأرضية الفسيفسائية سجادة وسطية محاطة بعدة إطارات غير متساوية في العرض، يزيد عرض بعضها على مترين. الإطار الأول يحتوي على مربعات صفراء اللون ومقاطع سوداء اللون. يتبع هذا الإطار إطار آخر مزخرف بأشكال زهرة الأكانثوس التي تحوي داخلها مشاهد صيد وحيوانات برية دُمِّر معظمها أثناء حرب الأيقونات (إزالة الأشكال الإنسانية وأشكال الحيوانات) واستبدلت بزخارف نباتية متنوعة. يلي هذا الإطار إطار آخر يتضمن أشكال أبنية محاطة بأشجار فواكه، ويظهر فيه إحدى عشرة بناية، كل واحدة منها تحمل اسم موقع جغرافي باللغة الإغريقية خاص بإحدى المدن الواقعة على شرق وغرب نهر الأردن، كل هذه المدن كانت ذات أهمية دينية ما عدا مدينة ماعين التي تميزت بطابع مدني. \n \nالجزء الأوسط من هذه الأرضية الفسيفسائية كان مزخرفاً بأشكال هندسية وأشكال آدمية وحيوانية دُُمِّرت خلال حرب الأيقونات، واستبدلت بزخارف جديدة تشتمل على شكل سلة فاكهة وشكل قارب شراعي. احتوت الأرضية أيضاً على شكل ثور تم تدميره واستبداله بشكل شجرة، لكن أطرافه الخلفية وذيله وأحد أطرافه الأمامية ما زالت كلها واضحة. \nيوجد في الجزء الشرقي من صحن الكنيسة إطار مزخرف بأزهار يظهر فيه لوح مستطيل بداخله نقش وهذا الشكل معروف بإسم Tabula Ansata ، ويحيط بهذا اللوح أشكال هندسية وثلاثة أكاليل من كروم العنب تنبثق من جرة صغيرة. \n \nتوجد أرضية فسيفسائية أخرى في الغرفة الواقعة إلى شمال الكنيسة. تبلغ أبعاد هذه الأرضية 6.8 x 3.5 م، وزخرفت بثلاثة ألواح. لم يتبقَ في اللوح الأوسط من الأرضية إلا الجزء العلوي من الزخرفة وبعض الدوائر المتداخلة. أما في اللوح الشرقي فيمكن رؤية ذيل وقدمي وظهر حيوان، وشجيرات، والطرف العلوي من قرني حيوان ما. وفي أعلى هذه الأشكال يوجد نقش باللغة الإغريقية. دُمِّر هذا المنظر خلال حرب الأيقونات، وكان في الأصل يتضمن مشهداً لحيوان يشبه البقرة وأسد ينظران إلى شجرة. واستبدل هذا المنظر بشجيرات على الجهة اليسرى وإبريق على الجهه اليمنى، واستبدلت أيضاً أغصان الشجرة في الوسط.","short_description":"الأرضيات الفسيفسائية لكنيسة ماعن الأكروبولية، مُؤرَّخة بنقش يعيدها إلى عام 100هـ/719 – 720م. يشتمل الصحن على صور أحد عشر مبنى، تمثل مدناً في الأردن وفلسطين، كما هي معروفة بأسماء يونانية. جميع الصور تعرَّضت للتخريب على أيدي حاطمي الأوثان، والإبدال بسلسلة من الأشكال المختلفة.","holder":"متنزه مادبا الأثري.","dates":"عام 100 هجري/ 719-720 ميلادي.","location":"مادبا.","dimensions":"الطول: 16.5 م؛ العرض: 9.5 م.","method_for_datation":"أرِّخت القطعة استناداً إلى التاريخ الذي يحمله النقش الموجود على الأرضية الفسيفسائية. وبدراسة الأسلوب الفني المستخدم في هذه الأرضية الفسيفسائية، يتضح أن الفنان الذي صنع الأرضية الأصلية هو نفسه الذي دمرها خلال حرب الأيقونات، إذ أن الأسلوب الفني المتبع في صنع أشجار الفواكه في القطعة الأصلية هو نفس الأسلوب المتبع في القطعة البديلة في السجادة الوسطى أو المركزية.","method_for_provenance":"تم العثور على هذه الأرضية في الكنيسة ضمن المجمع الكنسي في ماعين .","provenance":"ماعين.","obtention":"عُثر على هذه الأرضية الفسيفسائية أثناء التنقيبات الأثرية التي أجريت في الموقع، وتم نقلها من موقعها الأصلي إلى متنزه مادبا الأثري بهدف المحافظة عليها وحمايتها وترميمها.","bibliography":"\\- .De Vaux, R. “Une Mosaïque Byzantine a Ma'in (Transjordanie).” Revue Biblique, 1938, pp. 227 – 258 \n\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- .Piccirillo, M. “Le Antichita Bizantine de Ma'in e Dintorni.” Liber Annuus, no. 35, 1985, pp. 339 – 364 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical \n.and Archaeological Study. Princeton, 1995","dynasty":"الفترة الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 84 - 87).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["حرب الأيقونات؛ صحن الكنيسة؛ فسيفساء؛ قطع فسيفسائية؛ كنيسة؛ نقش."],"materials":["مكعبات من الفسيفساء الحجرية."]},"4159a293-3ddf-5001-9a68-0994c000b7d3":{"name":"بلاطة","short_description":"تنتمي هذه البلاطة لعصر الحكم التيموري في إيران وآسيا الوسطى (عام 771-913 هجرية /370 -1507 ميلادي) .لقد قامت الأسرة الحاكمة العظيمة والأخيرة التي ظهرت من سهول آسيا الوسطى ، وهم التيموريون برعاية إقامة الأبنية التي كانت غالبا تنشأ على نطاق ضخم وتكسى بإكساء تزييني رائع من البلاط المزجج الناصع. ونظرا لأن المادة الإنشائية الأساسية كانت الطوب المشوي الملون الداكن فإن البلاطات المزججة أعطت التزيين الملون. وإن عناصر التصميم المزهر لهذه البلاطة تم قصها من بلاطات مزججة ذات ألوان مختلفة وجمعت كفسيفساء ، وقد وضعت في مكانها على سطح البناء الخارجي حيث انضمت لأجزاء أخرى لتشكيل جزء أكبر من تصميم أكثر تعقيدا. وفي الواقع هناك العديد من البلاطات المتطابقة تقريبا أو المرتبطة في مجموعات متحفية أخرى في برلين (MIA ) وشيكاغو (AIC ) وباريس ( MdL ).","type":"عناصر معمارية","holder":"متحف مقاطعة لوس أنجلس للفن","dates":"القرن التاسع الهجري /الخامس عشر الميلادي","location":"لوس أنجلس","dimensions":"59.7 × 3.8 سم","method_for_datation":"التزيين والنظام اللوني والتقنية ترتبط بشكل وثيق مع البلاطات التي ما تزال مركبة في الأبنية التيمورية كما على سبيل المثال في مسجد ومجمع مدرسة جوهر شاد ، هيرات ، التي تعود لعام 820-841 هجري/1417-38 ميلادي.","method_for_provenance":"تقنية البلاط الفسيفسائي وهي شكل من التزيين المعماري التي فيها تجمع قطع السيراميك المزججة ذات أشكال وأحجام مختلفة معا لتوليد جدار متعدد الألوان هي مرتبطة بشكل خاص بالأراضي الإيرانية.","provenance":"إيران أو آسيا الوسطى","obtention":"كانت القطعة سابقا في إطار خشبي من طراز القرن التاسع عشر مما يعني أنها تركت في مكانها الأصلي منذ ذلك الحين . مجموعة سي إدوارد ويلز ( توفي أواخر القرن العشرين) ، كونكتيكت حتى عام 977 (مزاد Sotheby Parke-Bernet ، نيويورك ، فيراير 1977، مزاد 3948 ، دفعة 72 بيعت إلى ) ، مجموعة معن ز. مادينا (1926 -2013) ، نيويورك ،حتى 2002 ( بيعت إلى) LACMA ، مجموعة مادينا للفن الإسلامي ، هدية من كاميليا شاندلدر فروست.","dynasty":"العصر التيموري","translator":"أحمد باسل رضوان","keywords":["بلاطة ، عجينة خزف ، سيراميك ، مزجج ، بلاطات مزججة ، فسيفساء ، تيموري ، أشكال مزهرة ، عنصر معماري"],"materials":["عجينة خزف ، مزججة ومقصوصة الشكل ومجمعة بشكل فسيفساء"]},"486238d7-a097-5c5c-aed4-3125d1f36409":{"name":"أرضية فسيفسائية.","description":"بُني العديد من القصور في الأراضي السورية الفلسطينية خلال الفترة الأموية في النصف الأول من القرن 2 / 8، مثل قصر هشام بن عبد الملك في أريحا، وقصري الحير الغربي والشرقي في سوريا، وقصير عمرة والقصرالأموي في قلعة عمّان وقصر الحلابات والموقر والقسطل في الأردن. هذه القصور كانت غنية بزخارفها الجصية ورسوماتها الجدارية وأرضياتها الفسيفسائية. \n \nاكتشفت هذه الأرضية الفسيفسائية بطريق الصدفة عام 2000 م عن طريق بعض الحفريات غير الشرعية في موقع القسطل. لحسن الحظ، الأرضيات الفسيفسائية في الغرف الشمالية من القصر محفوظة بشكل جيد. وهي مثال جيد للنوعية الممتازة للفسيفساء التي أنتجت في الفترة الأموية في مثل هذه القصور. \n \nالأرضية الفسيفسائية في الغرفة الشمالية تبلغ أبعادها 3030 × 3030 م، وتتألف من صرّة مركزية يحيط بها إطار من الجدلات المحفوفة بخطوط محولة إلى شكل حرف Tبألوان متعددة. أمّا المركز فيتشكل من إطارين مجدولين متقاطعين يؤلفان إطاراً ثماني الشكل يحوي في وسطه الموضوع الرئيسي للوحة: لوحة أسد يفترس ثوراً. وتظهر في اللوحة مخالب الأسد وأسنانه الحادة وهي تخترق عنق الثور محاولاً إسقاطه على الأرض. هذه الفسيفساء ذات نوعية عالية خاصة من ناحية التعدد الكبير للألوان المستخدمة وحجم المكعبات الفسيفسائية والظلال، ووظفت جميعها لخلق مشهد أقرب إلى الحقيقة. يظهر على زوايا الأرضية أشكال طيور ونباتات نفذت على خلفية بيضاء اللون ضمن أرباع دوائر. أما الإطار الموجود في الجهة الشمالية الشرقية فيصور شكل بطة تدير رأسها إلى الخلف. ويظهر في الزاوية الجنوبية الشرقية طير يأكل شيئاً من النبات: الإطارات الأخرى في الجهات الشمالية والجنوبية والغربية محفوظة جزئياً، ومن الممكن أنها كانت تحمل صوراً لطيور ونباتات. \n \nالغرفة الجنوبية تشبه الغرفة الشمالية وأرضيتها الفسيفسائية تشبه الأرضية الفسيفسائية في الغرفة الشمالية من حيث تشكيلاتها الهندسية وإطاراتها، غير أن المشهد المركزي مختلف إذ يحتوي على صورة فهد يفترس غزالاً. هذا المشهد أيضاً يبدو حقيقياً وواقعياً، إذ أنه يظهرالتفاصيل مثل العيون الحادة والأنياب التي تخترق عنق الغزال وتجعله ينزف بشدة. هنا يمكن للمرء أن يشعر بالعنف الشديد للفهد والعذاب الذي يعاني منه الغزال. إن مشاهد مثل هذه كانت مرتبطة بإظهارالقوة، وهي توّجه رسالة تحذيرلأعداء الأمويين. يمكن رؤية أمثلة مشابهة لهذه الأرضيات في القصورالأموية، مثل قصر الحلابات في الأردن، وقاعة الاستقبال في مجمع الحمامات في خربة المفجر في أريحا.","short_description":"أرضيتان فسيفسائيتان، من القسطل، الذي أمر بإنشائه يزيد بن عبد الملك (الذي حكم ما بين عامي 101 إلى 105 هـ/من 720 إلى 724م) أو ابنه الوليد (الذي حكم ما بين عامي 125 – 126 هـ/من 743 إلى 744م)؛ إحداهما تصور أسداً ينقضُّ على ثور، والأخرى فهداً يطارد ظبياً. اقترنت مثل هذه المشاهد باستعراض القوة، والتنبيه إلى حتمية هزيمة الخصوم.","owner":"مجمع القصر في القسطل.","initial_owner":"يزيد بن عبدالملك (حكم في الفترة 101 – 105 / 720 - 724) وابنه الوليد الثاني (حكم في الفترة 125 – 126 / 743 - 744).","dates":"101-105 ﻫ/ 720 - 724 م ، أو 125- 126 ﻫ/ 743 - 744 م.","location":"القسطل","dimensions":"الطول:3.30 م؛ العرض: 3.30 م.","method_for_datation":"القصر والفسيفساء الموجودة فيه أُرجع تاريخها إلى الفترة الأموية عن طريق ابيات من الشعر للشاعر كثير عزة الذي ربط قصري الموقر والقسطل بالخليفة يزيد ابن عبد الملك وابنه الوليد الثاني. كذلك فإن التنقيبات الأثرية التي أجريت عام 1983 كشفت عن كسر فخارية وقطع جصية محفورة وقطع من الفريسكو تدل على أن المبنى تم بناؤه في الفترة الأموية.","method_for_provenance":"حُدِّدت القسطل مكاناً لصنع القطعة لأنه تم العثور عليها في مجمع القصر في القسطل، وما زالت في موقعها الأصلي.","provenance":"القسطل.","bibliography":"\\- .Bisheh, G. “Two Umayyad Mosaic Floors from Qastal.” Liber Annuus, no. 50, 2000, pp. 431- 437 \n\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical and \n.Archaeological Study. Princeton, 1995","dynasty":"الفترة الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 112- 114).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["أشكال حيوانية؛ أشكال نباتية؛ أشكال هندسية؛ فسيفساء؛ قصر."],"materials":["فسيفساء."]},"55dc9af5-2f7e-57e8-aec1-9a5889250732":{"name":"زبدية زجاجية بتقنية ميلفيوري","short_description":"كانت تقنية الميل فيوري (ألف زهرة) قد أعيد اكتشافها في القرن الثامن أو التاسع في بلاد الرافدين وربما استخدمت في إنتاج القطع للخلفاء العباسيين في بغداد وسامراء . وإن عددا من الزبديات والبلاطات الباقية تبين أن التقنية قد استخدمت في كل من المفروشات المحلية والتزيين الداخلي والأمثلة مثل هذا المبين هنا تظهر تعقيد ومجال عمل صانعي الزجاج العباسيين.","type":"زجاج","holder":"متحف المتروبوليتان للفن","dates":"أواخر القرن الثاني – القرن الثالث الهجري / القرن التاسع الميلادي","location":"نيويورك","dimensions":"الارتفاع : 5.1 سم قطر الإطار : 14.3 سم","provenance":"ربما العراق","obtention":"مؤسسة روجرز ،2001 البائع : معرض منصور ، لندن المالك السابق (التاجر ): (معرض منصور ، لندن لغاية 2001 ، بيع إلى متحف المتروبوليتان للفن)","bibliography":"Journal of Glass Studies 44 (2002). p. 217, ill. (b/w).Metropolitan Museum of Art Bulletin vol. 59 (2000–2001). pp. 14–15, ill. (colour).Carboni, Stefano, Whitehouse, David, Brill, Robert H. and Gudenrath, William, Glass of the Sultans, New Haven: Yale University Press, 2001: 58–59.Ekhtiar, 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).","dynasty":"العصر العباسي","translator":"أحمد باسل رضوان","keywords":["العصر العباسي ، العراق ، ميل فيوري ، زجاج ، زبدية ، زجاج ملون ،الحياة اليومية ، مستلزمات محلية ، أوعية محلية ، تزيين مزهر ، أشكال مزهرة"],"materials":["زجاج ،أخضر ، أصفر غير شفاف ، وفسيفساء حمراء غير شفافة ، ملتحم / منصهر ، متدلي ، مشحوذ ومصقول ، قاعدة / رجل مضافة"]},"5722c4e0-76c3-5fb1-8956-11019061b77b":{"name":"لوحة بلاطة فسيفسائية ذات تصميم ذو أزهار وأشجار كرمة متداخلة","short_description":"اللوحة الفسيفسائية هي بشكل الطائرة الورقية ومقصوصة من الأسفل وهي مثبتة في إطار من قالب بلاستر أبيض مؤطر.ولها حدود خارجية من كل الأطراف عدا الأسفل حيث يوجد عصابة فيروزية وبعدها عصابة سوداء وبعدها عصابة ذهبية مسمرة وكل واحدة هي أقل ثخانة من التي تليها. والأرضية الرئيسية للفسيفساء هي بلون أزرق ملكي ومزينة بسلسلة من أشجار الكرمة المتداخلة باللون الذهبي المسمر والأبيض والفيروزي ومفصولة عن بعضها بأزهار مختلفة ذات بتلات بلون وردي شاحب أو أسود وكل منها مؤطرة خارجيا باللون الأبيض ومن بين الأزهار وأشجار الكرمة يوجد أوراق بلون أخضر الغابة مؤطرة خارجيا بالذهبي المسمر والذي يتراوح في إشباعه والعنصر المركزي للوحة هو مفصص بشكل مقبب ذو أرضية سوداء ومحاط بلون ذهبي مسمر مزين بأشجار الكرمة الفيروزية وأزهار ذات بتلات بمراكز وردية وذلك حول زهرة مركزية مؤطرة خارجيا بالأبيض ومع وردي شاحب ومركز بشكل دمعة محاط بإطار خارجي أزرق ملكي وبعدها بتلات وردية بشكل دمعة وبعدها أوراق مدببة بلون أزرق ملكي.","type":"خزف","holder":"متحف سانت لويس للفن","dates":"885-886 هجري /1480-81 ميلادي","location":"سانت لويس","dimensions":"الطول : 113 سم × العرض : 76.8 سم","method_for_datation":"مراجعة دراسية و/أو مقارنة مع قطع مشابهة من نفس الفترة","method_for_provenance":"هذه اللوحة أتت من البوابة الداخلية لضريح رجل مقدس في أصفهان في وسط إيران","provenance":"أصفهان ، إيران ، آسيا","obtention":"شراء المتحف 1923","translator":"أحمد باسل رضوان","keywords":["فسيفساء ، بلاطة ، لوحة ، خزف ، مزجج ، عجينة خزف ، أصفهان ، إيران ، آسيا ، فارسي"],"materials":["وعاء خزفزي مزجج"]},"9fdca272-4041-5355-84f2-5cf19779524e":{"name":"لوحة من الفسيفساء.","description":"تشكل هذه اللوحة جزءا من فسيفساء تقارب مساحتها الخمسين متراً مربعاً. كانت الزخرفة الأولية محاطة بحاشية تتوالى فيها الأشكال الهندسية والعناصر الزهرية. تتميز أرضية الفسيفساء بزخارف من المشبكات الجديلية رباعية الفصوص، التي تتداخل فيما بينها، وتؤدي إلى رسم أشكال هندسية متنوعة. وبعد رفع الفسيفساء، جرى توزيع عدد من اللوحات المكونة لها على عدة متاحف تونسية. \nتتناوب الخطوط الحمراء والبيضاء والسوداء في اللوحة التي حصل عليها متحف رقادة، وتحدد زخرفة على شكل ورقة ليلج محاطة ضمن مثمن، وزخرفة تويجة تضم أربعة نهايات بيضوية الشكل واقعة ضمن دائرة، ثم حصرت العناصر كلها بين جدائل زخرفية بيضوية. تشكل هذه الفسيفساء مثالاً فريداً من الفن الإفريقي (التونسي) خلال العصر الفاطمي؛ لكن بعض مؤرخي الفن يؤكدون أنها تشهد على استمرار فن الفسيفساء في تونس إبان العصور الوسطى. وبالفعل، فإن تقنية تنفيذ الفسيفساء في مدينة المهدية تمثل استمراراً للتقليد القديم لإفريقيا الرومانية والبيزنطية، ولكن كل شيء يحمل على الاعتقاد أنها من صنع الحرفيين البيزنطيين، الذين تم اختطافهم وسجنهم خلال الغارات المتوالية التي قام بها جيش القائم على جزيرة صقلية وعلى إيطاليا.","short_description":"تشكل هذه الفسيفساء مثالا فريدا للفن الإفريقي خلال الفترة الفاطمية؛ ويظن بعض مؤرخي الفن أنها تخلد التقليد القديم لإفريقيا الرومانية والبيزنطية. وقد كانت هذه اللوحة تشكل جزءا من فسيفساء تقارب مساحتها 58 متر مربع، تجمع بين الأشكال الهندسية والمواضيع الزهرية.","holder":"متحف الفنون الإسلامية؛ رقادة؛ القيروان.","initial_owner":"الأمير الفاطمي القًائم.","dates":"عام 303 هجري/916 ميلادي.","location":"المهدية.","dimensions":"الطول: 107 سم؛ العرض: 106 سم.","method_for_datation":"تم استخراج هذه الفسيفساء خلال التنقيبات التي جرت في عام 1956 في قاعة الاستقبال أو في قاعة الاجتماعات المتواجدة في قصر القًائم. ومن المنطقي، أن نرجع تأريخها إلى فترة تشييد هذا القصر في عام 303 هجري/916 ميلادي، كما تؤكد ذلك المصادر التاريخية. لكن، قد يكون من الممكن أيضاً نسبتها إلى فترة لاحقة من أعمال التزيين والترتيب التي جرت في قلب المعلمة، والتي يمكن تأريخها على الأرجح إبان فترة حكم القًائم، قبل تأجج ثورة الخارجي الملقب ب\" صاحب الحمار\" في عام 332 هجري/944 ميلادي.","method_for_provenance":"يشهد اكتشاف هذه الفسيفساء في موقعه على أنه إنتاج محلي، ولكن أصل الحرفيين يبقى في حاجة لدلائل للإثبات.","provenance":"(هنا المصدر) تنقيبات في قصر القائم في مدينة المهدية.","obtention":"بعد نزع الفسيفساء من قصر القائم في مدينة المهدية، تم عرضها في متحف باردو. وفي عام 1986، جرى إرسال ثلاث لوحات إلى مستودع المتحف الوطني للتراث في القيروان، حصل متحف الفنون الإسلامية في رقادة، في عام 1993،على واحدة منها ليتم عرضها في الجزء الثاني من الترتيبات الجارية بالمتحف (عام 2005).","bibliography":"\\- Ennaïfer, M., “La mosaïque africaine à la fin de l'antiquité et au début de l'époque médiévale”, Fifth \n.international colloquium on ancient mosaics, USA, 1994, pp. 307-318 \n\\- .Louhichi, A., “La mosaïque de Mahdia : contexte et interprétation”, Africa, XX, 2004, pp. 143-166 \n\\- Zbiss, S. M., “Mahdia et Sabra Mansuriya : nouveaux documents d'art fatimide d'Occident”, Journal \n.asiatique, CCXLIV, 1956, pp. 79-93","dynasty":"الفترة الفاطمية","linkcatalogs":".Ifriqiya, pp. 176-177","author":"مراد رماح.","copy_editor":"مارجوت كورتز","translator":"غادة الحسين من: اللغة الفرنسية","translation_copy_editor":"(من: الفرنسية).احمد الطاهري","keywords":["الفسيفساء؛ زخرفة هندسية ؛ زخرفة زهرية."],"materials":["قطع فسيفساء من الحجر الجيري."]},"c258b71a-ed5a-5e3f-a8b3-0c790492d086":{"name":"لوحة فسيفساء","short_description":"وصلت تقنية الفسيفساء إلى أوجها خلال عصر الدولة التيمورية. وهذه اللوحة تتضمن أزرق الكوبالت ، اللون الفيروزي ، الأخضر الزمردي والأبيض وفسيفساء كهرمانية. وفي المركز يوجد آية من القرآن مكتوبة بالخط الكوفي الأبيض.","type":"فسيفساء","holder":"متحف الفنون الشرقية","dates":"القرن التاسع الهجري / القرن الخامس عشر الميلادي","location":"تورينو","dimensions":"الارتفاع : 43 سم ، الطول : 72.6 سم","provenance":"آسيا الوسطى","dynasty":"عصر الدولة التيمورية","translator":"أحمد باسل رضوان","keywords":["فسيفساء ، خزف ، تيموري"],"materials":["فسيفساء"]},"eddda363-37ec-580d-af63-63f93facde5f":{"name":"لــــوحة رخاميــة.","description":"تتكون هذه اللوحة الرخامية من أربعة عقود مدببة صمّاء شكِّلت من قطع رخامية بيضاء وسوداء وصفراء وحمراء. وترتكز هذه العقود على ثلاث دعامات وسطية مربعة ودعامتين طرفيتين مستطيلتين. ويؤطر الدعامات الوسطية من الأعلى والجوانب إطارات بيضاء عريضة، أما الدعامتان الطرفيتان فقد أطرت كل منهما من الأعلى ومن جانبها الداخلي فقط. وتحوي هذه الإطارات داخلها مسطحات حمراء يتوسط كل منها في الدعامات الوسطية حليتان دائريتان من اللونين الأبيض والأحمر. وقد ملئت المسطحات المحصورة داخل العقود بزخارف هندسية تتكون من صلبان ونجوم ثمانية صنعت من رخام متعدد الألوان وأطرت بالصدف. أما المسطحات المثلثة الواقعة بين المنحنيات الخارجية للعقود فقد ملئت بمضلعات ونجوم سداسية تنقسم بدورها إلى وحدات صغيرة مثلثة ونجمية. واستخدم الصدف في تزيين حواف هذه المسطحات والوحدات المثلثة الصغيرة. كانت اللوحات الرخامية المكفتة بعدة أنواع من الحجر والصدف من العناصر الزخرفية الأساسية للعمارة المملوكية المبكرة، واستخدمت بصفة أساسية لإبراز المحراب والقبلة. وقد ظهر هذا النمط من الزخارف بشكل متميز في مجمع السلطان قلاوون المشيد عام 683 – 684 هـ/ 1284 - 1285 م. واستمر هذا التقليد خلال القرن 15 م، إذ نجد أمثلة مشابهة في ضريح وخانقاه برسباي، وهو مجمع شيد عام 835 هـ / 1431 م في مدافن القاهرة الشمالية (أنظر كتالوج الفن المملوكي، ص 102 – 103). ويحوي محراب هذا المجمع لوحات زينت بعقود تشبه العقود التي تحويها هذه اللوحة.","short_description":"هذه اللوحة الرخامية المكفَّتة بالأحجار متعدِّدة الألوان والصدف، تحمل السمات الزخرفية الأساسية للعمارة المملوكية المبكرة، وقد استخدمت بصفة رئيسية لإظهار محاريب القبلة. ونرى هذا الأسلوب في كثير من االعمائر، مثل ضريح السلطان قلاوون.","holder":"متحف الفن الإسلامي","dates":"القرن 9 هـ / 15 م.","location":"القاهرة","dimensions":"الارتفاع: 29.5 سم ؛ الطول: 104 سم.","method_for_datation":"أنظر أعلاه.","method_for_provenance":"أنظر أعلاه.","provenance":"القاهرة.","obtention":"أهداها برمس نجار، أحد تجار الآثار، للمتحف عام 1903 م. ومن الجدير بالذكر أن المتحف اعتمد في بداية تجميع مقتنياته على الإهداء من الأفراد والشخصيات العامة.","bibliography":"\\-مصطفى، محمد. دليل متحف الفن الإسلامي. الطبعة الرابعة، القاهرة، 1978. - Atil, E. Renaissance of Islam: Art of the Mamluks. Washington, D. C., 1981. \n \nGrabar , O. “Architecture and Art,” in: Hayes, J. R. ed. The Genius of Arab Civilization: Source of Renaissance. London, 1983. \n \nEttinghausen, R. and Grabar, O. The Art and Architecture of Islam: 650 – 1250. London and New York, 1987.","dynasty":"العصر المملوكي","linkcatalogs":"IAM_EG_EN_001","author":"السيد محمد خليفة حماد","copy_editor":"مجد موسى","keywords":["أشياء دينية؛ تكفيت؛ جص؛ رخام؛ زخرفة هندسية؛ صدف؛ فسيفساء؛ لوحة."],"materials":["رخام من الألوان الأبيض والأصفر والأحمر والأسود مزين بالصدف وموضوع ضمن إطار من الجص."]},"fc496894-497a-5358-b6b4-2e9135336e42":{"name":"فسيفساء مسوح.","description":"تقع كنيسة مسوح في حسبان على بُعد 10 كم شمال مدينة مادبا. في عام 1970، أجريت فيها عدة تنقيبات أثرية اتضح من خلالها أن الموقع يرجع إلى عدة فترات بدءاً من القرن 5 م ( قبل الإسلام، وقبل التأريخ الهجري الذي يبدأ عامه الأول في 16 تموز عام 622 م) وحتى القرن 1 / 7. \n \nعُثر في الكنيسة على طبقتين من الأرضيات الفسيفسائية: تعود الطبقة السفلية منها إلى القرن 6 م، ولم يطرأ عليها أي تغيير؛ وتعود الطبقة العلوية من الأرضية إلى القرن 7 م، ودُمِّّرت أجزاء كبيرة منها خلال حرب الأيقونات (إزالة الأشكال الإنسانية وأشكال الحيوانات) وتم استبدالها بقطع فسيفسائية أكبر حجماً. \n \nتتكون هذه الأرضية الفسيفسائية من سجادة مزخرفة بشبكة مستطيلة من الوريدات يظهر داخل بعضها أشكال حيوانات، أحدها يصور أسداً ينظر باتجاه كتابة يذكر فيها تاريخ بناء هذه الكنيسة. وهناك كتابة أخرى تظهر في هذه الأرضية الفسيفسائية تبين أسماء الأشخاص الذين بنوا الكنيسة، وأسماء المتبرعين للكنيسة في زمن المطران ثيودور، وأعضاء رجال الدين المسيحيين. \n \nتوجد أرضية فسيفسائية في المذبح زخرفت بلفائف من أوراق العنب محاطة بإطار مزخرف بأوراق الأكانثوس يوجد داخلها أشكال حيوانية ونباتية دُمِّرت خلال حرب الأيقونات. \nتحتوي الأرضية الفسيفسائية الموجودة في صحن الكنيسة على إطار من نبتة الأكانثوس يحيط بلوحين مزخرفين بأشكال آدمية وحيوانية ضمن شبكة مصلبة ذات نهاية مقعرة تملأ الجزء الشرقي من صحن الكنيسة. تصور اللوحة الشرقية مشهداً لمركب وصياد معه صنارة ودوائر مليئة بطيور وأزهار. دُمِّرت هذه الأشكال خلال حرب الأيقونات، واستبدلت بزخارف نباتية وصلبان وبعض المباني. كذلك فإن مناظر الصيد التي هي جزء من الشريط الزخرفي لفسيفساء الكنيسة قد دُمِّرت خلال فترة حرب الأيقونات في القرن 1 / 7. \n \nوبعد هذه الفترة تم إعادة بناء واستخدام الكنيسة، ولكن جزءاً من الأعمدة الأساسية أزيلت وغطيت حفر الأساس بقطع فسيفسائية بيضاء اللون.","short_description":"لكنيسة مسّوح طبقتا فسيفساء أرضيتان. السفلى العائدة إلى القرن السادس الهجري/ الثاني عشر الميلادي، مُتعرِّضة لتخريب حاطمي الأوثان، في حين أن الطبقة العليا العائدة إلى القرن الأول الهجري/ السابع الميلادي، تعرَّضت لنوع من التعديل المنهجي على أيدي حاطمي الأوثان والأيقونات. جرى بعناية إبدال الصور بصلبان، أو أشكال نباتية ومعمارية.","holder":"متنزه مادبا الأثري.","dates":"النصف الثاني من القرن 1 – النصف الأول من القرن 2 / النصف الثاني من القرن 6 – النصف الأول من القرن 7.","location":"مادبا.","dimensions":"الطول: 25 م؛ العرض: 15 م.","method_for_datation":"أرخت الأرضية الفسيفسائية استناداً إلى النقش الذي تحويه، إذ يشير إلى فترة المطران ثيودور (نهاية القرن 6 م). يستنتج( Van Eldern 1986)، من خلال الطبقات الأثرية الموجودة في الكنيسة، أن الكنيسة دُمِّرت خلال حرب الأيقونات في نهاية القرن 6 م. ويعتقد (Schick 1995) أن مسوح قد سكنت في الفترة العباسية.","method_for_provenance":"حددت حسبان مكاناً لصنع القطعة نظراً لأنه تم العثور على الفسيفساء خلال الحفرية الأثرية التي أجريت في حسبان عام 1970.","provenance":"حسبان.","obtention":"عُثر على الأرضية الفسيفسائية أثناء التنقيبات الأثرية التي أجريت في الموقع، ولكن تم نقلها من موقعها الأصلي إلى متنزه مادبا الأثري بهدف المحافظة عليها وترميمها.","bibliography":"\\- .Piccirillo, M. The Mosaics of Jordan. Amman, 1993 \n\\- ,Piccirillo, M. “La Chiesa di Massuh e il Territorio della Diocesi di Esbus.” Liber Annuus, no. 33, 1983 \n.pp. 335 – 346 \n\\- Schick, R. The Christian Communities of Palestine from Byzantine to Islamic Rule: A Historical \n.and Archaeological Study. Princeton, 1995 \n\\- .Van Eldern, B. “Byzantine Churches and Mosaics in Transjordan.” In: Geraty, L. and Herr, L. eds \n.\\[.The Archaeology of Jordan and Other Studies. \\[n. d","dynasty":"الفترة البيزنطية / الأموية","linkcatalogs":"الأمويون: نشأة الفن الإسلامي (ص 85).","author":"غادة اليوسف","translator":"غادة اليوسف, نوفة ناصر","translation_copy_editor":"مجد موسى","keywords":["حرب الأيقونات؛ حركة تشويه الصور؛ فسيفساء؛ كنيسة ."],"materials":["مكعبات فسيفسائية حجرية."]}}

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1	- {"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.","artist_birthdate":"1577","artist_birthplace":"Cento (Ferrara)","artist_deathdate":"1639","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","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.","dynasty":"Abbasid","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","short_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","keywords":["Woodwork","Furniture","Mosaic","Wood"],"materials":["Woodwork; bone, ceramic"]},"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"Mosaic of Virgil","short_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","keywords":["Mosaic","Virgil","Hadrumetum","Sousse"],"materials":["Paper"]},"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.","dynasty":"Umayyad","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.","dynasty":"Timurid","author":"LACMA Staff","keywords":["architectural element","ceramics","floral motifs","Fritware","galzed","glazed tiles","mosaic","tile","Timurid"],"materials":["Fritware, glazed, cut to shape, and assembled as mosaic"]},"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.","dynasty":"Umayyad","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).","dynasty":"Abbasid","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":["fused, slumped, ground, and polished, applied foot","Glass, green, opaque yellow, and opaque red mosaic"]},"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","dynasty":"Timurid","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","short_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","keywords":["Woodwork","Furniture","Floral decoration"],"materials":["Woodwork; bone, ceramic, silk"]},"7e932bea-47e5-5386-9498-0e48388f3e95":{"name":"Fountain","short_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","keywords":["Geometric decoration","Mosaic","Marble"],"materials":["Marble; mosaic"]},"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387":{"name":"Mosaic for the inauguration of the Musée du Bardo","short_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","keywords":["Musée du Bardo","Musée Alaoui"],"materials":["Mosaic"]},"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. \nIfriqiya: Thirteen Centuries of Art and Architecture in Tunisia, pp.176–7.","dynasty":"Fatimid","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","short_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","dimensions":"Diameter 33 mm","provenance":"Rome","keywords":["Assyrian revival"],"materials":["Gold, glass, mosaic"]},"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","dynasty":"Timurid","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.","dynasty":"Mamluk","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":["Marble in various colours: white, yellow, red and black, embellished in mother-of-pearl mosaic and placed within a stucco frame."]},"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.","dynasty":"Byzantine / post-Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","keywords":["Church","iconoclasm","inscription","mosaic","tesserae","topoynm."],"materials":["Mosaic."]}}
1	+ {"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.","artist_birthdate":"1577","artist_birthplace":"Cento (Ferrara)","artist_deathdate":"1639","artist_deathplace":"Rome","copyright":"Copyright image: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi, Marina Minozzi","translator":"Laurence Nunny","translation_copy_editor":"Mandi Gomez","keywords":["Portrait; mosaic; tesserae; realism; coat of arms; patronage; tile; glass; marble"],"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.","dynasty":"Abbasid","copyright":"The Metropolitan Museum of Art, Samuel D. Lee Fund, 1937","keywords":["Abbasid; Egypt; wood; mosaic; bone inlay; architectural element; architectural decoration; carpentry; cenotaph; column; funerary object; geometric patterns; geometric decoration; geometric design; inlay; inlaid; Sassanian influence; Byzantine influences"],"materials":["Wood (fig); mosaic with bone and four different types of wood"]},"26fd8fdd-9bc0-5670-be93-f86c07c23383":{"name":"Dresser","short_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","keywords":["Woodwork; Furniture; Mosaic; Wood"],"materials":["Woodwork; bone, ceramic"]},"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"Mosaic of Virgil","short_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","keywords":["Mosaic; Virgil; Hadrumetum; Sousse"],"materials":["Paper"]},"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.","dynasty":"Umayyad","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.","dynasty":"Timurid","author":"LACMA Staff","keywords":["Tile; fritware; ceramics; galzed; glazed tiles; mosaic; Timurid; floral motifs; architectural element"],"materials":["Fritware, glazed, cut to shape, and assembled as mosaic"]},"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.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","keywords":["Palace; mosaic; floral decoration, geometric decoration; 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).","dynasty":"Abbasid","copyright":"The Metropolitan Museum of Art, Rogers Fund, 2001","keywords":["Abbasid; Iraq; millefiori; glass; bowl; coloured glass; daily life; domestic furnishings; domestic vessels; floral decoration; floral motifs"],"materials":["Glass, green, opaque yellow, and opaque red mosaic; fused, slumped, ground, and polished, applied foot"]},"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","dynasty":"Timurid","keywords":["Mosaic; Tile; Panel; Ceramics; Glazed; Fritware; Isfahan; Iran; Asia; Persian"],"materials":["Glazed fritware"]},"63191935-a807-58a4-b11e-292c88a654f7":{"name":"Dawud Pasha’s living room","short_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","keywords":["Woodwork; Furniture; Floral decoration"],"materials":["Woodwork; bone, ceramic, silk"]},"7e932bea-47e5-5386-9498-0e48388f3e95":{"name":"Fountain","short_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","keywords":["Geometric decoration; Mosaic; Marble"],"materials":["Marble; mosaic"]},"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387":{"name":"Mosaic for the inauguration of the Musée du Bardo","short_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","keywords":["Musée du Bardo; Musée Alaoui"],"materials":["Mosaic"]},"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. \nIfriqiya: Thirteen Centuries of Art and Architecture in Tunisia, pp.176–7.","dynasty":"Fatimid","author":"Mourad Rammah","copy_editor":"MWNF","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Mosaic; geometric decoration; floral decoration"],"materials":["Limestone tessera (mosaic tiles)."]},"bc794754-d095-53e4-90c2-e4f2b5406077":{"name":"Assyrianising pendant","short_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","dimensions":"Diameter 33 mm","provenance":"Rome","keywords":["Assyrian revival"],"materials":["Gold, glass, mosaic"],"artist":"Alessandro and Augusto Castellani"},"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","dynasty":"Timurid","keywords":["Mosaic; ceramic; Timurid; tilework"],"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.","dynasty":"Mamluk","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":["Religious objects; inlay; stucco; marble; geometric decoration; mother-of-pearl; mosaic; panel; tilework"],"materials":["Marble in various colours: white, yellow, red and black, embellished in mother-of-pearl mosaic and placed within a stucco frame."]},"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.","dynasty":"Byzantine / post-Umayyad","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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1	- {"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.","dynasty":"Omeyas","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.","dynasty":"Omeyas","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.","dynasty":"Fatimíes","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.","dynasty":"Mamelucos","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":["Mármol de varios colores (blanco, amarillo, rojo y negro), adornado con mosaico de nácar y enmarcado con estuco."]},"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.","dynasty":"Bizantinos y periodo islámico postomeya","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."]}}
1	+ {"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.","dynasty":"Omeyas","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Iglesia; iconoclasta; 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.","dynasty":"Omeyas","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Palacio; mosaico; decoración floral; decoración geométrica; imaginería zoomorfa."],"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.","dynasty":"Fatimíes","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"Laura Tortosa Rey-Stolle","translation_copy_editor":"Rosalía Aller","keywords":["Mosaico; decoración geométrica; decoración floral"],"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.","dynasty":"Mamelucos","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Lucía Rodríguez Corral","translation_copy_editor":"Miguel Garcia","keywords":["Objetos religiosos; incrustación; estuco; mármol; decoración geométrica; nácar; mosaico; panel."],"materials":["Mármol de varios colores (blanco, amarillo, rojo y negro), adornado con mosaico de nácar y enmarcado con estuco."]},"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.","dynasty":"Bizantinos y periodo islámico postomeya","author":"Ghada Al-Yousef","copy_editor":"Mandi Gomez","translator":"Yaiza Martínez","translation_copy_editor":"Lucía Rodríguez Corral","keywords":["Iglesia; iconoclasta; inscripción; mosaico; teselas."],"materials":["Mosaico."]}}

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1	- {"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"La mosaïque de Virgile","short_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","keywords":["Mosaique","Virgile","Hadrumète","Sousse"],"materials":["Papier"]},"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.","dynasty":"Période omeyyade","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.","dynasty":"Omeyyade","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","short_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","keywords":["Musée du bardo","Musée Alaoui"],"materials":["Mosaïque"]},"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.","dynasty":"Fatimide","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.","dynasty":"Période mamelouke","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":["Mosaïque de marbre de diverses couleurs (blanc, jaune, rouge et noir) rehaussée de nacre, dans un cadre en stuc."]},"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.","dynasty":"Byzantine, post-ommeyyade","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."]}}
1	+ {"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05":{"name":"La mosaïque de Virgile","short_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","keywords":["Mosaique; Virgile; Hadrumète; Sousse"],"materials":["Papier"]},"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.","dynasty":"Période omeyyade","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.","dynasty":"Omeyyade","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":["palais ; mosaïques ; décoration florale ; décoration géométrique ; imagerie zoomorphique"],"materials":["Mosaïque."]},"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387":{"name":"Mosaïque inaugurale du musée du Bardo","short_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","keywords":["Musée du bardo; Musée Alaoui"],"materials":["Mosaïque"]},"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.","dynasty":"Fatimide","linkcatalogs":"IAM_TN_FR_001","author":"Mourad Rammah","copy_editor":"Margot Cortez","keywords":["Mosaïque; décoration géométrique; décoration florale"],"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.","dynasty":"Période mamelouke","linkcatalogs":"IAM_EG_FR_001","author":"Al-Sayyed Muhammad Khalifa Hammad","translator":"Jacques Bosser (de l'anglais).","translation_copy_editor":"Margot Cortez","keywords":["Objets religieux ; incrustations ; stucs ; marbres ; décoration géométrique ; nacre ; mosaïques ; panneaux"],"materials":["Mosaïque de marbre de diverses couleurs (blanc, jaune, rouge et noir) rehaussée de nacre, dans un cadre en stuc."]},"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.","dynasty":"Byzantine, post-ommeyyade","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."]}}

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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.","artist_birthdate":"1577","artist_birthplace":"Cento (Ferrara)","artist_deathdate":"1639","artist_deathplace":"Roma","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","dynasty":"Dinastia timuride","keywords":["~~mosaico","~~pannello~~","~~timuride"],"materials":["Mosaico di frammenti di ceramica"]}}
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.","artist_birthdate":"1577","artist_birthplace":"Cento (Ferrara)","artist_deathdate":"1639","artist_deathplace":"Roma","copyright":"Copyright immagine: Archivio fotografico Soprintendenza Speciale PSAE e Polo Museale della Città di Roma.","author":"Sofia Barchiesi","keywords":["Ritratto; mosaico; tessere; realismo; stemma; mecenatismo; vetro; marmo"],"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","dynasty":"Dinastia timuride","keywords":["Mosaico; pannello; timuride"],"materials":["Mosaico di frammenti di ceramica"]}}