@museumwnf/religious-life-data 1.0.2 → 1.0.4

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-{"021ca6c1-9f8d-5f9a-87db-f4c9193cbe1f":{"name":"Saint John the Baptist from a Deesis Tier","description":"John the Baptist was the cousin of Jesus Christ and preached in the Judean desert. He lived a life of self-denial by wearing camel hair clothing and eating only locusts and wild honey. The people of the region came to him to be baptized in the Jordan River. When Jesus asked to be baptized, John proclaimed that he was not worthy of such a task and that Christ should baptize him instead. Christ insisted, however, and during the baptism the Holy Spirit descended and a voice from heaven proclaimed, “This is my beloved Son in whom I am well pleased” (Matthew 3:17). John got into trouble when he criticized King Herod’s marriage to Herodias, who had a child from her previous marriage to Herod’s brother. Herod’s stepdaughter, Salome, convinced him to arrest John and demanded his head on a silver platter. Granting her wish, Herod ordered John beheaded. In this icon, John the Baptist stands in three-quarter profile and faces left. This icon was once part of a Deesis tier of an iconostasis and would have hung to the right of an icon of Christ in Majesty.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1450","location":"Clinton, Massachusetts","dimensions":"Height: 115cm, Width: 34.9cm, Depth: 4.7cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Sotheby's Auction in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"0268e426-50a7-5898-934e-642eb18157d3":{"name":"Chasuble of the green Persian verstements","short_description":"The ground fabric of this dalamtic, a silk in wark satin, is single-coloured. The centre and sleeve ends are decorated with a silk fabric from Persia. The manufacture of precious silk fabrics had a long-established tradition in Persia when it experienced its last climax under the Safaviden dynasty (AD 1501-1736). Silk fabrics of high quality showing naturalistic designs with reference to the contemporary miniature painting were typical products of the period.","type":"Parament","holder":"Kunsthistorisches Museum","dates":"Persian fabric, 17th century, manufacturing: Vienna, c. AD 1750","location":"Vienna","dimensions":"Height: 106cm, Width: 125cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Hof- and Burgpfarrkirche, Vienna","obtention":"From the Parish Church of the Hofburg?","bibliography":"Seipel, Wilfried (ed) and Schmitz-von Ledebur, Katja, *Hauptwerke der Geistlichen Schatzkammer. Kurzführer durch das Kunsthistorische Museum*, volume 7, Wien: Kunsthistorisches Museum, 2007: 126-127, Nr. 51.  \nSchmitz-von Ledebur, Katja, *Gottes Lob. Kirchliche Textilien aus der Zeit Maria Theresias*, exhibition catalogue Geistliche Schatzkammer, Wien: Kunsthistorisches Museum, 2016: 36-37, Nr. 1.","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["atlas","floral decoration","Habsburg","lampas","liturgical vestment","Persian textiles","Persian-Austrian relations","satin"],"materials":["even gold","even silver)","Ground fabric: warp satin (silk)","patterned","silver borders","trim: lampas (silk"]},"03306ff5-668c-5706-a70c-d5ed5a3886c1":{"name":"The Arrival of the Mahmal","description":"The painting is after is after Konstantin Makovsky’s 1876 work, ‘The Arrival of the Holy Carpet in Cairo’ (during this period the mahmal was often referred to as ‘the holy carpet’, or ‘le tapis sacré’ in French). It is not clear whether de Mango had seen Makovsky’s work or if he had access to the original photograph from which the painting was made. However, we do know that de Mango spent time in Cairo and was greatly inspired by life in the Middle East. An engraving of Makovsky’s work by R. Brendamour also appeared in a German periodical of 1893, and de Mango may have been aware of that version as well.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1921","location":"London","dimensions":"Height: 80 cm; Width: 101cm","place_of_production":"Pera, Turkey","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-%20and-the-arts-of-pilgrimage/mss-1356/","keywords":["Cairo","Egypt","hajj","pilgrimage","Religion"],"materials":["Oil on canvas"]},"040d5edd-ece2-5d65-a462-03b30e90b3e1":{"name":"Pieces from the Nur al-Din Zangi *minbar*.","description":"A collection of panels formed from small and medium-sized pieces of interlocking pinewood representing all that remains of the Minbar of Nur al-Din Zangi, which was crafted in Aleppo as a good omen for the conquest of Jerusalem. The *minbar* was destroyed in a fire of 1969 which damaged some of the sections of al-Aqsa Mosque, especially the southern, *qibla*, wall. Nur al-Din Zangi ordered the production of the *minbar* while preparing for the conquest of Jerusalem but he died before he could retake the city, and Salah al-Din (Saladin) undertook the transportation of the *minbar* from Aleppo to Jerusalem in AH 583 / AD 1187.  \nThe *minbar* was made from interlocking pine and inlaid with mother-of-pearl, ivory and pearls. The different components that constitute it are attached to each other by means of wooden nails and, in addition, the interlocking technique (*ta'sheeq*) is employed. The *minbar* was made up of three sections: the entrance, which faced *muqarnas* tiers, a staircase and a podium, which was covered by a kiosk. The door was composed of two leafs, important sections of which remain. The entrance opened onto the staircase with a wooden enclosure on both sides, crafted in the *mashrabiyya* technique. The staircase leads to the podium where the *khatib* would deliver the sermon.  \nThe *minbar* is rich in vegetal and geometric decorations as well as an arrangement of star-shaped medallions, each of which forms a complete decorative unit which, with the surrounding units, forms beautiful latticework (*mashrabiyya)*. The *minbar* also has a collection of epigraphic inscriptions that contain Qur'anic verses and an endowment (*waqf*) inscription of Nur al-Din Zangi and his son al-Salih, who accomplished what his father began. This is in addition to the inscriptions which bear the name of the craftsmen who made the *minbar*. The *minbar* of Nur al-Din is considered to be one of the most beautiful of the Islamic wooden *minbar*s.","short_description":"The remains of a *minbar* destroyed in 1969 in a fire that damaged al-Aqsa Mosque. The minbar was commissioned by Nur al-Din Zangi in Aleppo as a good omen for the conquest of Jerusalem. Salah al-Din (Saladin) undertook its transportation to Jerusalem. The pieces have rich vegetal and geometric decoration, interlocking and star-shaped panels and names of the craftsmen.","type":"Woodwork, minbar, pine","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Nur al-Din Zangi (ruled in Syria AH 541–69 / AD 1146–74) and Salih bin Nur al-Din Zangi, Salah al-Din Ayyubi (known as Saladin, r. AH 564–89 / AD 1169–93).","dates":"Construction of the *minbar* began in hegira 564 / AD 1169, and was completed in AH 570 / AD 1174.","location":"Jerusalem","dimensions":"Length 245 cm, width 112 cm.","method_for_datation":"The *minbar* is dated by the epigraphic inscriptions it bears, and a number of historical sources, some of the most important being those of Abu Shama (d. 665 / 1267) and Ibn al-Athir (d. 630 / 1223) and Mujir al-Din al-Hanbali (d. 927 / 1520).","method_for_provenance":"Aleppo was narrowed down as the place of production for the *minbar*, supported by both the epigraphic inscriptions on it and by historical sources.","provenance":"Custom-made in Aleppo, Syria for al-Aqsa Mosque in Jerusalem.","obtention":"The *minbar* was transferred from al-Aqsa Mosque to the Islamic Museum after the fire of 1969.","bibliography":"Abu Shama, al-Maqdisi, Dhail or Tarajim Rijal al-Qarnain al-Sadis wal-Sabi' \\[The Biographies of Famous People in the 6th and 7th Century\\], Cairo, 1947.  \nAl-A'arif, A., *Tarikh Qubbat al-Sakhra wa al-Masjid al-Aqsa* \\[The History of the Dome of the Rock and the Aqsa Mosque\\], Jerusalem, 1955.  \nAbu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif,* Jerusalem, 1998.  \nAl-Ansari, F., *Minbar Nur al-Din Zengi \\[The Minbar of Nur al-Din Zangi*\\], 1989, Jerusalem.  \nMayer, L. A., *Islamic Woodcarvers and their Works,* Geneva, 1958.","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["carved inscription.","epigraphic decoration","geometric decoration","inlay","ivory","Minbar","Mother-of-pearl","pine","vegetal decoration","woodwork"],"materials":["and ivory.","inlaid with mother-of-pearl","Interlocked pine","pearls"]},"048c6a9d-2f1b-5deb-80ce-ba88d1053a07":{"name":"Milas Prayer Rug","description":"Milas region is famous for its prayer rugs. This is an outstanding example of a Milas prayer rug with intensive decoration and skillful handcraft. The prayer area of the rug is decorated with a tree of life on a ground filled with rose, carnation and tulip motifs. The border is composed of highly stylized tree and dragon motifs which are locally called “leaf” and “frog”. These continuous motifs are arranged in the form of “cattle water” which is the most important decoration element of Milas rugs.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 103cm, W: 152cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Muğla Milas rug","obtention":"From the İzmir Hisar Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*,İstanbul: Eren Yayınları, 1987: 182.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 2, Katalog no: 112.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Milas rug","West Anatolian"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"05127f0b-387e-53fc-9c38-7c747e046530":{"name":"Reliquary of St. Stephen the King","description":"The reliquary bust of St. Stephen the King, on a base, shows the saint in royal dress. Characteristics of the Baroque style come to the fore in the saint’s head shown in the round and almost imperceptibly turned sideways, with striking features and a soft wavy beard and moustache.  \nThe bust was probably made by a master craftsman from Rome, influenced by Bernini, while the crown is the work of a contemporary Central European goldsmith.  \nThe Latin inscription in a cartouche nailed to the front of the base records that Cardinal Francesco Barberini, nephew of Pope Urban VIII, had this bust made in 1635 out of piety for St. Stephen. He commissioned the bust to hold the saint’s skull, endowing the relic with the reverence it deserved. Today it is still in Zagreb Cathedral dedicated to St. Stephen the King.  \nSt. Stephen, King of Hungary, converted the Hungarians to Christianity and in the early 11th century founded an archbishopric in his hometown Esztergom where he died. He was canonised in 1087 and his cult spread from Hungary to Croatia where it was especially widespread after the Middle Ages. At the time, Hungary and Croatia were in a union and known as the lands of the Crown of St. Stephen after the crown he wore.","short_description":"The reliquary of St. Stephen in the form of a bust shows him dressed as a king with a crown on his head. The bust was probably the work of a master craftsman from Rome, influenced by Bernini, while the crown is attributed to a goldsmith from the Central European circle. The Latin inscription in a cartouche on the front of the base verifies that the reliquary was commissioned by Cardinal Barberini in 1635, nephew of Pope Urban VIII, a member of a powerful and wealthy Roman family that died out in the male line in 1736.","type":"Devotional object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1635","location":"Zagreb, North-West Croatia","dimensions":"H: 113 cm; w: 65 cm","place_of_production":"Rome","method_for_datation":"The 1915 Inventory of Zagreb Cathedral mentions the reliquary.  \nA Latin inscription with the year of origin is on a cartouche on the front of the base.","provenance":"From Cardinal Francesco Barberini, Rome","obtention":"Cardinal Francesco Barberini gifted the reliquary to Zagreb Cathedral.","bibliography":"*Riznica zagrebačke katedrale* (The Treasury of Zagreb Cathedral), Zagreb, 1983.  \n*Barok i prosvjetiteljstvo. Hrvatska i Europa* (Baroque and the Enlightenment: Croatia and Europe), Zagreb, 2003.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","religious object","reliquary","rock-crystal","St. Stephen the King"],"materials":["cast base and tiny cast parts","Copper and silver","decorated with jewels","gilded and embossed","glass and rock crystal"]},"05e51871-4d33-519c-836e-6e68090e5a80":{"name":"Ladik Prayer Rug","description":"This rug is an outstanding example of a Ladik prayer rug because of its colours and detailed decorations. Typical characteristics include, upside down tulips in the borders and three crescent motifs at the top of a triple niche *mihrab*. However, the column motifs usually present in this type of rug do not appear. This example demonstrates the variety of the Ladik prayer rugs and the broadness of its motif repertory.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 117cm, W: 181cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the İzmit province","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Ankara, Cilt 5, Katalog no: 529.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Ladik Prayer Rug","Middle Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"072908a4-0753-537a-a852-9b3ddcb4ddd6":{"name":"Kırşehir Prayer Rug","description":"Kırşehir Province of Central Anatolia was an important prayer rug producing centre. This double *mihrab* prayer rug is an outstanding example of the regional style. Kırşehir prayer rugs characteristically have elaborate stepped arches above the *mihrab*, vivid colours, and detailed floral decorations. The multiple borders are filled with stylized flowers, leaves and a scrolling vine of carnations. The most important element of the decoration is the naturalist bird motif woven inside the *mihrab* area.","type":"Prayer rug","holder":"Konya Mevlana Museum","dates":"19th century","location":"Konya","dimensions":"L: 93cm, W: 142cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Kırşekir, Elmalı","obtention":"From the Konya Mevlana Dergahı (dervish lodge)","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 5, Katalog no: 516.","author":"Gülseren Kervan","copy_editor":"Lisa Kelman","keywords":["Kırşehir","Middle Anatolia","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"074fe362-9f4c-5b1b-b022-d07db8b96020":{"name":"Healing bowl","description":"This brass talismanic healing bowl, dated to the 12th–13th century Seljuq and Anatolian Beyliks period, was traditionally used in Anatolian folk medicine for spiritual wellbeing, protection from the evil eye, and relief from night terrors and insomnia. Water placed inside the bowl was blessed through recitation, then either drunk or applied to the body to transmit its sacred power. The bowl is richly adorned on both its inner and outer surfaces with finely engraved Kufic inscriptions.","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"AH 6th–7th century / AD 12th–13th century","location":"Istanbul","dimensions":"Diameter 20,5cm","place_of_production":"Anatolia","method_for_datation":"Date of production was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archival texts.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archives.","obtention":"It was displayed for 20 years in the window of the antique shop of “Parisli Mustafa” in the Cevahir Bedesten (Grand Bazaar) and was sold at auction after his death.","keywords":["brass","healing bowl","Seljuqs","water"],"materials":["brass"]},"09c974f1-3499-5895-8d83-7f1c12a97916":{"name":"Candlestick base.","description":"The base of a Mamluk candlestick made of beaten sheet copper that has been gilded with brass and inlaid with silver and gold. The drip-tray that would have sat on the top rim of the base is missing. The body is decorated with a wide band of *naskhi* script divided into two sections by two roundels. The main decorative fields are embellished with fine floral scrolls inlaid with silver. The inscription, which is inlayed with silver, describes the attributes of the patron who commissioned the candlestick but does not mention his name! Many such candlesticks would have been presented for use in mosques, shrines, and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"Many metal candlesticks like this one were commissioned during the Mamluk period to be presented for use in mosques, shrines and religious schools. The Arabic calligraphic script describes the titles and allegiances of the Mamluk patron who commissioned the candlestick.","type":"Metalwork, copper","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira, late 7th–early 8th century / AD late 13th–early 14th century.","location":"Glasgow, Scotland","dimensions":"Height 10.1 cm, diameter (of base) 19.6 cm.","method_for_datation":"Stylistic analysis: the titles written on the base are typical Mamluk titles of the late 7th to early 8th / late 13th century to early 14th centuries.","method_for_provenance":"The titles written on the base are typical Mamluk titles of the late 7th–early 8th / late 13th–early 14th centuries.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam*, exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["beaten and inlaid with gold and silver.","Sheet copper"]},"0a0edfc8-af4f-5ae8-9755-2f42463320c3":{"name":"Incantation bowl","description":"A copper dish with a small, inverted dish at the canter, known as an incantation bowl. The entire surface, inside and out, is ornamented with religious inscriptions and talismanic numbers.  \n  \nThe exterior rim is inscribed with Qur’anic verses: “In the name of Allah, the Gracious, the Merciful”; “Allah is the Light of the heavens and the earth. The parable of His Light is as a niche and within it a lamp”; “Allah the Sufficient, Allah the Healer”; “In the name of Allah, the Gracious, the Merciful”; “In the Name of Allah, Who with His Name nothing can cause harm in the earth nor in the heavens, But Allah is the Best to guard and He is”; “In the name of Allah...the healer…”. The inner rim is ornamented with a band enclosed between two frames, each inscribed with repeated numbers (81 / 12).  \n  \nThe band is inscribed with Qur’anic verse in Thuluth script: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”.  \n  \nThe inner base is surrounded by fifteen lobed medallions arranged in horizontal registers containing invocations reading: ”Allah the Sufficient / Allah the Healer / In the name of Allah,” repeated. At the very centre is a small, inverted dish. Its decoration begins with a band inscribed in Thuluth script repeating ”O Allah, grant us well-being”. Above it runs a row of pointed arches containing horizontally written numbers (II/II). The central surface of the dish is adorned with a star-shape formed of interlaced script reading ”O the most Compassionate, O the most Generous”.  \n  \nThe exterior body is decorated with ornamental bands consisting of inscriptions and motifs. The outer rim begins with a band of Qur’anic verse: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”. This is followed by a frame of repeated numbers (II/II).  \nAround the outer rim of the bowl are fifteen lobed medallions arranged in horizontal registers, each inscribed with repeated invocations: ”Allah the Protector / Allah the Healer / In the name of Allah / Allah the Comforter”.  \nNext comes a frame whose decoration is effaced, but traces of the number (81/12) remain visible.  \nThe recessed base begins with a band in thuluth script containing invocations: ”O Allah, grant us health / O Allah, be pleased with us”. This is followed by a row of pointed arches inscribed with numbers (81/12 and II/II). At the very center, a hexagram encloses the numbers (81/12).","type":"Bowl","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th–13th century / AD 18th–19th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter: 21.5cm, Height: 5cm.","provenance":"Iraq","copy_editor":"Zeina Al Amad","keywords":["bowl","Copper","incantation","Religion","water"],"materials":["and engraving","copper","hammering","Incising"]},"0b440404-7dee-50b3-9519-121dcb0f4d35":{"name":"*Holy Sepulchre*","description":"The golden thread relief embroidery for the sarcophagus-shaped *Holy Sepulchre* covers eight panels and contains 16 oval medallions bordered by gold cartouches. Within the medallions is an iconographic programme based on juxtaposing Old Testament scenes, announcing the Sacrifice of Christ, with corresponding scenes from the New Testament.  \nWithin the lower oval cartouches are four embroidered scenes from the Old Testament: Abraham sacrificing Isaac, Moses with the brass serpent, Moses fighting the Amalekites, and the legend of the prophet Jonah and the sea monster.  \nIn the triangular gables of the roof are scenes showing The Last Supper and the Resurrection  \nThe longer sloping sides of the roof contain five scenes from the Passion of Christ: Christ on the Mount of Olives; Seizure of Christ or the Kiss of Judas; Christ before Caiaphas; the Scourging of Christ and the Crowning with thorns, on one side, and on the other, Pilate Revealing Christ (*Ecce Homo*); Christ Falling under the weight of the Cross; Crucifixion on Golgotha; the Deposition and the Burial.  \nThe *Holy Sepulchre* is the work of Wolfang Jakob Stoll, commissioned from him by the Bishop of Zagreb, Petar Petretić, whom Stoll served from 1650 to 1667. Petretić was a great patron of the arts and actively promoted Croatian art heritage.  \nStoll made many superb vestments most of which are stored in the Treasury in Zagreb Cathedral. The *Holy Sepulchre* is his greatest and most complex work and probably the only preserved example of an embroidered *Christ's Sepulchre* in Europe.  \nStoll based his rendition of the biblical scenes on copperplate prints, which were at that time widespread in Europe. He worked mainly from the prints of Jan and Egidius Sadeler who found their inspiration in the paintings of Marten de Vos, Theodor Barendsz and Jacopo Tintoretto.  \nThe decorative elements, such as festoons, genii, baskets of fruit and flowers, belong to the ornamental repertoire of Mannerism.  \nThe *Holy Sepulchre* was first placed in the Cathedral in Passion Week before Easter on 13 April 1659","short_description":"The golden thread relief embroidery of the *Holy Sepulchre* covers eight panels and contains 16 oval medallions bordered by gold cartouches containing scenes from the Old and New Testaments.  \nThe Bishop of Zagreb, Petar Petretić, commissioned it from the German embroiderer, Wolfgang Jakob Stoll.","type":"High-relief embroidery of symbolic sarcophagus","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1659","location":"Zagreb, North-West Croatia","dimensions":"H: 159 cm; w: 207 cm; d: 100 cm","place_of_production":"Zagreb","method_for_datation":"Analysis of Stoll’s work includes vestments with a pluvial with the master’s name and the monogram of Bishop Petar Petretić. Contemporary documents in the cathedral archives confirm the commissions and the engagement of the above master.","provenance":"Made for Zagreb Cathedral","obtention":"Commissioned for the cathedral, the *Holy Sepulchre* was destined for the Treasury from the outset.","bibliography":"Horvat, A., *O vezenom ciklusu Božjeg groba zagrebačke katedrale 1659* (On the Embroidered Cycle on the Holy Sepulchre in Zagreb Cathedral from 1659), Zagreb, 1967–68.  \n*Pavelić-Weinert, V., Vezilačka radionica 17. st. u Zagrebu* (Embroidery Workshop from the Seventeenth Century in Zagreb), Zagreb, 1988.","workshop":"Embroidery workshop of W. J. Stoll in Zagreb","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Bishop P. Petretić","embroidery","funerary object","high relief","model","religious object","W. J. Stoll"],"materials":["embroidery in various coloured silks on red and white satin.","Relief embroidery in gold thread"]},"0bf9f93d-7e41-57a5-a618-9f644fa93aa1":{"name":"Dervish Bowl *Keşkül-ü Fukara*","description":"The coconut shell vessel is intricately engraved with Persian couplets using the carving technique.  \n  \nOn the silver border, the inscription reads:  \n  \n\"They are offered a pure drink whose end is musk \\[a pleasant fragrance\\]. Let those who strive, strive for this — a spring from which those near to Allah drink.”  \n  \nThis is followed by the date AH 1234 / AD 1818 and the phrase \"Amal-i Kazım\" (\"Work of Kazım\").","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 10cm, diameter: 25cm","place_of_production":"Shell made in Persia; silver lining made in Istanbul","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bowl","Coconut","Dervish","Ottomans","silver","water"],"materials":["Sea coconut shell","Silver"]},"0cf1a62f-ad34-5894-aee0-ed8e36e2513a":{"name":"Triptych with '*hilya-i-sherif*' (noble description).","description":"This triptych is a typical product of Ottoman religious art of the AH 12th / AD late 18th century. It is made of wood covered with a thin layer of paper painted with various motifs and consists of three parts. The central panel, the most important part, contains a *hilya-i-sherif*, a noble description of the physical and moral qualities of Muhammad. The two side panels contain the *hilyas* of the first four caliphs and the sons of Ali, Hasan and Husayn. This piece is of particular interest as, in the lower part of the central panel, there is a mention of the illuminator, who signed Halil Kamili, disciple of Mehmed Qalyunt, and the calligrapher, Mahmud son of Mustafa, pupil of Baqqal-zade Ahmed Efendi, who died in the month of Rejeb 1200. In terms of the decoration of the triptych, its three leaves are embellished with inscriptions in various different characters, such as *thuluth*, *naskhi* and *ta'liq*, while the actual decorative motifs used include classical shoots with stylised floral motifs in the *hatayi* style, and *rumi* motifs, arabesques dominated by palmettes. The pointed pediment of the triptych shows in its centre panoramas of Islam’s two pre-eminent sacred sites: Mecca, with the Ka'ba in the foreground, and Medina, with its mosque. Particularly notable is the small, central vase from which flowers shoot, symbolising the distribution of the charismatic virtues of the prophet. The description of the physical and moral qualities of Muhammad are part of a long literary tradition that started with Ibn Ishaq’s *sira* (biography of the Prophet). Triptychs such as this one were the object of real worship and veneration, relating to the magical powers that, according to the calligrapher, could be attributed to the triptych and to belief in the magical powers of the writing.","short_description":"Triptychs were a common and important part of Ottoman religious art. This example includes the ‘noble description’ of Muhammad’s physical and moral qualities, as well as representations of Islam’s two pre-eminent holy sites: Mecca and Medina.","type":"Triptych, pachment paper, woodwork","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira 12th century / AD 18th century.","location":"Rome","dimensions":"Height 95.5 cm, width (doors open) 65 cm, width (doors closed) 36 cm.","method_for_datation":"From the identification of the calligrapher.","method_for_provenance":"Similar pieces are common in Turkish religious art in the 12th / late 18th century.","provenance":"Turkey.","obtention":"Purchase.","bibliography":"Arseven, Esad C., *Les Arts Décoratifs Turc*, Istanbul, 1952.  \nAtil, E., *Turkish Art of the Ottoman Period* , Washington, 1973.  \nGallotta, A., “Un Trittico Ottomano con *hilye -i serif* nel Museo Nazionale d'Arte Orientale di Roma”, *Arte Orientale in Italia: Miscellaneous Writings of the Museo Nazionale d'Arte Orientale di Roma*, Rome, 1973, pp.25–79.","linkcatalogs":"IAM_TR_EN_001","author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","illuminated parchment","worship"],"materials":["gilded and illuminated parchment paper.","Wood"]},"0e4485e1-3fb0-5d8c-a83c-5315bc85cb66":{"name":"*Kiswa* (tomb cover) for the Prophet of God, Ibrahim (Abraham).","description":"There was a tradition in both the Mamluk and the Ottoman periods, for sultans, noble personages of state, as well as the benevolent, to interest themselves in the tombs of the prophets and the devout by offering a *kiswa* (covering for a grave or tomb), and then to renew it each year or whenever necessary. The ritual draping of tombs and shrines were popular celebrations that took place in certain seasons every year. For the most part, this occurred in order to procure the good-will and approval of visitors to the tomb or shrine, and to enhance the popularity of the *kiswa*'s donor among the general public. It was during the Ottoman period in Palestine that there was a huge unparalleled interest in the tombs, shrines and holy places that were scattered throughout the region. This was within the context of the official interest in the Sufi orders, their sheikhs, and the venues where the rituals were practiced. An example of this veneration can be seen in the context of the tombs of the Prophets Moses, Samuel and David, and their wives, in al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).  \nThe *kiswa* exhibited here is made from woven green silk. The *kiswa* was produced in order to envelope the tomb completely, leaving only the tombstone visible, upon which was written the name of the deceased: “The Prophet of God, Ibrahim \\[Abraham\\]”. The *tughra* of the Ottoman sultan, Selim III (r. AH 1203-22/AD 1789-1807) is embroidered on the *Kiswa*, together with inscriptions that read, “This is a protector” and “revered”, in addition to other inscriptions that include religious supplications and Qur'anic verses.  \nThe official tradition as noted above, to send *kiswa*s to the tombs and shrines of venerated holy men and women, continued in Palestine until the end of the Ottoman period in 1916, when the tradition was officially stopped. At the popular level, however, locals who lived in the environs of these tomb sites and shrines continued preparing *kiswas* but they were no longer splendid, finely made textiles as had been the case during the period of the Ottoman sultans.","short_description":"The coverings of the prophets’ tombs were renewed every year in popular celebrations. The importance of these traditions increased during the Ottoman period. This covering woven of green silk envelops the tomb leaving only the tombstone on which is written the name of the deceased. The *tughra* of Ottoman Sultan Selim III is embroidered on it.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).","dates":"Hegira 1203–22 / AD 1789–1807.","location":"Jerusalem","dimensions":"Length 180 cm, width 210 cm.","method_for_datation":"The piece was dated by the inscription embroidered on it which bears the name of the donor, the Ottoman sultan, Selim III.","method_for_provenance":"It is likely that this piece was made in Syria or Istanbul in view of the similarities with other pieces made there, some of which are housed in Turkish museums, particularly in Istanbul.","provenance":"Probably produced in either Syria or Istanbul, but made specifically for the Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).","obtention":"The piece was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) to the Islamic Museum in Jerusalem at an unknown date.","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["cloth","fabric","funerary object","Kiswa","silk","tomb"],"materials":["Silk embroidered with silver silk threads."]},"0e493dee-d727-519c-91a1-24aef19e5e22":{"name":"Mosque lamp.","description":"A mosque lamp of typical size and shape for Mamluk lamps, with flaring neck, wide body and high foot. Thick glass loops are attached for the suspension cords. It is decorated with enamelling, mostly in blue and red, with some highlights added in green, white and gold. The majority of the decoration is calligraphic. A prominent inscription states that 'This is one of the objects made for His High Excellency, our lord the great Amir, Sayf al-Din Aqbugha 'Abd al-Wahid \\[officer of\\] al-Malik al-Nasir'. The areas in and around the calligraphy are decorated with floral motifs and arabesques. Sayf al-Din Aqbugha's blazon, a diamond (napkin) on a rectangular field, appears in roundels on the neck. Aqbugha built an important *madrasa* at the Mosque of al-Azhar in Cairo (the Madrasa al-Aqbughawiyya) in AH 740 / AD 1340, and this lamp was probably suspended from the ceiling in that building, possibly with the very cords that are still attached to it.","short_description":"A lamp of typical Mamluk shape, decorated with enamelled glass forming inscriptions, floral decoration, and blazons. The patron, Sayf al-Din Aqbugha, founded a *madrasa* (religious school) at the Azhar mosque complex in Cairo in AH 740 / AD 1340, and this lamp may originally have hung there.","type":"Glasswork, enameled","holder":"Victoria and Albert Museum.","initial_owner":"Sayf al-Din Aqbugha.","dates":"Probably around hegira 740 / AD 1340.","location":"London, England","dimensions":"Height 33 cm, width 23 cm.","method_for_datation":"It is likely that the lamp was made for the Madrasa al-Aqbughawiyya, built by Sayf al-Din Aqbugha in 740 / 1340.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1869 from the collection of Dr Meymar.","bibliography":"Lamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1930, p.440.  \n  \nLane-Poole, S., The Art of the Saracens in Egypt, London, 1886, pp.215–16.  \n  \nWatson, O., \"Glass from the Islamic World\", Glass (ed. R. Liefkes), London, 1997, p.35.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["arabesque","blazons","calligraphy","coat of arm","Emblems","Enamel","floral decoration","Mosque interior decoration","religious object"],"materials":["Enamelled glass","Gold."]},"0e4a2c60-95e1-53b1-b364-83013292b0c9":{"name":"Qur’an Stand","short_description":"This Qur’an stand would elevate larger holy books to prevent direct contact with the unclean surface of the ground. The pigmented wood structure from India features deep floral carvings.  \n  \nMughal-style carvings with rows of florals and vines adorn the Qur’an stand in geometric precision. While Islamic woodwork in India remains widely understudied, the lobed arches of the legs remind of Mughal architecture. Furthermore, the woodwork of the Mughal Empire rarely bears inscriptions, hindering an accurate dating and study of clusters of pieces.  \n  \nThese stands still cradle Qur’ans in affluent homes, mosques, Islamic schools (*madrasa*), and in tombs for recitation and display purposes.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 30cm , Width: 27cm, Height: 25cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, colour, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, colour, engraving and pattern.","provenance":"India","obtention":"Purchase","bibliography":"Carvalho, P. M., \"What Happened to the Mughal Furniture? The Role of the Imperial Workshops, the Decorative Motifs Used, and the Influence of Western Models\", *Muqarnas*, 21 (2004): 79–93.  \nMahshid, K. E., *Islamic wood work motifs of Iran and India in Mughal era/Mahshid Kakouei Ezbarami,* Doctoral dissertation, University of Malaya, 2016.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["India","Mughal","post-Mughal","Quran Stand"],"materials":["Cedar Wood"]},"100c3cd0-799a-5feb-ac7f-8516c0d5b098":{"name":"*Saint Catherine of Alexandria*","short_description":"Under a Renaissance arch with leafy garlands and ornamented pillars, St Catherine stands on a brown tiled floor in front of a balustrade, next to a broken torture wheel. In accordance with her position as a king’s daughter, she wears a fashionable Burgundian Low Country dress with a high-girded, ermine-trimmed cloak and a crown on her long, blond tresses. In her role as a martyr, she carries the sword of justice. As a symbol of her exaltation, two *putti* hold up a draped cloth behind her, concealing part of the hilly, wooded, castle-studded landscape in the background. On the frieze of the entablature there is an inscription that reads “S katherina”, and affixed to the pillars are little frames with the date (1523) in both Arabic numerals (left) and Roman numerals (right). So far, no drawing or print has been produced that might have served as a model for this reverse glass painting.  \n  \nThe date must be connected to an event that sparked the commission for this magnificent small painting, but there are no inscriptions nor heraldic clues as to whether it was commissioned for personal use, as a gift to a private individual, or as a donation to a private or public building. The quality of the glass support, the careful painting technique with generous application of gold leaf, and the meticulous, delicate etching as well as the high artistic merit identify it as a precious reverse glass painting that could only have been created in the context of rich patronage.","type":"Reverse glass painting; painting","holder":"Vitromusée Romont","initial_owner":"Ruth and Frieder Ryser","dates":"1523","location":"Romont, Fribourg","dimensions":"Height: 37.8cm, Width: 31.5cm (including frame)","method_for_datation":"By date and by stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Netherlands","obtention":"Donated by Ruth und Frieder Ryser in 2006","bibliography":"Bretz, Simone, et al., \"Hl. Katharina von Alexandrien\", in Simone Bretz et al. (eds), *Deutsche und niederländische Hinterglasmalerei vom Mittelalter bis zur Renaissance*, Berlin ; München: Deutscher Kunstverlag, 2016.  \nRyser, Frieder, *Verzauberte Bilder: die Kunst der Malerei hinter Glas von der Antike bis zum 18. Jahrhundert*, Munich: Klinkhardt und Biermann, 1991.  \nSchlossmuseum Murnau (ed), *\"Amalierte Stuck uff Glas, hinder Glas gemalte Historien und Gemäld\": Hinterglaskunst von der Antike bis zur Neuzeit*, exhibition catalogue, Markt Murnau a. Staffelsee: Schlossmuseum Murnau, 1995.  \nSchweizerisches Forschungszentrum zur Glasmalerei Romont (ed), *Glanzlichter: die Kunst der Hinterglasmalerei = Reflets enchanteurs: l'art de la peinture sous verre*, exhibition catalogue, Bern: Benteli, 2000.","catalogue_holding_link":"https://www.vitrosearch.ch/en/objects/2255074","author":"Elisa Ambrosio","copy_editor":"Adrienne Staudohar","translator":"Kate Whitebread","keywords":["Religion","the virgin martyr Catherine of Alexandria"],"materials":["cylinder-blown glass plate with faint green cast. Few commutated gas bubbles in vertical progression","eglomisé. Translucent glazes and opaque paints.","grisaille (not fired)","Slightly uneven","white and grey inclusions. Technique: reverse glass painting"]},"1027aa27-0c29-5f12-8165-2db5e0dda881":{"name":"Circular chandelier.","description":"This chandelier belongs to a series of eight found in the Great Mosque of Kairouan, and which are dispersed today among four Tunisian museums (Raqqada, the Bardo, Mahdiyya and Monastir).  \nThe punched cast-bronze base is in the form of a tray designed to carry 10 candles, with a flared bronze corona from which 18 evenly spaced upright arms project. These are similar in size and are all decorated with double, spread fleurons. The stylised vine-leaf motif is commonly used in Ifriqiyan art of the 3rd and 4th centuries (9th and 10th), particularly in the *mihrab*, the *minbar* and the *maqsura* of the Great Mosque of Kairouan. Nine of the 18 arms end in circular rings and the other nine have heart–shaped tops. The two types are placed in alternating sequence on the corona. The heart motif is frequently found in Kairouanese bookbinding and features in stylised form on several Fatimid sculptures. The central ring of the chandelier is surrounded by 18 horseshoe arches linking the uprights, giving the overall effect of a festooned rose. The base-tray is suspended by three chains linked to three rings.  \nThe Kairouanese type of chandelier has doubtless been influenced by similar Byzantine designs produced throughout the Islamic period in the Mediterranean region. Muslim craftsmen replaced the Christian cross of the Byzantine and Coptic chandeliers with the tri-lobed fleuron and the geometric motifs dear to their own creed. Prototypes similar to that of Kairouan have been found in Egypt, Syria and especially in Spain. This Spanish ancestry arouses speculation that Western Islam may have had its own school of bronze-smiths.  \nInterestingly, this technique appears to have been taken up by Spanish Christians, since there is a similar chandelier from a Spanish church at the British Museum in London.","short_description":"Inspired by Byzantine art, this piece was one of a group of eight used in the Great Mosque of Kairouan. The Muslim artist has replaced the cross in Byzantine and Coptic chandeliers with a trilobed fleuron and some geometric motifs consistent with the Islamic creed.","type":"Chandelier, metalwork","holder":"Museum of Islamic Art.","dates":"Hegira, 4th–early 5th century / AD 10th–11th century.","location":"Raqqada., Kairouan.","dimensions":"Diameter 31 cm, thickness 1 cm.","method_for_datation":"The seven other chandeliers with which this one was kept probably date from before the Hilalian invasions of 449 / 1057. There are stylistic similarities to chandeliers from Egypt, Syria and Spain dating from the 4th / 10th century.","method_for_provenance":"This chandelier was part of the furniture of the Great Mosque of Kairouan. Along with seven other pieces, it was kept as a relic in the old library of the Great Mosque. They all date from before the Hilalian invasions in 449 / 1057. Furthermore, it can be compared to other pieces from Egypt, Syria and particularly from Elvira in Spain. Archaeological digs at the ruins of the Great Mosque in this town have revealed a chandelier dating from the 4th / 10th century whose overall design and internal rosette of horseshoe arches bear a striking resemblance to the Kairouanese chandelier. This convincing evidence unmistakably dates the Kairouanese chandelier from the same period.","provenance":"Kairouan.","obtention":"This chandelier was displayed from 1956 at the museum of the Great Mosque of Kairouan before its acquisition by the Museum of Islamic Art at Raqqada in 1986.","bibliography":"*De Carthage a Kairouan* (exhibition catalogue), Paris, 1982, p.219.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.450–51, fig. 10.  \n*Omeyas* (exhibition catalogue), Granada, 2001, p.54.  \n*The Arts of Islam* (exhibition catalogue), London, 1976, p.169, plate no. 177  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","furnishing","geometric decoration"],"materials":["Cast bronze."]},"1203d512-7e1e-58c1-b5ee-087144132528":{"name":"The Miracle of Saint George and the Dragon","description":"Saint George was born to Christian parents in the 3rd century. He joined the Roman army and became a high-ranking officer at a young age, earning the respect of Emperor Diocletian. At that time, Diocletian persecuted Christians and required that all soldiers offer sacrifices to the pagan gods. Saint George publicly denounced the emperor and confessed to being Christian. He was subjected to brutal punishments but refused to renounce his faith. Eventually, he was beheaded and became a popular martyr saint. In one story of his life, he rescued a town besieged by a dragon. The townspeople had been sacrificing children, who were randomly chosen by casting lots, to the dragon. Saint George rode in just as the town’s princess was to be sacrificed. He killed the dragon, a symbol of paganism, and converted the townspeople to Christianity. In this icon, Saint George rides a white horse and slays the dragon with a spear while Christ, seen in the upper right corner, bestows a blessing.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1500","location":"Clinton, Massachusetts","dimensions":"Height: 43.5cm, Width: 30cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2003. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","saints"],"materials":["Egg tempera on wood"]},"13234dce-e760-5f68-9ead-fa6944333432":{"name":"Magic Bowl","short_description":"Protective verses from the Qur’an, blessings and magic letters encase this bronze bowl. This vessel belongs to a group of objects known as magic bowls in Islamic metalworks, intended to ward off fear, evil and demons (*jinn*).  \n  \nWhile this bowl originates from Karbala in Iraq, the place of pilgrimage for Shiite Muslims, these objects have appeared in Syria, India and Iran since the 12th century. Earlier Sasanian magic bowls with Aramaic inscriptions embodied similar amuletic qualities, however were made of clay instead of metal and invoked the powers of demons and Liliths.  \n  \nThe Throne Verse (*Ayat al Kursi*) of the Qur’an guards the exterior of the bowl in the *thuluth* style of Arabic calligraphy, granting talismanic protection. A hexagram (six-pointed star) invokes prophet Sulayman (Solomon), while the surrounding inscriptions bear blessings for one's body and the senses. Twelve panels on the vessel allude to the twelve Imams in Shia Islam. The science letters (*ilm al huruf*) ascribes magical properties to the assortment of letters marking the panels.","type":"Domestic tools","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 22.5cm, Width: 20cm","place_of_production":"Iraq, Karbala","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","provenance":"Iraq","obtention":"Purchase","bibliography":"Al-Jubeh, B., \"Magic and Talismans/The Tawfiq Canaan Collection of Palestinian Amulets\", *Jerusalem Quarterly*, 2005: 22–23.  \nAl-Saleh, Y., “Amulets and Talismans from the Islamic World”, in *Heilbrunn Timeline of Art History,* New York: The Metropolitan Museum of Art, 2000.  \nKiyanrad, S., \"Sasanian Amulet Practices and their Survival in Islamic Iran and Beyond\", *Der Islam*, 95 : 1 (2018): 65–90.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.  \nWelch A., \"Islamic calligraphy: Meaning and symbol\", in: Kolers P.A., Wrolstad M.E., Bouma H. (eds) *Processing of Visible Language. Nato Conference Series, vol 13*, Boston: Springer, 1980.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Iraq","Karbala","Magic bowl","Shia Islam","Sulayman's hexagram","Talisman"],"materials":["Bronze","Engraving"]},"1433647b-a363-527b-a739-01058ae49638":{"name":"Ritual ladle for the Taghounja festival","alternate_name":"Wooden ritual ladle; festival dipper","description":"The ritual ladle used in the Taghounja festival reflects the intersection of water, fertility, and collective ritual in Moroccan rural life. During this traditional celebration communities would gather to invoke rain, fertility, and divine blessing. The ladle, carved from wood, was used to pour or sprinkle water in symbolic gestures of renewal and abundance. Its simplicity belies a profound cultural meaning: water as the essence of life, shared collectively through ritual. Its preservation illustrates how intangible heritage and material culture merge to tell the story of Morocco’s spiritual relationship with water.","type":"Ritual utensil","holder":"Mohammed VI Museum of Water Civilisation","owner":"Mohammed VI Museum of Water Civilisation","initial_owner":"Local communities celebrating Taghounja","dates":"AH 14th / AD 20th century","location":"Marrakech","dimensions":"70 × 12.5 × 7cm and 60 × 10 × 6cm","place_of_production":"Morocco (rural communities)","method_for_datation":"Based on oral tradition and ethnographic sources.","method_for_provenance":"Museum curatorial records.","provenance":"Collected as ethnographic testimony of ritual practice","obtention":"Museum ethnographic acquisition (details not available).","bibliography":"El Faïz, M., *L’eau et les hommes au Maghreb*, Rabat: L’Harmattan, 2002.","workshop":"Rural workshops, oral tradition","author":"MUSEUM Staff","copy_editor":"Judy Harter","keywords":["festival","rain prayers","ritual ladle","Taghounja","water symbolism"],"materials":["Carved wood","sometimes decorated"]},"14763417-a183-5949-ac5d-11f296d400e1":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","alternate_name":"Sitara","description":"This hanging of red, yellow-golden and green silk is richly embroidered with silver and silver-gilt inscriptions and designs. Above, a lamp with invocations to Allah as the Opener or Judge (ya Fattah) appears suspended from an arched niche resting on two columns. Its spandrels display two roundels with the Islamic profession of Faith (shahada). Below, a quote from chapter 2 (Al-Baqarah), verse 197 of the Holy Qur’an appears: ‘…and the best provision is Al-Taqwa (piety, righteousness)’. In the lower half of the hanging, four roundels with the names of the rightly-guided caliphs surround the imperial Ottoman emblem or tughra of the sultan Abd al- Hamid II  (1293 H/1876 AD – 1327 H/1909 AD), who commissioned this curtain.. Hangings like this one may have been intended for the prayer niche of the Prophet’s mosque, as earlier examples of this type often include the inscription ‘this is the mihrab of the Prophet (pbuh)’.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Hegira mid 13th century / AD mid 19th century","location":"Sharjah","provenance":"Egypt","author":"Ulrike Al-Khamis"},"14d23909-007c-5bfe-ba51-0f21c11eaef4":{"name":"Namban Oratory","description":"This rectangular oratory surmounted by a triangular pediment with the monogram *IHS* (the abbreviation of the Greek *IHSOUS*, or JESUS) located at the centre, has two side-panels enclosing a painting of the Virgin Mary holding the infant Jesus. Although the lacquer decoration presents a predominantly Japanese ornamental grammar – especially a floral one – both its form and the iconography embody Christian cultural references. The pictorial image is itself an example of the possible interaction between the Jesuit painting school – operating in Japan since the 1580s – and the Japanese pupils that quickly demonstrated skill in Western-style painting.  \nAs it is, such a hybrid object, that crosses different artistic backgrounds, could only have been made during the Portuguese presence in Japan, during the period spanning approximately 1549 to 1640.  \nThe oratory is mentioned in the *Inventário Artístico de Santarém* (Santarém Artistic Inventory) as Indo-Portuguese lacquer work. Such misinformation reveals how, in the middle of the 20th century, such an item was unfamiliar to the European public in general, but that was not the case in the late 16th and beginning of the 17th century, at least not for the Portuguese elite. Such a statement can only be based on the remaining objects – with or without associated painting – the number of which has expanded increasingly during the last three decades (this example did not come to light until 1985). A fact that also draws attention to the demands of the Iberian market for these objects at the time.  \nThe Sardoal Oratory has the particularity of being associated with a religious space, thanks to an inscription located on the altar of Nossa Senhora da Esperança in the Church of Nossa Senhora da Caridade. This text, dated 1670, is the earliest known reference in Portugal to a reminiscent *Namban* object.","short_description":"A lacquered *Namban* oratory with a floral design in gold and silver powder (*maki-e)* and mother of pearl inlay (*raden*) with a painting of the Virgin Mary holding the infant Jesus.","type":"Ecclesiastical furniture","holder":"Sardoal's Holy House of Mercy, Sardoal","owner":"Santa Casa da Misericórdia, Sardoal","initial_owner":"Gaspar de Sousa Lacerda (?)","dates":"Late 16th century","location":"Convent of Santa Maria da Caridade, Sardoal, Santarém","dimensions":"H: 47.2 cm; l: 35 cm; w: 5.1 cm","place_of_production":"Japan","method_for_datation":"The date and origin of the object were established on stylistic grounds and partially by the inscription (see text above).","provenance":"Portuguese India (?)","obtention":"The object was transferred from the church of Nossa Senhora da Caridade to the Santa Casa da Misericórdia.","bibliography":"Okamoto, Y., *The* Namban *Art of Japan*, New York, Tokyo, 1972.  \nPinto, M. and Mendes, H., *Lacas Namban em Portugal. Presença portuguesa no Japão*, Lisbon, 1990.  \nWatanabe, T., “Namban lacquer shrines: some new discoveries” in *Lacquerwork in Asia and Beyond. A Colloquy held 22–24 June 1981,* William Watson (ed), London: Percival David Foundation of Chinese Art, SOAS, \\[n.d\\], pp. 194–210. (*Colloquies on Art and Archaeology in Asia*, 11).  \n*Cristo fonte de esperança.* *Exposição do grande Jubileu do ano 2000*, Exhibition catalogue, Diocese do Porto, 2000.  \nImpey, O. and Jörg, C., *Japanese export lacquer 1580–1850*, Amsterdam, 2005..","workshop":"*Namban*","author":"Alexandra Curvelo","translator":"Alexandra Curvelo","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","inlay","Jesuit","Jesuit school of painting","Lacquer ware","religious furnishing","urushi"],"materials":["copper and mother of pearl inlay (raden)","frame: wood","gold powder","lacquer (urushi)","Painting: oil on copper","silver powder (maki-e)"]},"151fac1e-ebdf-570b-9f37-a9dcd36098e4":{"name":"Flask: Candle holder for festival of name-giving","short_description":"On the 7th day after the birth of a child, there is a candle burning naming festival in Egypt. For both boys and girls, flasks for drinking water are made of clay, and are provided with candle holders. Depending on the sex of the new-born baby, the neck of the bottle is either fashioned as a stylised female figure or ends in an implied penis. The festival is celebrated in honour of the 7 angels who stand around the new-born. On the evening of the 7th day after the birth of the child, these angels become a threat. In order to propitiate them, they are provided with a plate of food-offerings. Nearby, the clay bottle stands on a tray with beans. The beans are sprinkled with water and the candles on the flasks are lit. Each candle receives a name. The one which burns the longest is, so to speak, the \"baptismal candle\" of the child. The stub of the candle is then placed in a small bag, together with magical substances, and worn around the child's neck as an amulet to ward off evil.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1975","location":"Vienna","dimensions":"H: 55cm, Diameter: 20cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1975.\"","bibliography":"Steinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","materials":["Ceramic","pigment"]},"153c5ddb-dd1d-5e3c-9e80-de0b66684f95":{"name":"Parts of a *minbar*.","description":"These elements of the facing of the *minbar* are formed by two distinctive parts. The first one consists of two longitudinal panels from the upper parts of the lateral faces of the *minbar*. Their surfaces, divided into sections and surmounted by an arch, are decorated with stacks of pinecones and acanthus rosettes borrowed from Abbasid flora. The panels are framed by a band bearing an inscription in angular *kufic* script also in an Eastern style. The inscription in the right panel, whose spandrels are adorned with half-sprays of acanthus, includes the date the Fatimids founded the *minbar*. The one in the left panel shows Qur'anic texts from verse 36 of Sura 24, 'The light'.  \nThe second part includes the three elements from the back.  \nThe top, arched panel is topped by an inscription in *kufic* script, which indicates the name of the Umayyad patron and the date the *minbar* was repaired. Its surface, framed by a border of small floral medallions, is decorated in two styles: the upper section is occupied in the centre by a rectangular panel with a poly-lobed arch with floral medallions and on the sides by festoon acanthus rosettes. The lower section is adorned with an acanthus rosette flanked by poly-lobed medallions containing polygonal knotwork based on an eight-pointed star.  \nThe rectangular middle part, bordered with a votive inscription, is adorned with a central motif of tiered chevrons with palm foliage and serrated acanthus rosettes inscribed in squares.  \nThe lower part is decorated with half-balusters in turned and painted wood, glued on a slab.  \nThese facings, which illustrate a historic period of Morocco when two political and religious movements fought for the hegemony of the country, play an important role in the history of Moroccan art, which, from that time forward, would be influenced both from the East and from Andalusia.","short_description":"These *minbar* parts illustrate a historical episode and the beginnings of Islamic art in Morocco, when Fatimids and Córdoban Umayyads were fighting for control of the country. The Fatimids incorporated Eastern decoration when making the *minbar*, and the Umayyads added Western elements when converting it.","type":"Woodwork, minbar, wood","holder":"Batha Museum.","initial_owner":"*Habus (waqf)*.","dates":"Sides: Hegira 369 / AD 979; back: Hegira 375 / AD 985.","location":"Fez.","dimensions":"Back: height 146 cm, width 75 cm, depth 3–4.5 cm; panels: height 56 cm, width 20.6 cm, depth 2.5–4.5 cm.","method_for_datation":"Two inscriptions mention the dates. The date of foundation is shown on the arcature in the right panel: 'This *minbar* was made in the month of Shawwal in the year 369 \\[April / May 979\\]' and the date it was repaired appears on the upper part of the back: '… this is what was commissioned by the mayor of the palace …, al-Mansur, sword of the empire of the *imam* and servant of God … Hisham … Abi Amir Muhammad … son of Abi Amir … in the month of Jumada II in the year 375 \\[October–November 985\\]'.","method_for_provenance":"These parts were removed from the *minbar*, which remained in use at the Andalusian Mosque from its creation in 369 / 979 until 1353 / 1934.","provenance":"Andalusian Mosque, Fez.","obtention":"*Habus*.","bibliography":"Cambazard-Amahan, C., *6000 ans d'art au Maroc*, catalogue, Paris, 1990.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nTerrasse, H., *La Mosquée des Andalous à Fès*, Paris, 1934.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Albertina Torres","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","floral decoration","geometric decoration","Habous","liturgical object","Mosque interior decoration","vegetal decoration"],"materials":["carved","painted cedarwood.","turned"]},"15610349-3f4b-5d20-bbb1-76ff1816ce04":{"name":"Kaftan","short_description":"Originally worn by a prince or a boyar, the present kaftan was turned at some point into an ecclesiastical cope and preserved as such at the Cozia Monastery (in southwestern Romania), where it was discovered in 1864. By the mid-1950s it was transferred to the Museum, and was later reconstituted into its original form. The long, loose garment with long sleeves is lavishly decorated with eight-petalled rosettes set against a red ground. Each rosette encircles a lotus flower. In between rosettes, a design of delicate scrolls with tiny wild roses.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 145cm (on the back)","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Lăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 125-126, cat. no. 48.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 32, cat. no. 3, fig. 8-10.","author":"Mircea Dunca","keywords":["çatma","Kaftan"],"materials":["Voided silk velvet brocaded with silver-gilt thread (çatma)"]},"159db56e-edd6-577a-b51e-40b856217129":{"name":"Prayer rug","description":"The rich colour palette and the contrast between the undecorated *mihrab* field and the borders with intricate geometric motifs, the so-called *Crivelli güls*, convey a sense of vitality and unsophisticated beauty. The apex of the stepped *mihrab* echoes the crenellations on the narrow panel above. Identical motifs can be found on earlier carpets, which testify to the persistence of certain patterns over more than two centuries. These motifs, drawn from architecture, appear to have lost their original meaning, much like the columns turned into flower garlands on other 19th-century rugs. Two ewers featured in the spandrels on either side of the pointed top of the *mihrab* suggest, in all probability, the ritual ablution before prayer.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 174cm, W: 139cm; knot density ver. 39/dm; hor. 27/dm; 1,053/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, central Anatolia, Mucur","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 41.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 2.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Național de Artă al României, 2015: no. 5.  \nZigura, Alexandra, *Covoare turceşti din colecţia muzeului*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1966: 70–1.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Crivelli güls","prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"15b869a4-109e-5091-8bd1-fdeab056f0c9":{"name":"Frontal with St. Alexander pope","description":"This frontal originally decorated the front of the former altar in the church of Vergiano. It is a good example of the art of scagliola, a technique of using plaster to create imitation marble or stone. This method was invented in Emilia, in Carpi, a small town near Modena, at the beginning of the seventeenth century.  \nThe art of scagliola is very old. In antiquity it was common to decorate surfaces in order to imitate marble, but examples of decorations made of plaster powder imitating marble start only from the sixteenth-century. Scagliola is a cheaper technique compared to precious stone inlaid. For this reason and for its rapidity of execution it soon became very popular. This explains the ample presence of scagliola artefacts in Italy made exclusively for churches and mostly altar frontals. Guido Fassi (1584–1649), an architect and engineer from Carpi, was the first to employ this technique for altar frames. Later his collaborators and pupils painted on the scagliola surface first, then imitated stone inlay thus creating in Carpi the first Italian school of scagliola.  \nThe artist who made this frontal, Carlo Antonio Bini, is a member of this school. He employs the typical decorative naturalistic patterns (flower wreaths, small birds, fantastic creatures) against a black background. In the middle Pope St. Alexander I is kneeling in front of a monstrance, wearing a cope.","short_description":"This altar frontal represents St. Alexander pope kneeling in front of the Eucharist. Against a black background one can see the naturalistic patterns (flower wreaths, small birds, fantastic creatures).","type":"Scagliola work","holder":"Church of Sant´Alessandro","initial_owner":"Church of Sant´Alessandro, Vergiano","dates":"1680","location":"Vergiano, Monghidoro, Bologna, Emilia-Romagna","dimensions":"92 x 186 cm","place_of_production":"Bologna","method_for_datation":"Inscription in the lower middle: MDCLXXX / CARLO ANTONIO BINI FE (1680/Carlo Bini made).","obtention":"Originally made for the church.","bibliography":"Negro, E. *Monghidoro: la memoria artistica*, Bologna, 1988, p. 211, p. 212.  \nColli, D., Garuti, A. and Pelloni, R. *La scagliola carpigiana e l'illusione barocca*, Modena, 1990.  \nFassinelli, A. M. *Scagliola, l'arte della pietra di luna*, Rome, 1997.","workshop":"Full baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Anna Maria Bertoli Barsotti","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["animal decoration","Antependium","floral decoration","imaginary animal","Scagliola","St. Alexander pope","zoomorphic imagery"],"materials":["Scagliola"]},"163ae238-7cdd-5bf2-b4ef-095207b4794d":{"name":"Candlestick base.","description":"A cast brass, inlaid candlestick of truncated conical form; it has bevelled ridges on both the upper and lower rims. The body is dominated by a central band of *naskhi* script divided into three sections. The sections are separated by three roundels containing Mamluk heraldic emblems, the style dating to the AH 8th / AD 14th century. The main decorative fields are embellished with fine floral scrolls inlaid with silver; a black niello substance is used as inlay to fill in the background of the floral patterns, thus emphasising the fine details of the scrolls. The inscription describes the patron who commissioned the candlestick. Many such candlesticks would have been presented for use in mosques, shrines and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"This candlestick was made for presentation to a mosque or *madrasa*, and is decorated with the titles of the Mamluk patron who commissioned it, stating: 'by the most noble authority, lofty, lordly, great; the kingly, supportive, … provider of protection; the masterful, maintainer, prince al-Nassiri'.","type":"Metalwork, cast brass","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 8th century / AD 14th century.","location":"Glasgow, Scotland","dimensions":"Height 26 cm, diameter (of base) 22.8 cm.","method_for_datation":"Stylistic analysis, together with analysis of the titles described in the inlaid scripts and the Mamluk heraldic emblem.","method_for_provenance":"Analysis of the Mamluk heraldic emblem and inlaid scripts.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam* , exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["Cast brass","with silver and niello inlay."]},"1702078b-d03e-543a-b81f-2cd7344ea8f1":{"name":"Mosque lamp.","description":"A glass mosque lamp with a rounded body, flared neck and attached splayed foot. The lamp is almost intact apart from the neck which has been repaired. Attached to the body of the lamp are six loops used to suspend the lamp from the ceiling. The lamp is covered in peonies outlined in red against a blue background. On the neck and underside of the body are three circular medallions of a composite vegetal design. This is a fine example of the more unusual type of Mamluk mosque lamps without inscriptions. The small numbers of similar lamps that survive are all associated with buildings constructed under Sultan Hasan ibn Muhammad. Rows of these lamps, lit up, illuminating the floral designs against a blue background would have been a spectacular sight in a mosque interior.","short_description":"An enamelled glass mosque lamp with rounded body, flared neck and attached splayed foot. Although typical of Mamluk mosque lamps in shape and technique, this lampis unusual as it has purely floral or vegetal decoration and no inscriptions.","type":"Glasswork, enameled","holder":"The British Museum.","dates":"About hegira 750–61 / AD 1350–60.","location":"London, England","dimensions":"Height 37 cm (max.), Diameter 23.6 cm.","method_for_datation":"This lamp is one of a group of lamps without inscriptions, decorated with purely floral motifs, produced in about the mid-7th / 14th century. They are associated with buildings commissioned by Sultan Hasan ibn Muhammad (r. between 747–51 / 1347–51 and again in 754–62 / 1354–61). Two similar lamps, now in the Museum of Islamic Art in Cairo, were found in the Madrasa of Sultan Hasan built in 756 / 1356. Another lamp in the same museum in Cairo is inscribed with the name of Sultan Hasan.","method_for_provenance":"This lamp bears close resemblance to others produced for buildings in Egypt that were commissioned by Sultan Hasan.","provenance":"Egypt.","obtention":"Bequeathed to the British Museum by Sir Augustus Wollaston Franks in 1881.","bibliography":"Carboni, S., and Whitehouse, D., Glass of the Sultans, New York, 2001, p.237–38, cat. no. 118.  \nHarden, D., Painter, K., Pinder-Wilson, R., and Tait, H., Masterpieces of Glass, London, 1968, p.121, cat. no. 159.  \nPinder-Wilson, R., \"The Islamic Lands and China\", in Five Thousand Years of Glass(ed. H. Tait), 1991, p.134, cat. no. 170.  \n  \nMamluk Art: The Splendour and Magic of the Sultans, p.76, reg. no. 270.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["floral decoration","Mosque interior decoration","religious object"],"materials":["Enamelled glass."]},"178f74aa-fe42-524b-94f2-f5d4a1c1bd50":{"name":"Processional Altar of St. John the Evangelist","description":"A silver processional altar made at the beginning of the 18th century, which belonged to the Royal Monastery of Our Lady of Conception, and was used in the Procession of the Holy Sacrament in Beja. The social and religious significance of the Corpus Christi Day procession cannot be understated; it represents one of the greatest manifestations of the Portuguese Baroque, which once acknowledged, justifies the sumptuousness of some of the pieces used in these ceremonies. Traditionally, up until 1893, the altar was carried by farmers.  \nRectangular in shape, the *acroteria* (small bases placed at the four extremities) has a beaded edging, and four *albarradas* or ornamental vases, alternate with smaller jars in the middle. The entirety is covered with vegetable and scalloped-shell ornamentation, and St. James' crosses. The wooden carrying rods are also silver plated.  \nThe octagonal shaped pedestal stands over the main body, decorated with double scalloped-shell ornamentation, pear-shaped “tables” and St. James' crosses. There is also an octagonal platform with small jars placed at each corner of the pedestal.  \nAn iron column rises above the pedestal, covered with silk cloth embroidered with gold thread. It meets a gold and silver halo embellished with precious stones above which a gold and silver crown rests, also studded with precious stones. In the middle of the altarpiece, the Martyrdom of St. John the Evangelist is played out, the saint graphically shown immersed in boiling olive oil. The wooden effigy of the saint with clasped hands looks straight up at the sky. The silver boiler, standing on a silver tripod above the fire, is kept alight by two multicoloured wooden figures, kneeling at either side of the boiler. One of them is blowing and the other is using a solid-silver pitchfork.  \nThe patrons of the altarpiece were a group of nuns devoted to St. John the Evangelist. There was another group of nuns in the same convent that devoted themselves to St. John the Baptist and commissioned a similar processional altar in honour of the saint. In fact, both altarpieces date from the beginning of the 18th century and were made in the same workshop. They both show the same crowned stamps of the city of Lisbon and the same maker's letter “M”.","short_description":"A silver processional altar made at the beginning of the 18th century, it portrays features typical of the Portuguese Baroque at the time of King João V. Designed to represent the Martyrdom of St. John the Evangelist, the piece belonged to the Royal Monastery of Our Lady of Conception and was used in the procession of the Holy Sacrament in Beja, on Corpus Christi Day.","type":"Metalwork","holder":"Queen Leonor Museum","owner":"Museu Rainha D. Leonor","initial_owner":"Royal Monastery of Our Lady of Conception, Beja","dates":"c. 1700","location":"Beja, Beja","dimensions":"H: 199 cm; width: 99 cm; depth: 107 cm","place_of_production":"Portugal","method_for_datation":"Historical evidence: Tavares (1899) and the Chronicle of the Procession of Corpus Christi in Beja","provenance":"Royal Monastery of Our Lady of Conception, Beja","obtention":"Originally belonged to the Royal Monastery of Our Lady of Conception, Beja was transferred to the Museu Rainha D. Leonor also in Beja.","bibliography":"*Museu Regional de Beja, Catálogo de algumas peças principais*, cat. 84, Lisbon, \\[n.d.\\].  \nViana, A., “Andores de prata do Museu Regional de Beja”, *Arquivo de Beja*, V, 1948.  \nRoque, J., “Os Andores de prata do Real Mosteiro da Conceição de Beja”, *Ourivesaria Portuguesa*, cat. 13, 14, 15, Revista oficial dos Industriais de Ourivesaria do Norte, 1951.  \nInventário Artístico de Portugal, Academia Nacional de Belas Artes, \\[Edição CD ROM, CD III - Distrito de Beja\\], Lisboa, 2000.","workshop":"National Baroque","author":"Museu Regional de Beja","translator":"Maria José Barroso","translation_copy_editor":"Mandi Gomez","keywords":["Beja","Corpus Christi","Mosteiro da Conceição","Processional altar","religious furnishing","religious object","St.John the Evangelist","worship"],"materials":["Gilded and painted wood with silver and precious stones"]},"17a114d9-989f-52a9-85d5-689485ba21f6":{"name":"Icon *The Holy Seven Slav Teachers*","alternate_name":"Ikona *Sedmochislenitzi*","description":"This icon represents icon-painting in Macedonia in the 19th century. This painted variant of the motif of the seven Slav teachers was enriched by Dimitar Dicho Zograf with the romantic awareness of the Macedonian Revival. The style of the most popular and most productive Macedonian painter in the 19th century follows the experience of the painters from that period. It was commissioned by the Robev family for the church of St. Nicholas Gerakomia in Ohrid. It was painted on wood with oil. It represents the Slav missionaries Ss. Cyril and Methodius and their most prominent disciples Clement, Nahum, Gorazd, Sabbas and Angelariy, in a sole composition entitled as “Sedmochislenitzi” (The Seven Holy Teachers). The saints' names are inscribed in the Old Church Slavonic language.","type":"Icon","holder":"Museum of Macedonia","dates":"1862","location":"Skopje","provenance":"Ohrid","author":"Viktorija Popovska Korobar, art historian","copy_editor":"Daniel de la Vega"},"1911d22b-68b3-5d5e-a23a-6f0b09d5b12c":{"name":"Dalail Al Khayrat (Dalail Al Khayrat wa Shawariq Al-Anwar fi Dhikr al-Salat ala al-Nabi al-Mukhtar)","short_description":"Written in *maghrebi* calligraphy in the 18th century, the *Dalail al-Khayrat* (“The Guide to Goodness”) represents a famous collection of prayers for Prophet Muhammad (PBUH) compiled by Sufi leader Imam Muhammad Sulaiman al-Jazuli in Souss, Morocco. Bound in brown cardboard with golden geometric and floral decorations, the copy embodies a book that swept across the Muslim world.  \n  \nOften attributed to sainthood, the Berber al-Jazuli created this literary device in the 14th century for recitation, prayer and oral remembrance of the beloved Prophet Muhammad. Intended for word recitings to enhance one’s access to the divine, the book could be read aloud or silently, alone or as a collective.  \n  \nThe prayers are split into seven sections representing each day of the week for daily worship. Simultaneously, the book served as a *hajj* (pilgrimage) guide due to its vivid descriptions of Mecca and Medina. While the book appeals to people across socio-economic backgrounds and geographic context, the collection reflects al-Jazuli’s inclusive nature and encouragement of women to transfer Islamic knowledge and educate the future generations.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 12cm, Width: 11cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"Morocco","obtention":"Purchase","bibliography":"Abid, H., \"The Birth of a Successful Prayer Book,\" *Journal of Islamic Manuscripts*, 12 : 3-4 (2021): 265–294.  \nCornell, V. J., \"Muḥammad ibn Sulaymān al-Jazūlī and the Place of Dalāʾil al-Khayrāt in Jazūlite Sufism\", *Journal of Islamic Manuscripts*, 12 : 3-4 (2021): 235–264.  \nJohnson, K., \"An Amuletic Manuscript: Baraka and Nyama in a Sub-Saharan African Prayer Manual. 2010\", *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections*, (2010): 250–272.  \nNgom, Fallou, Castro, Eleni, and Diakité, Ablaye, \"African Ajami Library: EAP 1042\", in: *Digital Preservation of Mandinka Ajami Materials of Casamance, Senegal*, Boston: Boston University Libraries, 2018.  \nRausch, M., \"Ishelhin women transmitters of Islamic knowledge and culture in Southwestern Morocco\", *The Journal of North African Studies*, 11 : 2 (2006): 173–192.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Maghreb","Manuscripts","Morocco","North Africa","Prayers"],"materials":["Cardboard","handwriting","Paper"]},"19309244-d3ba-5328-b6af-d77395f59e8e":{"name":"Mosque Lamp","short_description":"This mosque lamp was almost certainly made for the monumental mosque and madrasa complex of the Mamluk Sultan Al-Malik Al-Zahir Sayf al-Din Barquq (AH r. 783-791 and 792-801 / AD 1382-1389 and 1390-1399) in Cairo, completed in 788 AH / 1386 AD. It presents a typical decoration for glass lamps produced in that period with inscriptions in blue enamel, gilding on the neck, and in reserve on blue background with a floral interlacing motif on the globular body. Al-Malik Al-Zahir Sayf al-Din Barquq is mentioned twice in the inscriptions on the body and in the circular medallions on the neck. The blue inscription on the neck is verse 35 from the Sura of Light (Qur’an 24), “Allahu nur al-samawati wa al-ardhi mathalu nurihi kamishkatin fiha misbahun al-misbahu fi zujajatin\" (God is the Light of the heavens and the earth. The Parable of His Light is as if there were a Niche and within it a Lamp: the Lamp enclosed in Glass). This quotation is often used for lamp decoration and emphasizes the sensorial, luminous aspect of the Qur’anic text. The large spaces of the mosques and madrasa founded by the Mamluks during the eighth century AH / fourteenth century AD required ample lighting. This need prompted the production of hanging lamps in Egypt and Syria and explains the relatively high number of surviving examples today.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height: 33cm, Diameter (at the widest point): 26.5cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 62-65,11.  \nLasikova, Galina, *Image of Mosque*, Moscow: Mardjani Foundation, 2015: 231.  \nSeipel, Joseph H., et al., *God is Beautiful and Loves Beauty: The object in Islamic Art and Culture*, New Haven: Yale University Press, 2013: 212, Figure/Plate 206.","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"19712bce-3702-52aa-a6e1-3f6ba2529789":{"name":"‘Transylvanian’ rug","description":"The term “Transylvanian” rug is related to small prayer rugs made in the villages of Anatolia but preserved mostly in the region of Transylvania. Commonly these are decorated with two prayer niches in mirror image and have a border filled with elongated, polygonal cartouches.  \nThe Kraków rug represents both these features. The red field of the double niche is ornamented with palmettes and cogwheels organised along the vertical axis, and two flowering branches flanking it. The indigo-colour spandrels are filled with an ornament of the “rosette and leaf”-type with large rosettes among lanceolate leaves. In the main border, flanked by two narrower borders, there are cartouches with lozenges, placed on the red ground.  \nSo-called Transylvanian carpets were very popular in Poland and many are preserved in Polish collections. We can also find such rugs depicted in Polish paintings. On the refectory ceiling in the former Piarist monastery in Rzeszów, a Transylvanian rug covers the table in a scene from “The meeting in Emaus”, painted at the end of 17th century by Łukasz Ziemecki. It looks very much like the rug in the Kraków collection. It is interesting that in the Brukenthal National Museum in Sibiu, Transylvania, a rug with almost the same design as the Kraków version is preserved. The only visible differences are colouristic. On the edge of the Sibiu rug is an inscription with the date 1675. Therefore, the Kraków rug was probably made in third quarter of 17th century.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"Third quarter of the 17th century","location":"Kraków","dimensions":"H: 170cm, W: 122cm; knot density 1,056/dm2","method_for_datation":"Comparative analysis of other preserved rugs; analysis of paintings","method_for_provenance":"Stylistic analysis","provenance":"Anatolia","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 51, 154, cat. 15.  \nBiedrońska-Słotowa, Beata, “Islamic carpets in Polish painting: A contribution to the iconography of Oriental textiles”, in *Rozprawy Muzeum Narodowego w Krakówie. Seria nowa, vol. I*, Kraków: National Museum in Kraków: 1999: 111‒28.  \nIonescu, Stefano (ed.), *Kobierce anatolijskie z kolekcji Muzeum Narodowego Brukenthala w Sibiu / Anatolian Carpets From the Collection of the Brukenthal National Museum in Sibiu* (Romania ed.), Gdańsk: National Museum of Gdańsk, 2013: 120–3, cat 9. (Analogy)","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["‘Transylvanian’ rug","Anatolia","mihrab","prayer rug","Transylvania"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"1a476191-4d4c-570a-ab3c-a49e3f98f66c":{"name":"Prayer rug.","description":"This rug belongs to the group of prayer rugs from Ghiordes, a village between Izmir and Ushak, where most of the Anatolian prayer rugs were manufactured in the AH 12th–13th / AD 18th–19th centuries. It shows in the central field a pointed niche with a half-niche on each side on a cream background. The motif of the three-arched niche derives from rug patterns of Ottoman courtly manufacturing during the AH 10th–11th / AD 16th–17th centuries. In contrast to these original designs, the columns of this rug are based on stylised carnations. Edged with trefoiled blossoms they support the main niche and separate it from the half-niches. The spandrels are filled with stylised carnations on a dark-blue background. A large bouquet of flowers hangs in the apex, reaching nearly to the bottom where a row of carnations is presented. The panel above the spandrels is filled with rosette blossoms and ornaments.  \nThe border is formed by two horizontal and two vertical stripes showing an endless pattern of stylised plants on a dark blue background. The wavy motif of a flower scroll alternately coloured in blue, red and tan is repeated on the inner and outer guard bands.","short_description":"Prayer rug, probably from Ghiordes. In the central field the rug shows a pointed niche with a half-niche on each side. Stylised carnations and bouquets of flowers are the most important motifs of this rug. The central field is framed with a border.","type":"Wool, knotted, carpet","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Hegira 12th century / AD 18th century.","location":"Stockholm","dimensions":"Height 157 cm, width 113 cm.","method_for_datation":"A very similar rug is dated to the 12th / 18th century.","method_for_provenance":"Rugs showing similar designs and colour schemes are usually ascribed to the Ghiordes group.","provenance":"Anatolia (Ghiordes district), Turkey.","obtention":"Acquired from the carpet dealer P. Willborg, Stockholm, in 1984. The rug belonged to the collection of R. Christensen, Stockholm.","bibliography":"Dimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, Metropolitan Museum of Art, New York, 1973.  \nSterner, M., *Orientens Mattor*, Stockholm, 1959, 204.","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","prayer","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"1a9e5630-70cb-5d3f-a3ff-92564b210c02":{"name":"Lamp","short_description":"The Mamluks were prodigious patrons of the arts who took a special interest in building religious foundations, which they supplied with all manner of beautiful furnishings, including lamps such as this. According to the inscriptions on the lower part of the lamp, it was commissioned \"By order of the most noble authority, the Exalted, the Lordly, the Masterful, holder of the sword, Shaykhu al-Nasiri\", a former mamluk of the Sultan al-Nasir Muhammad. On the upper and lower sections of the lamp is Shaykhu’s heraldic device or blazon in the form of a circular medallion bearing a red cup set between a red and a black bar. He is known to have built a mosque and a *khanqa* in Cairo in the mid-eighth/mid-fourteenth century, and this lamp was most likely made for one of these structures.","type":"Furnishings","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira mid-8th century / AD mid-14th century","location":"Los Angeles","dimensions":"Height 37.5cm, Diameter 29.2cm","method_for_datation":"The lamp’s inscriptions indicate that it was made on the order of the Mamluk Amir Shaykhu al-Nasiri, presumably for either the mosque or *khanqah* he had built in Cairo in the mid-fourteenth century.","method_for_provenance":"Lamps of this type seem to have been produced exclusively for Mamluk religious foundations.","provenance":"Egypt or Syria","obtention":"Mosque or *khanqah*, Cairo, built in Hegira 750/1349 AD and Hegira 756/1355 AD, respectively, of Amir Shayku al-Nasiri (died Hegira 758/AD 1357). Lucien Sauphar (unknown dates), Galerie Charpentier, Paris, until 1936 (sold to); A. Seligmann, Rey & Co, Paris, until 1950. Collection of William Randolph Hearst (1863-1951), San Simeon, California, until 1950 (gifted to); LACMA, William Randolph Hearst Collection.","bibliography":"Hess, Catherine, *The Arts of Fire: Islamic Influences on Glass and Ceramics of the Italian Renaissance*, Los Angeles: J. Paul Getty Trust, 2004: 86.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 64, 72, 73.  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Rev. ed., Los Angeles: Museum Associates, 2005: 30, fig. 27.  \nLevkoff, Mary L., *Hearst the Collector*, New York: Abrams; Los Angeles: Los Angeles County Museum of Art, 2008: 192-93.","author":"LACMA Staff","keywords":["calligraphy","coat of arms","Enamel","gilding","glass","inscription","Mamluk","Mosque interior decoration","religious objects","Shaykhu al-Nasiri","waqf"],"materials":["applied handles","enamelled and gilded","free-blown and tooled","glass"]},"1c83b59f-bba0-5630-b9da-a13188474ac4":{"name":"Prayer rug","description":"Outlined on the contrasting green of the central field, the red prayer niche has a stepped arch fringed with hooks along its inner edges. Inside the niche, a floral composition encircled by 12 tiny ewers recalls the mosque-lamp motif. A recurrent motif of prayer rug designs, ewers are traditionally associated with an *aide-mémoire* meant to remind the believer of the ritual ablution required before prayer. The present rug features a main border reminiscent of the so-called Gothic border of 16th- and 17th-century carpets, and, in the upper corners of the main field, stylised vegetal motifs, which show the Western influence on Turkish art. This rather unusual blending of two stylistic sources is illustrative of the two main “forces” with a strong impact on the decorative vocabulary of 19th-century Ottoman carpets: the Turkish tradition and the influence of European art. The bright colour scheme is quite remarkable and its sharp contrasts almost shocking compared mainly to the fine colouring of the Gördes and Kula carpets that reigned supreme on the European market of Oriental carpets at the turn of the century.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"19th century","location":"Bucharest","dimensions":"H: 166cm, W: 115cm; ; knot density ver. 36/dm; hor. 30/dm; 1,080/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, central Anatolia, Kırşehir","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 5.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Ghiordes","prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"1ca4ae5b-e753-59d1-a5de-423460efb5d1":{"name":"Iconostasis in the Church of the Holy Saviour","description":"This iconostasis was created by one of the greatest Macedonian masters of woodcarving, Petre Filipovski Garka, who formed his own group of artisans and developed his outstanding style of wood-carving, which was widely recognizable in the Balkans in the early 19th century. This exquisite piece of wood-carving was made from walnut in the technique of high relief. The iconostasis depicts scenes from the Old and the New Testament in which biblical figures are rendered wearing traditional costumes worn in Macedonia. The detail shows the self-portraits of Petre Filipovski and his associate artisans.","type":"Work of art executed in wood-carving; iconostasis","holder":"The Church of the Holy Saviour","dates":"1824","location":"Skopje","provenance":"Skopje","author":"Nada Andonovska","copy_editor":"Daniel de la Vega"},"1fa972c1-55d3-529e-8a54-27ed5bbaf7a3":{"name":"Calligraphy","description":"Considered one of the masterpieces of Ottoman classical literature, *Su Kasidesi* (*Water Ode*) is Fuzûlî’s celebrated ode (*kaside*) written in praise of the Prophet Muhammad. The poem employs water (*su*) as its central metaphor, intertwining themes of purity, life, longing and spiritual elevation. Throughout the *kaside*, water appears as an entity filled with devotion—flowing, bowing, crying, evaporating and kneeling—mirroring the poet’s own yearning for the divine.  \n  \nFuzûlî’s intricate wordplay transforms water into a symbol of both physical and spiritual life, reflecting the Islamic belief that all creation originates from water. By personifying water as an admirer of the Prophet, the poem situates natural elements within an emotional and devotional universe.  \nThe musical rhythm of the *aruz* metre, the repetition of sound patterns and the carefully layered imagery create an atmosphere of reverence. The poem’s rhetorical brilliance lies in its fusion of mystical Sufi thought, high literary artistry and deep emotional sincerity.  \n  \n*Su Kasidesi* continues to be celebrated as one of the finest examples of Ottoman poetic expression, demonstrating Fuzûlî’s mastery in blending spirituality, metaphysics and lyrical beauty.","type":"Calligraphy","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 1431 / AD 2011","location":"Istanbul","dimensions":"Height: 98cm, width: 112cm","place_of_production":"Istanbul","method_for_provenance":"Date and origin are written on the piece.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["calligraphy","poem","spirituality","water"],"materials":["Calligraphy on paper"]},"201954ee-da8e-50a5-a061-1b9e19db7811":{"name":"Ostrich egg pendants","short_description":"Since the early modern period, ostrich eggs have been suspended in rooms in the Christian and Islamic regions of the Mediterranean. Their purpose is to warn the faithful and to safeguard their souls against harm. In bazaars, they are hung on the fronts of street side shops, and in and above gateways. Ostrich eggs decorate the tombs of saints, churches and mosques. With the fashion for all things Oriental, they have found their way into upper class living rooms furnished \"in Moorish style.\"","type":"Architecture; religion","holder":"Weltmuseum Wien","dates":"Before 1855","location":"Vienna","dimensions":"Eggs: H: max. 15cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt (prob. Nubia) and Turkey","obtention":"Miramar Collection of Archduke Ferdinand Max, brother of Emperor Franz Joseph I, which was officially incorporated in 1878 into the Imperial Collection in Vienna.","bibliography":"Steinmann, Axel, \"Strauß-Eier als orientalisches Präservativ gegen das Malocchio\", in Ilsebill Barta (ed), *Maximilian von Mexiko. Der Traum vom Herrschen, exhibition catalogue* Vienna: Hofmobiliendepot - Möbelmuseum Wien, 2013: 97-100.","materials":["cotton","Ostrich eggs","pigment","silk","silver thread","wool"]},"208f7a0a-f7c8-54f1-a727-726b4b64c7c8":{"name":"Prayer chain","short_description":"Islamic prayer beads (*misbaḥa*) consist of three sections of beads separated from each other by two larger marker beads (*imām*) for easier counting. The last bead, which is usually a much larger piece in the shape of a bottle neck, is called \"minaret imam\" (*yad*) and stands for the greatest and secret hundredth name of Allah. The *misbaḥa* is meant for reciting prayers, praising Allah, and as a talisman.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1914","location":"Vienna","dimensions":"Length without tassel: 39.4cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Sfax","obtention":"Catalog entry: \"Collected and donated by the banker Alfred Weidholz (Vienna), 1914.\"","bibliography":"Steinmann, Axel, *Blickfänge. Schmuck aus Nordafrika, exhibition catalogue*, Vienna: Museum für Völkerkunde, 1995: fig. 27.","materials":["cotton string","Glass beads","silk tassel"]},"20abb534-7f0e-5447-96ad-59b7c1f4354d":{"name":"Pendant with The Miracle of Saint George and the Dragon","description":"Saint George was born to Christian parents in the 3rd century. He joined the Roman army and became a high-ranking officer at a young age, earning the respect of Emperor Diocletian. At that time, Diocletian persecuted Christians and required that all soldiers sacrifice to the pagan gods. Saint George publicly denounced the emperor and confessed to being Christian. He was subjected to brutal punishments, but refused to renounce his faith. Saint George was beheaded and became a popular martyr saint. In one story of his life, he rescued a town besieged by a dragon. The townspeople had been sacrificing children, who were randomly chosen by casting lots, to the dragon. Saint George rode in just as the town’s princess was to be sacrificed. He killed the dragon, a symbol of paganism, and converted the townspeople to Christianity. In this miniature icon, Saint George is seen atop a white horse slaying the dragon with a spear. The princess stands nearby with the town in the background. The icon has a beautiful enameled *oklad* (frame) with a silver loop at the top. It may have been worn around the neck and was probably commissioned for a military officer from a wealthy family since Saint George is a patron saint of soldiers.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 7cm, Width: 6.4cm, Depth: 3cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Christie's Auction, London, in 2007. Gifted by Gordon Lankton to the Museum of Russian Icons in 2008.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","saints"],"materials":["Egg tempera on wood with silver oklad","enamel","gems"]},"2128703e-9b93-51af-ae89-1e8e1b75f0d3":{"name":"Calligraphy","description":"This artwork features the phrase \"*Su gibi aziz ol*\", written in classical Ottoman Turkish and rendered in Hasan Çelebi’s refined *sülüs* calligraphy. The expression—literally \"May you be as precious as water\"—is a traditional Anatolian blessing that conveys wishes of purity, value, and life-giving goodness. Water, regarded in both Islamic thought and Ottoman culture as the origin and sustainer of life, becomes a symbol of virtue, generosity, and spiritual clarity.  \n  \nThe calligraphic composition is shaped in a fluid, droplet-like form, echoing the blessing’s meaning. Surrounding the central inscription is an intricate *tezhip* (illumination) border in deep blue and gold, reminiscent of traditional Ottoman manuscripts.  \n  \nThe visual contrast between the delicate floral motifs and the strong, sweeping calligraphic lines highlights the harmony between ornamentation and the written word.  \nThrough its union of devotional aesthetics and cultural symbolism, this piece reflects the enduring legacy of Ottoman calligraphy and the masterful craftsmanship of Hasan Çelebi, one of the leading contemporary heirs of this artistic lineage.","type":"Calligraphy","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 1430s / AD 2010s","location":"Istanbul","dimensions":"Height: 70cm, width: 50cm","place_of_production":"Istanbul","method_for_datation":"Date and origin are written on the piece.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["calligraphy","Qur'an","verse","water"],"materials":["Ink","Paper"]},"2226f421-a01c-56bf-809f-7d0c2067f79e":{"name":"Lamp holder.","description":"A large brass lamp holder; a hexagonal base tapers upward to an upper structure which once supported a dome, now lost, to which the suspension chain would have been attached. The bottom of the structure would have held several small glass oil lamps, accessed through a door in one of the six sides which is now missing. The sides are pierced to let the light from the lamps through, as well as engraved and inlaid with designs in which an inscription medallion praising Sultan Qaytbay is nestled among floral decoration. A large inscription band at the bottom of the lamp holder, repeated in smaller calligraphy in a parallel band at the top, declares: 'Glory to our lord the Sultan, the most noble ruler, sultan of Islam and the Muslims, reviver of justice in the world, suppressor of the immoral and rebellious, sultan of the Arabs and Persians, lord of the two seas, servant of the Two Holy Shrines, master of kings and sultans, Commander of the Faithful, Abu'l-Nasr Qaytbay, may God Almighty make his reign long'! When this lamp holder hung in a mosque it is unlikely that its decoration would have been visible; still, it is indicative of the quality of the arts under Sultan Qaytbay.","short_description":"A large brass lamp holder, the sides of which are pierced to reveal the light supplied by oil lamps held in its bottom. The decoration, executed in several techniques, includes several inscriptions naming Sultan Qaytbay. The lamp holder must originally have hung in a mosque he founded or renovated.","type":"Metalwork, brass, silver","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Qaytbay.","dates":"Between hegira 872–901 / AD 1468–96.","location":"London","dimensions":"Height 163 cm, diameter 74 cm.","method_for_datation":"Inscriptions on the object name Qaytbay as Sultan and imply that he is still alive ('may God extend his rule'), the lamp holder is thus dated to his regnal dates, 872–901 / 1468–96.","method_for_provenance":"Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1888.","bibliography":"Mitter, P. and Clunas, C., \"The Empire of Things: The Engagement with the Orient\", *A Grand Design: The Art of the Victoria and Albert Museum* (eds. M. Baker and B. Richardson), London, 1997, pp.255-6.  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East,* London, 2004, p.98.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["brass","engraved and inlaid with silver and gold."]},"24d1b22a-7e02-5a13-97d1-ffbb62d62561":{"name":"Fragment from the internal *kiswa* of the Ka‘ba","short_description":"This fragment comes from the internal *kiswa* of the Ka‘ba which was presented by the Ottoman sultan ‘Abdülaziz (r. 1861–1876) in his first regnal year. It was the last internal *kiswa* to be sent by the Ottomans. It remained inside the Ka‘ba until 1936, when it was replaced by an Indian-made one. Later internal kiswas were woven in Mecca.  \nThe section preserved in fragment represents almost half of the loom width and an almost complete vertical repeat. The latter is made up of four zigzag bands. In the first wide band is the *shahada*, followed in a narrower band by phrases in praise of God. The third band has cartouches and roundels inscribed with invocations to God. The final narrow band has *sura* *al-Baqara*, II, verse 144, in part, ‘*We see the turning of thy face (for guidance) to the heavens: now shall We turn thee to a Qibla that shall please thee. Turn then thy face in the direction of the sacred Mosque*’.","type":"Textile; woven textile; *kiswa*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1861–76","location":"London","dimensions":"45 x 35.5cm","method_for_datation":"Provenance and date are based on published information.","provenance":"Turkey","bibliography":"Rif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: fig.113, opposite p.291.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["silk lampas","with satin ground and twill pattern"]},"272aabb1-2d59-5faa-9ce5-a28c1305a906":{"name":"Brass head of flagpole","description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"27f64d8c-b2e4-52c4-a51c-fbe641ebcaef":{"name":"Prayer rug.","description":"This rug, dominated by the colours red, brown and white, is dedicated to prayer because of its niche motif in the central rectangular field. The niche is formed by a stepped, pointed arch and edged all around with carnations. A geometrical ornament is set against the light brown background of the area below the arch. A floral device replaces the lamp often to be seen in other prayer rugs. The spandrels are filled with five red flowering bushes. There are two transverse panels, one above the spandrels and one below the niche. Both show the same motif of a cloud-band in combination with rosette blossoms filling the spaces. The small central field is framed by a broad border consisting of an inner and an outer row of heavily stylised carnations and seven narrow stripes coloured alternately white and red.  \nThere were two places, Ghiordes (Gördes in Turkish) and Kula, manufacturing prayer rugs of similar patterns. This rug combines characteristic elements of both: for example, the seven narrow stripes are found in Kula prayer rugs and the niche with two transverse panels and a colour scheme dominated by red are typical of Ghiordes prayer rugs.","short_description":"Rug dedicated to prayer because of the niche motif in the central rectangular field. The floral device in the area below the arch replaces the lamp often to be seen in other prayer rugs. The central field is framed by a border of stylised carnations and seven narrow stripes.","type":"Wool, knotted, carpet","holder":"Hallwyl Museum.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height 167.5–173.5 cm, width 128–132.5 cm.","method_for_datation":"In the 13th / 19th century, rugs from Ghiordes and Kula show a strong stylisation of the floral motifs similar to that of the rug described above.","method_for_provenance":"The rug cannot definitely be ascribed to Ghiordes or Kula. It shows characteristics of both manufacturing centres such as the two transverse panels, one at either end of the central field, typical of rugs from Ghiordes, and the seven narrow stripes which are to be found in rugs from Kula.","provenance":"Anatolia (Ghiordes or Kula), Turkey.","obtention":"Bought for the collection of Wilhelmina von Hallwyl (1844–1930) in Saloniki in 1896. Count and Countess Walther and Wilhelmina von Hallwyl donated the collection and their home to the Swedish state in 1920.","bibliography":"Ådahl, K., *Den Orientaliska Mattan i Sverige*, Stockholm, 1998, cat. no. 31.  \nDimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, The Metropolitan Museum of Art, New York, 1973.  \nSterner, M. and Kinch, J., *Antika Orientaliska Mattor i Sverige*, Stockholm, 1937.","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","prayer","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"28485e93-6aee-597e-b6d4-519ba9eeb8e4":{"name":"Caucasian Rug","short_description":"Although the Ummayad and Abbasid caliphates overthrew the Iranian empires in the Caucasus and Azerbaijan, the cultural influence of Persia remains. This Caucasian carpet displays a blend of influences from Islam and pre-Islamic Persia.  \n  \nPrimary colours from natural dyes typically brighten carpets from the Shirvan region with blue likely representing water as a life's source. The symmetry in these textiles creates harmony with repeated shapes such as the *kubpa* (hexagonal medallion) with tooth-like edges and diamonds to protect from the evil eye.  \n  \nBright colours and geometric figures adorn this rug with abstracted religious symbols. The *mehrab* (arched prayer niche) denotes the direction toward toward which Muslims pray, Mecca. The upper end of the carpet displays the date, 1281 Hegira (1864 AD). Two chequered rectangles resemble a chess board, which suggests a possible alternative use for this carpet for entertainment during travels.","type":"Carpet; Rug","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1864 AD / 1281 Hegira","location":"Shahaniya","dimensions":"Length: 130cm, Height: 110cm","method_for_datation":"The date can be read on the upper side of the carpet, while the origin was derived from an examination of material, colour, pattern and knot.","method_for_provenance":"The date can be read on the upper side of the carpet, while the origin was derived from an examination of material, colour, pattern and knot.","provenance":"Caucasus, Daghistan, Shirwan","obtention":"Purchase","bibliography":"Bier, C., *Carpets For Commerce: Rug-Weaving In The Caucasus. Proceedings of The Textile Society of America Biennial Symposium*, 1990: 166-177.  \nBoggs, J., *Carpets as Signifiers of Historical Change: The Azerbaijani Carpet Industry from the Mid-nineteenth to Late Twentieth Century*, Senior Theses, University of South Carolina, 2011: 394.  \nGoswami, K. K., \"Developments in Handmade Carpets: Introduction\", in K.K. Goswami (ed), *Advances in Carpet Manufacture*, Duxford: Woodhead Publishing, 2018: 213-268.  \nMast, T. M., *Ruglore and Ruglife: A folkloric Study of Oriental Rugs, Rug Weaving and Rug Scholarship with a Focus on Turkey and the Caucasus*, Dissertation, University of Pennsylvania, 1995.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["carpet","Caucasus","Mehrab","rug"],"materials":["Ghiordes knot","wool"]},"2b8bffd7-5ba3-5029-b6c5-d671a0482187":{"name":"High altar for San Pietro Cathedral of Bologna","description":"This complex and precious altar was donated by Pope Lambertini to the San Pietro Cathedral of Bologna. Originally it was composed of six candlesticks, a silver cross and a silver frontal depicting *Jesus Handing the Keys to St. Peter in the Presence of the Apostles*. Unfortunately, these rich objects were probably handed to the Frenchmen in 1796, after the treaty of Tolentino, signed by Pope Pius VII.  \nThe invoices for the high altar are registered in the *Diario Benedettino*. The pope prayed that it reached Bologna safe and sound.  \nIn the middle of the side there is a silver embossed oval representing *Christ Rescuing Peter from the Water*, on the sides are two smaller roundels representing allegories of *Faith*. The three bas-reliefs are framed in gilded cast bronze, with cherubs' heads and garlands against a blue lapis-lazuli background. In the corners the oval bas-reliefs represent the *Martyrdom of St. Peter* on the left and *St. Peter in Jail Visited by the Angel*. On the upper side hangs the coat of arms of the Lambertini family in silver.  \nThe whole altar is on show together with a sumptuous frontal donated by the pope in 1742, made of  \nhemp canvas embroidered with gold thread. Against the embroidered gold background are several sewn gold leaf decorations. In the middle is a roundel of *St. Peter* half bust and on the sides the coat of arms of the Lambertinis' with the tiara and the papal keys held by angels.  \nThis extremely precious altar, only a part of the richer original complex, is characterised by its technical skill and high artistic quality. The Roman silversmith Angelo Spinazzi, documented from 1721 to 1767, probably made the step. On the sides a hallmark, despite being not entirely legible is believed to be that of the Roman craftsman Filippo Tofani. No hallmark is visible on the main central relief.","short_description":"This extremely precious altar was donated to the cathedral of Bologna by Pope Benedict XIV.  \nThe sides and corners are characterised by extremely detailed work: against a blue lapis-lazuli ground are intertwined coats of arms of the Lambertini family and oval bas-reliefs with figures in chiselled and embossed silver and gilded bronze. On the side, in the middle, *Christ Rescues Peter from the Water* flanked by two Allegories of Faith, on the corners *St. Peter in Prison Visited by the Angel* and the *Martyrdom of St. Peter*. The work was made in Roman workshops. The altar is completed by a beautifully worked frontal, also a gift from Pope Benedict XIV (1742).","type":"Metalwork","holder":"San Pietro Cathedral of Bologna","initial_owner":"San Pietro Cathedral of Bologna","dates":"1753- post 1756","location":"Bologna, Emilia-Romagna","dimensions":"Side max. 57x380x27 cm; medallions left and right 34x25 cm, central 35x55 cm; sides 105x78 cm, 5x63 cm; capitals height 57 cm; roundels, right 30x21 cm, left 28x21 cm; frontal 104,5x355 cm","place_of_production":"Rome","method_for_datation":"This altar was sent to Bologna and began in 1753. Work continued to 1756 although the whole complex was not yet complete.  \nSpinacci, quoted many times as the author of the step, might be Angelo Spinazzi, a Roman silversmith working between 1721 and 1767.  \nOn the reliefs on the corners it is possible to see two hallmarks: 1) *the cipher 85 in a circle*, 2) *FT with a small cross under inside an irregular frame*. The first is used by several testers and affirms the high quality silver, following 1734 prescriptions. The second hallmark refers to the silversmith Tofani, even if this work is not cited by Bulgari in his monograph and if we don't know for sure the hallmark of this master.","provenance":"Gift of Pope Benedict XIV Lambertini","obtention":"Donated by Pope Benedict XIV Lambertini.","bibliography":"Bulgari, C. G. *Argentieri gemmari e orafi d'Italia,* Rome, 1974.  \n*L'Arte del Settecento emiliano. L'arredo sacro e profano a Bologna e nelle Legazioni Pontificie, (*exhibition catalogue) (ed. J. Bentini), Bologna, 1979.  \n*Il tesoro di San Pietro in Bologna e Papa Lambertini* (exhibition catalogue) (ed. F. Varignana), Milan, 1997, pp. 192-193, figg. 40-41.  \nVarignana, F. *Guida al tesoro della cattedrale di San Pietro in Bologna*, Bologna, 2000, pp. 81-82, figg. 96-97.","workshop":"Late baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Federica Trombacco","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Allegory","bas-relief","Benedict XIV","Cathedral of Bologna","liturgical","liturgy","metalwork","Roman silversmiths","St. Peter"],"materials":["brass frame.","bronze cast","chiselled","chiselled and gilt","embossed","hemp canvas embroidered with gold thread","lapis-lazuli","Silver cast","wood frame"]},"2c61e46e-3c33-5e1e-acf0-98b19112c300":{"name":"Mosque Lamp","short_description":"The Mamluk glassmakers invented mosque lamps gilded and enamelled in vibrant colours between the 13th and 14th centuries. Production centres in Egypt and Syria became prominent for these mosque lamps with innovative Islamic enamelling techniques.  \n  \nDuring the 13th century, extensive trade occurred between Venice and the Mamluks, influencing the glass lamp techniques and styles. Hematite and cassiterite pigments created the pink tint in Mamluk glassware.  \n  \nThis mosque lamp embodies an example of the vase-shaped enamelled lamps gaining popularity in Europe in the 19th century as exotic and luxurious medieval Islamic art pieces.  \n  \nThe pink lamp reads the year 1867 along with the signature Philippe-Joseph Brocard, a renowned French craftsman fascinated with reviving, preserving and reproducing Mamluk lamps. The *kufic* calligraphy is reminiscent of the style used during the Mamluk era.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1867","location":"Shahaniya","dimensions":"Diameter: 30cm, Height: 39.5cm","place_of_production":"France, Paris","method_for_datation":"The date and origin were derived from the signature of the artist Philippe J. Brocard.","method_for_provenance":"The date and origin were derived from the signature of the artist Philippe J. Brocard.","provenance":"France","obtention":"Auction","bibliography":"Colomban, P., Tournié, A., Caggiani, M.C. and Paris, C., \"Pigments and enamelling/gilding technology of Mamluk mosque lamps and bottle\", *J. Raman Spectrosc.*, 43 (2012): 1975–1984.  \nCaggiani, M.C., Valotteau, C. and Colomban, P., \"Inside the glassmaker technology: search of Raman criteria to discriminate between Emile Gallé and Philippe-Joseph Brocard enamels and pigment signatures\", *J. Raman Spectrosc.*, 45 (2014): 456–464.  \nMcClinton, K. M., \"Brocard and the islamic revival\", *Connoisseur London*, 205 : 826 (1980): 278–281.  \nSalvant, J., Schussler, V., McKenna, C. et al., \"Investigation of an enameled glass mosque lamp: a 13th–14th-century Mamluk example or 19th-century European version?\", *Herit Sci*, 4 : 5 (2016).  \nWard, R., \"Coincidental Developments? The Aldrevandin Glasses and Ayyubid–Mamluk Glass\", *Journal of Glass Studies*, 57 (2015): 137–146.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["France","Mamluk","Mosque Lamps","Paris"],"materials":["Bronze","enameling","gilding","glass"]},"2e37ae24-5c92-5eeb-bdae-5fa66679ca7b":{"name":"Ladik prayer rug","description":"Ladik, in Anatolia, had been an important carpet-making centre since at least the 17th century. Two types of prayer rug can be assigned to Ladik, but both have one charming feature: a row of elongated tulips in a cross-panel. The first group, considered to be earlier, are triple-arch prayer rugs. These have a narrow cross-panel with tulips over a *mihrab*. Another group consists of mostly 18th- and 19th-century rugs. They have a much smaller central niche and a wide cross-panel with upside down tulips beneath the *mihrab*.  \nThe Kraków rug belongs to the second group. The small, red *mihrab* niche is closed with a stepped, pointed arch, decorated with hook motifs. It has three elongated blossoming shrubs inside the niche that resemble the columns of the first group of Ladik rugs. The spandrels are decorated with five rosettes, a pair of lanceolate leaves and three ewers. The *mihrab* niche and ewers are symbols connected with the everyday ritual prayers of Muslims. Beneath the *mihrab* there is a wide cross-panel with two rows of arcades, upside down tulips, roses and stems with flowers. Six borders surround the field of the carpet. The main border is filled with an ornament of bold, strongly geometrised carnations.  \nIt is interesting that a very similar Ladik rug was depicted in a painting dating to as early as the second quarter of the 17th century. In the votive picture of the priest Tarło in one of the Polish churches, the rug can be seen beneath the altar of the prayer scene.","type":"Rug","holder":"National Museum in Kraków","dates":"Beginning of the 18th century","location":"Kraków","dimensions":"H: 187cm, W: 108.5cm; knot density 1,075/dm2","provenance":"Anatolia, Ladik","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 82‒3, 165‒6, cat. 32.  \nBiedrońska-Słotowa, Beata, “Islamic carpets in Polish painting: A contribution to the iconography of Oriental textiles”, in *Rozprawy Muzeum Narodowego w Krakówie. Seria nowa, vol. I*, Kraków: National Museum in Kraków: 1999: 111‒28.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 36, cat. 10.","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Ladik","mihrab","prayer rug","tulip"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"2ed5f331-f245-5701-b5ea-1a6aa1a79c09":{"name":"Qur’an","short_description":"This large-scale Qur’an manuscript from India stretches more than one meter in length. Handmade in India, these grand holy books were likely a result of domestic writings of the Qur’an and calligraphy as a form of devotion and worship.  \n  \nThe *ayah* (verses) are composed in black ink in *naskh* script within a black frame refining the border on the delicate paper. Individual *ayah* and decorative elements also appear in liquidized gold for embellishment and emphasis. A selection of pages illustrates segments of *surah* (chapters) in bright colours from pigment in diamond and medallion shapes with floral motifs.","type":"Manuscript","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 115cm, Width: 67cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, pigmented colour, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, pigmented colour, calligraphy and inscriptions.","provenance":"India","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"Chapter 8 The Chain of Mamluk Calligraphers\", in D. Behrens-Abouseif *The Book in Mamluk Egypt and Syria (1250–1517)*, Leiden: Brill, 2018.  \nGruber, C.and Brend, B. (eds), *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections,* Bloomington and Indianapolis: Indiana University Press, 2010: xviii, 281.  \nEhrlich, J., \"Plunder and Prestige: Tipu Sultan’s Library and the Making of British India\", *South Asia: Journal of South Asian Studies*, 43 : 3 (2020): 478–492.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","India","Quran"],"materials":["Cardboard","handwriting","Paper"]},"2f8a5281-9aad-56b2-94ab-cc71340502a0":{"name":"Prayer rug","description":"Pirot kilims are woven very finely. Weave density can measure up to seven to nine grains per centimetre, like on the kilim with a *mihrab* and pots with flowers in the central field. At the top of the *mihrab* there is a lamp, and in the corners there are flower braches. Kilim has three borders and the one in the middle is narrower than the other two. Borders are decorated with vegetable ornaments, *almonds* (*bademčići*) and *octopuses* (*oktapod*). The colours used are: red, green, blue, yellow, brown and violet.","type":"Prayer rug","holder":"Museum of Applied Art","dates":"First half of the 19th century","location":"Belgrade","dimensions":"H: 150cm, W: 107cm","method_for_datation":"By stylistic analysis, material and technique","provenance":"Pirot","obtention":"Purchased in 1952","bibliography":"Cvetković, M., *Igra šarenih niti: Kolekcija pirotskih ćilima Etnografskog muzeja u Beogradu*, Belgrade: Etnografski muzej, 2008.  \nVitković-Žikić, M., *Pirotski ćilimi = Les Kilims de Pirot*, Belgrade: Muzej primenjene umetnosti, 2001.  \nPetković, M., and Vlatković, R., *Pirotski ćilim* \\[Abstract in English\\], Belgrade: Srpska akademija nauka i umetnosti, 1996.  \nStojanović, D., *Pirotski ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1987.","author":"Draginja Maskareli","keywords":["Kilim","mihrab","Pirot","prayer rug","Şarköy","weave","wool"],"materials":["weaving","wool"]},"3014d292-46d6-5552-8846-8782d58e0b90":{"name":"Foot reliquary","description":"When Basel split into two half-cantons in 1833, the famous Basel Minster Treasure suffered the same fate. The new Canton Basel-Landschaft received 64 per cent of the treasure, but because it was desperately short of funds, it converted the ecclesiastical riches into cash, among them the silver reliquary of 1450, which brought the exchequer 562 francs. The reliquary has the shape of a foot, consistent with its contents – allegedly the foot bones of a young boy who was murdered in Bethlehem on Herod’s command. What chills modern viewers to the bone today, used to be the object of religious devotion to many. Through a of rock glass opening believers could catch a glimpse of the sacred relic and hope for divine assistance.","type":"Reliquary","holder":"Swiss National Museum","owner":"Schweizerische Eidgenossenschaft","dates":"1450","location":"Zurich","dimensions":"H: 14,2cm, L: 24,1cm, W: 9,8cm, Weight: 1041,6g","method_for_datation":"Dated following inscription","provenance":"Switzerland, Basel","obtention":"Part of the Basler Minster Treasure. Aquired by the Landesmuseum at an Auction in 1982.","keywords":["Basel","foot reliquary","Minster treasure","relic"],"materials":["chased","copper","crystal glass beads","enamel (translucent)","engraved","gilded","mother-of-pearl","oak wood","partially gilded","Silver","silver filigree"]},"301e4bad-ae28-55b7-8175-5f828d2c5939":{"name":"Candlesnuffer.","description":"A candlesnuffer that resembles a pair of scissors, made from gilded iron and with decorative painting. Although the form resembles an ordinary pair of scissors one of its arms contains a small chamber (a rectangular box section) to extinguish lamps and candles. The second arm (which has a flat edge), when closed, enters inside the chamber and snuffs out the lamp or candle. The arm with the chamber extends into a tapered shape not unlike an ordinary pair of scissors, while the flat-edged arm is shorter, cut-off at the level of the chamber. The piece is completely gilded and is decorated with a multiplicity of forms the most prominent being located on the two sides of the chamber. Each of the long sides of the chamber is decorated with two confronting birds, possibly pigeons, and they appear to hold a leaf in their beaks. On each of the two small sides of the chamber are lions. Some of the decoration and gilding has worn off as a result long-term use.  \nThis snuffer has been used to extinguish not hundreds, but thousands of candles and lamps which would have illuminated al-Aqsa Mosque, Dome of the Rock, the plazas and other buildings within the Haram al-Sharif in Jerusalem.","short_description":"The Aqsa Mosque and the Dome of the Rock were lit by thousands of candles and lamps which required implements for lighting and extinguishing. This candlesnuffer takes the form of elegant scissors made from gilded iron. It is decorated with zoomorphic and vegetal forms, minutely portrayed to fit the small scissors.","type":"Metalwork, iron steel","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 18.5 cm, width 5.5 cm.","method_for_datation":"The snuffer was dated by comparing it with the design and techniques of manufacture of other pieces whose dates have been tentatively pin-pointed.","method_for_provenance":"It is possible that the snuffer was produced in Istanbul since there are similar pieces known to have been produced there, but there is no firm evidence to confirm this.","provenance":"Possibly Istanbul.","obtention":"The piece was transferred from al-Aqsa Mosque to the Islamic Museum but it is not known when.","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["candle-snuffer","Candles","gilding","iron","Scissors"],"materials":["Gilded iron with decorative painting."]},"310e79cc-ee2c-5e1c-89d1-fcfcb20cf00e":{"name":"Curtain for the door of the Holy Ka‘ba in Makkah al-Mukarramah","short_description":"This curtain, known as *sitara*, *burdah* or *burqa* and embroidered with qur’anic quotations, forms the most elaborate part of the *kiswah* textile cover which encloses the Holy Ka‘ba in Makkah. This example was made under the patronage of King Fahd ibn Abd al-Aziz al-Saud, who ascended the throne in AH 1405 / AD 1985.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira after 1405 / AD 1985","location":"Sharjah","provenance":"Makkah al-Mukarramah, Saudi Arabia","keywords":["Curtain","Door","hajj","Holy Ka'ba","Makkah al-Mukarramah","patronage","pilgrimage","textile"]},"32629ea7-5978-5c34-ac5e-6fa3012db355":{"name":"Reliquary Chest of St. João de Brito","description":"The Portuguese established trading posts along the coasts of India and China where merchants could trade and store their merchandise, extending their authority into the hinterland. While the traditional political structures of local chieftains remained, the elite profited by reselling European wares. In addition to trade, the Portuguese sought to spread Christianity among the local Asian populations with Franciscan, Dominican and later Jesuit missionaries preaching to the indigenous peoples. The Christian missionaries learned the native languages, familiarised themselves with the indigenous cultures and even their religions; in this effort, the Jesuits were extremely dedicated. St. João de Brito was sent as a member of the Jesuit Order to the mission of Maduré, in India, in 1673. His aim was to convert the higher castes, in order to better establish Christianity in the region. He became a *pandaraswami*, an Indian ascetic. One of his converts, Prince Tadaya Theva upon becoming Christian, was rejected by one of his wives. She complained to her uncle, the Raja of Marava, who had the Jesuit executed in Orbyur, India, in 1690.  \nThis chest, with a pyramidal lid engraved in low-relief, features scenes of St. João de Brito's life and martyrdom. The bas-relief on the top features the saint in Indian dress, with sandals and a staff. Several winged cherubs in chiselled silver flank the lid. The body of the chest presents two sculpted winged angels on each side in true Baroque expression. Four elaborate feet in gilded silver hold the main body. Commissioned by King Pedro II of Portugal as a royal homage to the Jesuit saint, the Portuguese coat of arms is seen in the centre testifying to the royal provenance.  \nThe presence of the *Agnus Dei* on the top may have been a later addition by the Jesuits, who used it on special occasions as a Eucharistic tabernacle for the veneration of the Blessed Sacrament.","short_description":"Commissioned by King D. Pedro II, this Reliquary Chest is engraved in low-relief with scenes of St. João de Brito’s life and martyrdom. The bas-relief on the top features the saint in Indian dress, with sandals and a staff.","type":"Reliquary","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","owner":"Santa Casa de Misericórdia, Lisbon / Museum of São Roque","initial_owner":"Jesuit Order","dates":"c. 1694–1698","location":"Lisbon, Lisbon","dimensions":"H: 54 cm; w: 88 cm; depth: 40 cm","place_of_production":"Augsburg, Germany","method_for_datation":"Moutinho de Almeida attributed this piece to the German silversmith Henrich Mannlich by identification of his hallmark (H.M.).","provenance":"Augsburg, Germany","obtention":"After the expulsion of the Jesuits by the Marquis of Pombal in 1759, the church and the Professed House (House of the professed priests) along with all its possessions were given to Santa Casa da Misericórdia in Lisbon.","bibliography":"*Documentos para a História da Arte em Portugal*, Fundação Calouste Gulbenkian, Lisbon, Vol. 5, 1969, p. 26.  \nVassallo, e Silva, N., “Os Relicários de São Roque, *Oceanos*, No. 12, Lisbon, 1992.  \nMoitinho de Almeida, F., *Marcas de Pratas Portuguesas e Brasileiras – Século XV a 1887*, Lisbon, 1995.  \nVassallo, e Silva, N., “Aspectos da Arte da Prata na Companhia de Jesus” (Séculos XVI a XVII), *O Púlpito e a Imagem. Os Jesuítas e a Arte*, Lisbon, 1996.","workshop":"German goldsmiths/International Baroque","copyright":"Copyright images: Santa Casa da Misericórdia de Lisboa.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Henrich Mannlich","Jesuit","reliquary","St. João de Brito","travel"],"materials":["White and gilt silver"]},"32db9874-813f-566f-afe8-d3adcab6c80a":{"name":"Saint Georges","short_description":"This stained glass was commissioned from the artist Yoki by the Association “Semper Fidelis” to commemorate the entry of the canton of Fribourg into the Swiss Confederation in 1481. Although officially presented to the Fribourg cantonal authorities, this piece of glass art was designed for the Musée du Vitrail (now Vitromusée Romont), which opened in 1981 as part of the celebrations for the 500th anniversary of the canton joining the Swiss Confederation. For a long time it was exhibited in the attic of the museum, where a special opening was created to display it.  \n  \nThis glass in concrete depicts St. George in armor and nimbus, riding a white horse, holding a spear in both hands and piercing the mouth of the dragon lying at his feet, which turns its head to look at him.","type":"Glass in concrete","holder":"Vitromusée Romont","initial_owner":"Association *Semper Fidelis*","dates":"1981","location":"Romont, Fribourg","dimensions":"Diameter: 178cm","method_for_datation":"Signature (Yoki 81) at the bottom right","method_for_provenance":"According to the signature, the date and the research conducted","obtention":"Donation by the Association Semper Fidelis (veteran officers association)","bibliography":"Baud, Philippe, *Yoki: un demi-siècle de vitrail: un monde de lumière*, Saint-Maurice: Editions Saint-Augustin, 2001.  \nEltschinger, Michel, *Les amitiés de couleur: soixante ans d'art verrier*, Villars-sur-Glâne: Michel Eltschinger, 2013.  \nGuisolan, Jérôme, *Semper Fidelis: 1971-2011: quarante ans de mécénat au service de la culture*, Pully: Association Semper Fideles, 2011.  \nSauterel, Valérie, \"L'œuvre verrier de Yoki dans l'espace profane\", in Mélanie Rouiller (ed), *Yoki - l'art au service de la lumière: Émile Aebischer, artiste peintre et verrier*, Pro Fribourg, 213, Fribourg: Pro Fribourg, 2021: 28-43.","workshop":"Michel Eltschinger (Villars-sur-Glâne, Switzerland)","catalogue_holding_link":"https://vitrosearch.ch/en/objects/2672928","author":"Anna Salamin","copy_editor":"Adrienne Staudohar","translator":"Kate Whitebread","keywords":["banner","Cross","dragon","George","horse","lance","Religion","shield","soldier"],"materials":["Glass in concrete"]},"32fb3761-3d91-5ac8-b9e9-d93cf46f8c28":{"name":"Lamp from a mosque","description":"This lamp from a mosque was purchased from a Yemenite from Saana by Franz Steindacher in Aden in 1896. Steindacher was part of an Austrian expedition to explore the Red Sea.","type":"Furniture","holder":"Kunsthistorisches Museum, Weltmuseum","dates":"1896","location":"Vienna","provenance":"Yemen, San`a'","copy_editor":"Daniel de la Vega"},"33034cbb-75d9-5619-8b7f-cac29ec681b4":{"name":"Fragment of a basin.","description":"Fragment of a basin sculpted in low relief, triangular in shape, both parts of which have been restored. Two of the sides are flat, the third is curved.  \nThe scene on the basin, of which only a part has survived, depicts hawking. The torso and part of the thigh of a horse rider can be distinguished, clothed in a pleated tunic belted around the waist by a large belt, and holding a white weapon in the right hand. Behind him, a falconer, whose face is mutilated and whose lower limbs have been amputated, and who is wearing a tunic that is open in front and tightened at the waist by a narrower belt, holds a dead hare. In his left hand, he holds up a falcon, of which only one foot and a bit of the tail can be seen above the horse's rump, the lower part of which is missing. A section of tree trunk, which could belong to a palm tree, appears behind the falconer.  \nTo the left of this scene lies an inscription consisting of two lines in *kufic* lettering. The first line is rather difficult to interpret ; the second reads as follows: ' …*ine wa arba'ou maya … amal ibn* …' (…four hundred…the work of Ibn…). '*ine*' cannot be translated as it is the last syllable of a number that could just as well be forty as seventy or even ninety.","short_description":"Fragment of a sculpted white marble ablutions basin, the two halves of which have been pieced back together. The bas-relief scene shows a falcon hunt. On the left-hand side there is an inscription in *kufic* characters. This object was originally from Andalusian Morocco.","type":"Basin, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 5th century / AD 11th century.","location":"Algiers","dimensions":"Length 51.5 cm, width 21 cm, thickness 7.5 cm.","method_for_datation":"The object features a date which is missing the numerals representing single units and units of tens, and thus can only be placed somewhere between 440 and 489 (1048 and 1096).","method_for_provenance":"Through comparing this bas-relief fragment to basins from al-Andalus, Marçais was able to attribute this fragment to a basin, which could have been used for ablutions, of the same origin.","provenance":"Al-Andalus (Spain).","obtention":"Gift of Edmond Doutté, who acquired it in Rabat in 1902, during an exploration in Morocco.","bibliography":"Marçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un bas-relief musulman du musée Stéphane Gsell”, *Annales de l'Institut d'études orientales,* Vol. I, 1934–5, pp.162–75.","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Al-Andalus","Basin","hawking","hunting scene","inscription","kufic","low relief","sculpture","Taifas"],"materials":["Sculpted white marble."]},"336e6afb-8f0e-5f3a-a491-c18e56f13628":{"name":"*Hag Al Layla'* celebration","description":"*Hag Al Layla'* takes place in Sha’ban, the month before Ramadan. On this night, families hand out sweets and nuts – peanuts, almonds, *meez* and *nakhi* (chickpeas) – to the neighbourhood children. The children recite *dua’as* (verbal prayers) as they collect treats inside handmade cloth bags, however, should their neighbour refuse to hand out treats they may express anger toward that person. Traditionally, women give out the sweets, which are kept in a *geffah* (palm leaf basket), while sitting outside their front door. Each child would take care to visit every house in the neighbourhood.","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"In current practice","location":"Sharjah, United Arab Emirates","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["hag al layla","ramadan","shaban"]},"33fb43d3-39d9-5067-a872-1b4b9314584b":{"name":"Covered al-Buzuriyya Market","description":"During the Mawlid (Feast of the Birth of Prophet Muhammad), people from all over Damascus rush to buy the first gift of this occasion, the *Mulabbas*, distinguishing the capital from other Syrian cities. This sweet, made of roasted almonds coated with sugar, is linked to the emotional history of the people of the capital because it is white, symbolising new birth, as in the birth of the Prophet. Many shops in the historic Buzuriyya market in Damascus are filled with sweets and chocolates in preparation for Mawlid al-Nabawi. According to one of its makers, the *Mulabbas* industry in Damascus dates back more than 150 years, and its main sales area is centred in the historic Buzuriyya Market.","holder":"Museum for Islamic Art","owner":"Christine Delpal","initial_owner":"Christine Delpal","dates":"Hegira 1412 / AD 1992","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus”, Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili. “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["black and white","photography"]},"3481e842-be03-549a-be65-9ec6969a8ba5":{"name":"Marasali prayer rug","description":"A Caucasian Marasali prayer rug woven in 1253 Hijra (1838 AD) with the quintessentially Azeri flaming buta motif. The main, and very dark blue, field of this pile carpet is occupied by rows of multi-coloured pear-shaped leaf motifs with serrated edges.  These motifs are better known as flaming butas (also botehs or Paisley pattern motifs), and are here alternately coloured across the horizontal rows, creating uniformly coloured diagonal rows on the vertical axes from bottom right to top left. A geometrical arch is positioned at the top end of the centre filed creating the distinctive prayer-niche design of the prayer rug. To the left of the arch’s tip is discretely woven the date of manufacture using red knots. In Arabic letters and numbers it states “year 1253” in the Islamic calendar. The border shows a row of “bird motifs”, resembling bunches of red grapes, on an ivory background. These bird motifs are one of the key distinguishing features of Marasali carpets, and have evolved from clearly rendered abstracted birds bending to peck at the ground to the form you see on the border of this carpet, which looks more like a bunch of grapes with a leaf at its base.","type":"Prayer rug","holder":"Glasgow Museums - The Burrell Collection","dates":"Hegira 1253 / AD 1838","location":"Glasgow, Scotland","dimensions":"H: 1321mm, W: 1067mm","method_for_datation":"Manufacturing techniques and stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Azerbaijan, Shirvan district, Maraza village","obtention":"Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944","workshop":"Caucasian workshop","author":"Noorah Al-Gailani","keywords":["bird","boteh","buta","date","flaming buta","inscrption","Paisley Pattern","prayer niche","prayer rug"],"materials":["Silk warp and weft","wool pile"]},"35453f02-5851-5ed4-841e-211439b842c4":{"name":"Qur’an with box","short_description":"The small Qur’an belongs to a group of diminutive holy books intended as a talismanic object. Written in India in the *Turabi* calligraphy style with a single horse hair, the Qur’an represents a devotional book hard to read with the naked eye.  \n  \nEncased in a silver box, sometimes in textile pouches, the script becomes a pendant for a necklace. While the amulet would guard and empower the wearer, its manufacture was often reserved for sultans and their soldiers for their protection. Furthermore, the silver embellishes the protective power as a lucky metal in Islam. Carried around the neck or attached to ceremonial objects and weapons, good luck charms endure and appear throughout time and place.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 2cm, Width: 1cm, Height: 2cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"India","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"Chapter 8 The Chain of Mamluk Calligraphers\" in D. Behrens-Abouseif, *The Book in Mamluk Egypt and Syria (1250–1517),* Leiden: Brill, 2018.  \nGruber, Christiane (ed) and Brend, B., *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections,* Bloomington and Indianapolis: Indiana University Press, 2010: xviii, 281.  \nEkhtiar, M., *How to Read Islamic Calligraphy,* New York: The Metropolitan Museum of Art, 2018.  \nEkhtiar, M., and Parikh, R., \"Chapter 10 Power and Piety: Islamic Talismans on the Battlefield\", in M. Ekhtiar and R. Parikh (eds), *Islamicate Occult Sciences in Theory and Practice,* Leiden: Brill, 2020.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","India","miniature","Quran","Talisman"],"materials":["handwriting","Paper","Silver"]},"35a55142-cbad-545f-9150-ff76ab018f9b":{"name":"The Archangel Gabriel","description":"This icon depicts the Archangel Gabriel turned to the left, indicating that it comes from the Deesis tier of an iconostasis. He wears the *alb* (tunic) of a deacon and the liturgical coat of a bishop. In his right hand, he holds a sphere of light and in his left hand, a rod. The Archangel Gabriel, whose name means “man of God” in Hebrew, has been called the leader of the heavenly hosts. He is associated with numerous biblical events, including the announcements of the births of Mary and John the Baptist, and most importantly, the Annunciation, in which Gabriel proclaimed to the Virgin Mary that she would conceive and bear a son named Jesus.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 90cm, Width: 37.5cm, Depth: 5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2010. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","workshop":"Rostov","copy_editor":"Adrienne Staudohar","keywords":["Angels","Religious iconography","saints"],"materials":["Egg tempera on wood"]},"35d28d2d-69ab-5ec0-a006-32f2135420d3":{"name":"Textile with prayer niche (*mihrab*).","description":"The fabric, made of red, black and yellow-brown silk, is decorated with motifs embroidered with silver- and gold-plated copper wire woven into a cotton base. The basic decorative element consists of a large prayer niche (*mihrab*), at the centre of which, at the top, there hangs a mosque lamp. Above and beside it there are scrolls containing decorative epigraphic motifs. The background of the fabric, with the exclusion of the inside of the niche where there are naturalistic floral motifs, is decorated with arabesque elements consisting of intertwined palmettes of various shapes or half-palmettes surrounded by spirals.","short_description":"This fabric, embroidered with metal thread and decorated with a prayer niche (*mihrab*), a large mosque lamp and epigraphic motifs, is typical of late Ottoman textile production.","type":"Silk, satin, metal thread","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira 12th–13th century / AD 18th–19th century.","location":"Rome","dimensions":"Height 265 cm, width 160 cm.","method_for_datation":"The suggested dating and origin of the object are based on the decorative style, which relates to late Ottoman textile production (12th–13th / 18th–19th centuries).","provenance":"Turkey.","obtention":"Purchase.","bibliography":"Barista, H. ö., “Turkish Embroideries: Later Period of The Ottoman Empire”, *Seventh International Congress of Turkish Art*, Warsaw, 1990, pp.37–42.  \nGönül, M., “Some Turkish Embroideries in the Collection of the Topkapisaray Museum in Istanbul”, *Kunst des Orients*, 1969, VI, pp.43–76.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.","linkcatalogs":"IAM_TR_EN_001","author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["calligraphy","embroidery","floral decoration","mihrab","prayer niche","textile"],"materials":["Silk satin embroidered with metal thread."]},"370f95db-5572-52d3-b9d7-f5099026bcc9":{"name":"*Feast of St. Anthony of Padua*","description":"The subject is a relatively scarcely represented scene from the life of St. Anthony of Padua, priest, preacher and disciple of St. Francis of Assisi. The Franciscan saint sits at the table in the house of a wealthy man, blessing goblets of wine. On the left, a *putto* brings a lily, symbol of purity and one of the saint's attributes. On the right, precious tableware is displayed, as was customary at feasts from the 16th century onwards. Although the scene is illuminated at the centre, the picture features two pictorial sections: the left symbolising austerity and humbleness and the right, luxury and superiority. The artist also draws attention to the two sections by use of character types: the face of St. Anthony with his halo reflecting spiritual delight, while the gross face of the rich man shows sensual pleasure, greed and a boorish approach to the situation. The listening man on the right points out his gluttony, one of the seven deadly sins. The painter highlights the scene with a contrasting motif of deep-red drapery, which sets the colour tone for the whole picture. The painting stands out among Kracker's altarpieces and ceiling frescos because of its genre-painting atmosphere and use of chiaroscuro. It also manifests the artist's bold monogram *JK*, but not as distinctively as on some of his more sizeable compositions.  \nThe picture was part of the decoration of the refectory in the Franciscan Monastery in Moravská Třebová, together with *The Feast of the Holy Family* and *The Feast of St. Wenceslas*.  \nKracker was a leading exponent of the Vienna Academy style represented by Paul Troger and Michelangelo Unterberger. After studying in Vienna Kracker was active in the workshop of Josef Tadeáš Rotter in Brno, and later settled in Znojmo. His best-known works include ceiling paintings and altarpieces in the Church of St. Nicholas in Prague and in Nová Říše. His later work was associated with Hungary, where he joined the service of Bishop K. Esterházy in Jager.","short_description":"The subject is a relatively scarcely represented scene from the life of St. Anthony of Padua. The canvas formed part of the decoration in the refectory of the Franciscan Monastery in Moravská Třebová. It is an early piece by the artist, J. L. Kracker who was active in Bohemia, Moravia and Hungary.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Franciscan Monastery, Moravská Třebová","dates":"1759","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 148.7 cm; w: 93.4 cm","place_of_production":"Moravia","method_for_datation":"The picture is marked with the artist's monogram *JK* bottom left, on a vessel.","provenance":"Franciscan Monastery, Moravská Třebová","obtention":"The picture comes from the refectory of the Franciscan Monastery in Moravská Třebová. It was transferred to the Moravian Gallery in 1963.","bibliography":"Alois Czerny, Mährisch-Trübauer Künstlernamen, *Mitteilungen des Erzherzog Rainer-Museums für Kunst und Gewerbe*, Brno, XXVIII, 1010, pp. 1–11.  \nJana Vránová, Jan Lukáš Kracker, autor křížové cesty v Opavě-Kateřinkách*, Sborník památkové péče v severomoravském kraji* 3, 1977, pp. 161–162.  \nVlasta Kratinová, *Malířství 18. století na Moravě ze sbírek Moravské galerie*, Brno, 1968, p. 19.  \nIvo Krsek, in Ivo Krsek –­­ Zdeněk Kudělka –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, ed. Zdeněk Kudělka, Prague, 1996, p. 501, cat. 223.  \nAnna Jávor, *Johann Lucas Kracker*. *Ein Maler des Spätbarock in Mitteleuropa,* Budapest, 2005, pp. 73, 259, cat. 113.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Attribute","chiaroscuro","refectory","symbolism"],"materials":["Oil on canvas"]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink","watercolours and gold on paper"]},"38408d83-304f-5d3b-ba1f-3b4dc4fb028b":{"name":"Curtain for the *minbar* of the Meccan sanctuary, with the name of King Faruq I of Egypt","short_description":"This is an exceptionally fine example of the high quality of embroidery produced by the craftsmen of Dar al-Kiswa in the mid 20th century. Very few curtains for the Meccan *minbar* survive, and none of the known examples predates the early 20th century. This is probably one of the last ones made, as Egypt stopped sending curtains for the Meccan *minbar* around that time.  \n  \nThe top panel is inscribed, ‘God Almightly said in his revered book’. The three lines below have *sura al-Jumu‘a* (LXII), verse 9, which appropriately mentions the call to prayer on Fridays. The last panel states that ‘This sitara for the minbar of the sacred House of God was ordered by him who depends on God, the king of Egypt Faruq I, may God grant him succor, in the year 1365’.","type":"Textile; Mecca *minbar* curtain; *sitara*; *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1365 / AD 1946","location":"London","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","obtention":"Christie’s, London, sale of 26 April 2012, lot 360.","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nRif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: figure 96 (between pp.255–6).","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Dark blue silk","relief-embroidered in silver wire over cotton thread padding","with beige silk appliqués"]},"38bee4ad-cee4-5177-b8e7-dff8c1f903a8":{"name":"Inscribed reed floor mat","short_description":"A fine floor mat, woven on the loom, with sparse decoration, self-patterned borders with interlocking lozenge pattern and pairs of brown brocaded bands. The inscriptions, written in a *kufic* script, have benedictory content with details about the work's creation, as naming *Tabariya* the place of production. Such floor coverings were made for domestic and religious interiors and were possibly used during prayers.","type":"Floor mat, tabby weave","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"223 cm X 115 cm","provenance":"Tiberias","keywords":["Floor mat","kufic","Prayers","Tabby weave"],"materials":["hemp and bast fibre","Tabby weave with brocaded decoration"]},"38c8715f-fcca-5d98-afc6-976902eb06dc":{"name":"Coconut shell dipper","description":"This dipper is inscribed in Arabic with the verse:  \n*\"Wa ja‘alnā mina’l-mā’i kulli shay’in ḥay\"* (Surah al-Anbiyā, 21:30), \"And We made from water every living thing.\"  \n  \nIt also bears the Basmala — *\"Bismillāhi’r-Raḥmāni’r-Raḥīm\"*, \"In the name of Allah, the Most Compassionate, the Most Merciful.\"","type":"Dipper","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 7.5cm, diameter: 10.5cm","place_of_production":"Anatolia","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Basmala","Coconut","Dipper","Ottomans","Qur'an","water"],"materials":["Coconut shell"]},"38e4904d-c574-52b6-a1e1-5202c0c6e8ba":{"name":"Pilgrimage certificate","short_description":"This certificate was made for a pilgrim named Sayyid Yusuf bin Sayyid Shihab al-Din Mawara al-Nahri for his ‘umra, illustrating significant locations in Mecca, Medina, and other religious locations. Beside these illustrations are inscriptions from the Quran and texts written in Arabic and Persian related to pilgrimage, with the name of the pilgrim and his six witnesses featured at the end. Pilgrimage certificates are considered legal documents acquired by the pilgrim at the end of the journey.","type":"Manuscript","holder":"Museum of Islamic Art","dates":"Dated Hegira 21 Muharram 837 / AD 6 September 1433","location":"Doha","dimensions":"Height: 665 cm, width: 34.7 cm","provenance":"Central Asia or Iraq","obtention":"Christie's London, Classical, Western Asiatic, Byzantine and Islamic Antiquities, 23 October 1972, Lot 109  \nKuzmeli Collection until 1998; sold to Qatar Museums","bibliography":"Chekhab-Abudaya, Mounia, “Travelling manuscripts”, in Siu Perdue and Tagliacozzo (eds), *Asia Inside Out*, vol. 3, Cambridge: Harvard University Press, 2019: 146-178.  \n  \nChekhab-Abudaya, Mounia, Roxburgh, David, and Couvrat-Desvergnes, Amélie, “Sayyid Yusuf's 1433 Pilgrimage Scroll”, in Gülru Necipoğlu and Karen Learl (eds), *Muqarnas 33*, Leiden: Brill, 2016: 345-408.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.","author":"Mounia Chekhab-Abudaya","keywords":["Central Asia","Certificate","Iraq","pilgrimage","Qara Qoyunlu","Timurid"],"materials":["Gilt Paint","Ink","Opaque watercolour","Paper"]},"392875c0-7574-582d-b567-f145659f7e9b":{"name":"Prayer rug","description":"The oldest carpets preserved till today that were produced in Asia Minor date from the 13th century, from the time of the Seljuqs. Turkish carpets were exported to Europe from the 14th century onwards and that is when we start to find them in the paintings of the Italian masters, especially the Siena and Florentine schools. The best examples of the carpet art of Asia Minor, boasting exceptionally imaginative designs, can be found in the prayer rugs. In the centre of Kula prayer rug is a dark blue *mihrab* or prayer niche. In the middle of this field there is a stylised star-like floral design in the shape of a pillar. The inside edge of the *mihrab* has smaller flowers while the surrounding area is covered with large geometric, flower motifs. There are eight borders, of which three are missing at the narrow ends of the rug. One of the narrow borders is repeated several times, with the same geometric motif, but in contrasting colour combinations. The other borders have a floral motif. The colours used are blue, brown, red and green.","type":"Prayer rug","holder":"Museum of Applied Art","dates":"Late 18th – early 19th century","location":"Belgrade","dimensions":"H: 160cm, W: 124cm","method_for_datation":"Ref. Stojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","provenance":"Kula","obtention":"Purchased in 1954","bibliography":"Vitković-Žikić, M., \"Odsek za tekstil i kostim\", in I. Zorić (ed.), *55 godina Muzeja primenjene umetnosti: 1950–2005*, Belgrade: Muzej primenjene umetnosti, 2005: 97–121.  \nStojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","keywords":["Kula","prayer rug","symmetrical knot","wool"],"materials":["symmetrical knots","wool"]},"39548f51-03b2-558c-9e39-2e9427feaf5c":{"name":"Basin.","description":"A large marble fountain-basin. The basin is basically a large hemisphere supported on a short foot and topped with a 12-sided rim, one side of which is blank and another of which has a section cut out to support the channel which brought water. Eleven of the sides carry an inscription giving the name and titles of the Ayyubid governor of Hama, al-Malik al-Mansur Muhammad ibn al-Muzaffar Mahmud ibn Muhammad ibn ‘Umar ibn Shahanshah ibn ‘Ayyub (also known by his shorter title of Mansur II Muhammad), who ruled from AH 641–83 / AD 1244–84. The exterior of the basin is carved with a bold design of two interlacing arabesque designs, each repeated six times in alternation and set off against a background of smaller floral decoration. Such a fine basin would probably have been placed in a prominent public mosque to serve the needs of congregants and to proclaim the glory of the ruler.","short_description":"A large marble basin for ablutions, carved on the exterior with prominent interlacing arabesque designs. The 12-sided rim is inscribed with the name and titles of the patron, the governor of Hama. Thus the basin served both the ritual needs of the community and the governor’s public image.","type":"Carved marble","holder":"Victoria and Albert Museum.","dates":"About hegira 676 / AD 1277–8.","location":"London, England","dimensions":"Height 50 cm, diameter 97 cm.","method_for_datation":"The inscription gives the date 676 / 1277–8.","method_for_provenance":"The basin is inscribed with the name and titles of the Ayyubid governor in whose honour this object was made (see description above).","provenance":"Hama, Syria.","obtention":"Purchased by the Museum in 1903.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.111.","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration","inscription","religious objects","water"],"materials":["Carved marble."]},"39c77b9c-54ff-5cb2-bbbc-c8a5ef99dbc2":{"name":"Set of Icons from a Festival Tier","description":"This set of 12 icons, the only one of its kind in the United States, is believed to be from the Pskov region of Russia. The icons were originally hung on the festival tier of an iconostasis, the partition separating the nave from the sanctuary of an Orthodox church. The festival tier highlights the major holidays of the Orthodox liturgical calendar. This set includes the following images:  \n  \n1\\. The Meeting of Anna and Joachim  \n2\\. The Nativity of the Virgin Mary  \n3\\. The Nativity of Christ  \n4\\. The Presentation of Christ  \n5\\. The Transfiguration  \n6\\. The Raising of Lazarus  \n7\\. The Crucifixion  \n8\\. The Three Marys at the Sepulchre  \n9\\. The Descent  \n10\\. The Ascension of Christ  \n11\\. The Holy Trinity  \n12\\. The Feast of Pentecost","type":"Icon","holder":"Museum of Russian Icons","dates":"1500s","location":"Clinton, Massachusetts","dimensions":"Height: 62cm, Width: 42cm","provenance":"Russia","obtention":"From the De Wijenburgh Collection. Purchased by Gordon Lankton from Idonen Galerie, Germany, in 2012. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Life of Jesus","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"3b20eedf-73ef-58bb-867b-4bd1624b5b9c":{"name":"Silver service.","description":"A silver service consisting of identical pairs of candlesticks, incense burners and perfume sprinklers. 'Adila, the daughter of Sultan Mahmud II, presented the service as a gift to al-Aqsa Mosque. The design is heavily influenced by the European style.  \nEach of the candlesticks is composed of a base, a shaft, a body, neck and the candleholder. The base of the candlestick is broad and octagonal in form, and is adorned with engraved leaf decorations. The base is connected to the body via the shaft, on top of which is a cupped ledge in the form of a leaf. The leaf-shaped ledge curves upwards, resembling the leaves engraved on the base. The body of the candlestick is composed of two globular areas: the lower one resembles a small sphere, while the one above it is a relatively large ovoid. Both are decorated with leafy engraved motifs similar to those that decorate the base. The body is connected to the neck, where there is another cupped leaf-shaped ledge, resembling that below it and of approximately the same size.  \nBoth the incense burners and the perfume sprinklers resemble each other, for each piece is composed of a base, body and punctured neck; the base fluted and wide, narrowing immediately. The base of one of the incense burners carries an Ottoman inscription in Arabic letters that reads: “Sultan Mahmud Han Sani hazretlerinin kerimesi, devletlü, ismetlü Adile Sultan hazretlerinin Mescid-i Aksa'ya mahsus vakfıdır.” (“Endowment of her Excellency Adile Sultan, daughter of his Excellency Sultan Mahmud Han II, to al-Aqsa Mosque.”)  \nThe date “1305” \\[AD 1887\\] is inscribed on it as well. This date was added during the reign of the Ottoman sultan, 'Abd al-Hamid II (r. AH 1293–1327 / AD 1876–1909). The body of the incenser is globular and fluted in form, slender at the bottom in order to adhere to the base, and at the top in order to cleave to the neck. The middle of the body is divided into two: the upper and the lower parts, which are connected to each other by a hinge, whereby one can open the censer and fill it. The necks of the incense burners are punctured to permit the fragrance to escape, similarly the necks of the sprinklers terminate with holes from which to sprinkle perfume and, like the incensers, they open at the apex in order to fill the inside of the sprinkler with perfume. Both the incense burners and perfume sprinklers end with a small globular section decorated with vegetal leaves, which resemble those decorating the candlesticks.","short_description":"This silver set is worked in the European style and is made up of six pieces that are similar in size and shape and decorated with vegetal motifs: identical pairs of candlesticks, incense burners and perfume sprinklers.  It was given to al-Aqsa Mosque by ‘Adila, the daughter of Sultan Mahmud II.","type":"Metalwork, silver","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"‘Adila, daughter of Sultan Mahmud II (r. AH 1223–55 / AD 1808–39), who gave it as part of an endowment to al-Aqsa Mosque, Jerusalem.","dates":"Hegira 1305 / AD 1887.","location":"Jerusalem","dimensions":"Height (of the candlestick) 60 cm, diameter 22 cm; height (of each incense burner and sprinkler) 33.5 cm, diameter 20.5 cm.","method_for_datation":"The service has a written inscription on the base of one of the incense burners that includes the date.","method_for_provenance":"Possibly produced in either Istanbul or Greece, but there is no firm evidence concerning its place of production.","provenance":"Possibly produced in Istanbul or Greece.","obtention":"The service was transferred from al-Aqsa Mosque to the Islamic Museum but it is not known when.","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Incense burner","perfume","silver","vegetal decoration"],"materials":["Cast silver","engraved."]},"3c54f80b-766c-5ff6-959e-037413ba35e0":{"name":"Two mosque lamps.","description":"Two glass mosque lamps with globular body and flared neck, decorated with enamel and gilt. Around the body is a bold inscription, while roundels exhibiting a cup emblem alternating with calligraphy surround the neck. The inscriptions around the body of both these lamps state that they were made for Sayf al-Din Shaykhu al-‘Umari, a prominent amir for Sultan al-Nasir Muhammad. Shaykhu achieved the status of commander-in-chief of the palace and then Great Amir before being assassinated in AH 759 / AD 1357. The roundels around the neck and the underside of body contain a cup motif, the blazon of Shaykhu, indicating that he held the post of cup-bearer. The neck is inscribed with the Qur’anic verse 24:35, known as the ‘Light’ verse: ‘God is the Light of heavens and the earth; the likeness of His Light is a niche, wherein is a light, the light in a glass, the glass as it were a glittering star’.  \nMamluk lamps with their non-figurative decoration, and inscriptions of Qur’anic verses, were mostly intended for religious buildings, hence the term ‘mosque lamp’. However, there are some lamps of the same shape from this period that would have been used in a secular setting. These lamps are part of a group of extant lamps probably made for the mosque Shaykhu commissioned in AH 750/ AD 1349, or for the sufi hostel (*khanqa*) he had built soon after in AH 756/ AD 1355, situated at the foot of the Citadel in Cairo.","short_description":"A pair of glass mosque lamps decorated with enamel and gilt. Around the body are medallions containing the cup emblem, the heraldic symbol belonging to the patron Sayf al-Din Shaykhu al-‘Umari, who was cup-bearer for Sultan al-Nasir Muhammad.","type":"Glasswork, gilded glass, enameled","holder":"The British Museum.","initial_owner":"Amir Shaykhu.","dates":"Hegira mid-7th century/ AD mid-14th century.","location":"London, England","dimensions":"Height 53 cm, diameter (at base) 14 cm, diameter (at top) 26 cm.","method_for_datation":"Embellished with the blazon of Shaykhu these lamps were probably made for one of the religious buildings he commissioned; a mosque in 750/ 1349 and a *khanqa* in 756/ 1355. Shaykhu rose to prominence in the 740s / 1340s, and helped re-instate Sultan al-Nasir Hasan on the throne in 754 / 1354. Thenceforth Shaykhu effectively ruled the Mamluk Empire until he was assassinated in 758/ 1357. These mosque lamps probably date to the mid-7th / mid-14th century when he was at the height of his powers.","method_for_provenance":"The objects are embellished with the blazon of Shaykhu (amir of Sultan al-Nasir Muhammad in Cairo, Egypt), and inscribed with his name, it is probable, therefore, that these lamps were made for one of the religious buildings that Shaykhu commissioned.","provenance":"Egypt.","obtention":"One of the lamps (OA+521) was bequeathed by Felix Slade in 1868; the other (G.497) was part of the Godman Bequest of 1983.","bibliography":"Brend, B., Islamic Art, London, 1991, p.113.  \n  \nPhillips, T. (ed.), Africa: The Art of a Continent, London, 1996, p.591.  \n  \nPinder-Wilson, R., \"The Islamic Lands and China\", Five Thousand Years of Glass (ed. H. Tait), 1991, p.135, fig. 168.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["blazons","calligraphy","coat of arms","Emblems","Mosque interior decoration","religious object"],"materials":["enamelled and gilded glass."]},"3d75b4f5-408b-508c-ad11-26e59afd1efb":{"name":"Incense burner","short_description":"The Christian incense burner belongs to a group that is normally ascribed to the Syrian and Palestinian area. This attribution is further confirmed by the unique inscription in early *Kufi* that can be translated as follows: “In the name of Allah (God), made by Yaqub, son of Ishaq from Damascus.”","type":"Burner, metalwork","holder":"The David Collection","dates":"Hegira 2nd century / AD 8th century","location":"Copenhagen","provenance":"Syria or Palestine","keywords":["cast brass","gold","Incense burner","Iran","religious object","silver"],"materials":["Cast and engraved bronze","later chain"]},"3fb86eda-1e8c-5fdf-9e0b-53b50204bf6c":{"name":"Seljuq Rug","description":"A “Konya Group” rug found in the Konya Aladdin Mosque and acquired by the museum in 1911. The condition of this rug is poor, nevertheless it is possible to perceive the general decoration. The rug is in three pieces, the remaining parts of a large carpet. The main border is wide and light red in colour. Stylized *kufic*letters in dark red are contoured with brown and placed side by side. The main border is separated from the basic ground by a yellow band framed with a narrow brown line. The dark blue ground is a diamond pattern with hooked ends. There are small heart shapes in their middle of these diamond shapes. Seljuq rugs were commonly woven in large sizes. They were decorated in plain geometric patterns, generally with a small number of colours in various shades contrasted with a wide *kufic* border.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 123cm, W: 226cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı,Istanbul: Eren Yayınları, 1987: 13‒22.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007: 25, Kat. No: 3.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 3, Katalog no: 303.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık İhtişam*, Istanbul: Kaynak Yayınları, 2009: 135‒136.*","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Middle Anatolia","Seljuq Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"4110beeb-d623-5316-b3ea-13f8ecd8e3db":{"name":"Mahmal","short_description":"This ceremonial *mahmal* consists of a tent-like cotton cloth embroidered with gold and silver threads. Placed upon a wooden frame (litter) on a camel’s back, the *mahmal* would bear the *kiswa* (Kaaba covering) and other religious items to Mecca in a pilgrimage procession.  \n  \nThis example from Ottoman Turkey features the Mamluk yellow colour embellished with the Throne verse *(Ayat al-Kursi)*, the Muslim invocation (*Basmala*), and the declaration of faith *(Shahada)* in *thuluth* calligraphy. The signature of the Ottoman sultan is visible in *tughra* script.  \n  \nDuring the *hajj* or pilgrimage season, the caravan would parade the streets of Cairo in a festival accompanied by musicians before embarking on the journey to Saudi Arabia. The *mahmal* reminds of a wedding procession and carries feminine connotations through its familiarity with the *howdaj* used to transport women hidden away from the public eye.  \n  \nMuslim rulers would commission a *mahmal* in an opportunity to highlight their sovereignty, taste and piety. Although the legend of Mamluk Sultanah Fatima Shajarat al-Durr associated the ruler with the first *mahmal*, scholars debate the first appearance with earlier references recounting Zubaydah, the wife of Harum al Rashid, using a palanquin in a pilgrimage procession from Baghdad to Mecca.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 164cm, Width: 130cm, Height: 148.5cm","place_of_production":"Turkey","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and style.","method_for_provenance":"This mahmal was used to carry the kiswa to Mecca, Saudi Arabia.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"The mahmal legend and the pilgrimage of the ladies of the Mamluk court\", *Mamluk Studies Review*, 1 (1997): 87–96.  \nSardi, M., \"Weaving for the Hajj under the Mamluks\", *The Hajj: Collected Essays*, (2013): 169-174.  \nWasti, S. T., \"The Ottoman Ceremony of the Royal Purse:, *Middle Eastern Studies*, 41 : 2 (2005): 193–200.  \nYoung, W., \"The Kaʿba, Gender, and the Rites of Pilgrimage\", *International Journal of Middle East Studies*, 25: 2 (1993): 285–300.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Kaaba","Kiswa","Mahmal","Mecca","Saudi Arabia","Textiles"],"materials":["cotton","embroidery","Gold","silk","Silver"]},"4161509c-5db0-57a2-b378-312463a1e2f2":{"name":"Qur’an Bag","short_description":"This Moroccan leather bag would encase a copy of a Qur’an or other religious texts to protect the manuscripts against dust, moisture and dirt. Silver thread embroiders the Islamic Star known as *Rub Al Hizb* with two overlapping squares, floral vines and Arabic calligraphy in the ancient Moroccan style. The calligraphy reads \"Prophet Muhammed - Peace Be Upon Him\".  \n  \nThe silver thread and calligraphy transform the leather bag into a talismanic object, casting protection upon the Qur’an and the owner. North African Qur’an cases often embodied a twofold protective function: book cover and talisman.  \n  \nFurthermore, the case exemplifies the craftsmanship of Maghrebi artisans, including the traditional skills of leatherwork and metal-stitching.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 13cm, Width: 14cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","provenance":"Morocco","obtention":"Purchase","bibliography":"Bernasek, L., *Artistry of the Everyday (Vol. 2)*, Harvard: Harvard University Press, 2008.  \nCohen, Anouk, \"The Quran in Practice in Morocco\", *Material Religion*, 17: 1 (2021): 124–127.  \nMichon, J., \"Traditional arts and crafts in morocco\", *Islamic Quarterly*, 26: 2 (1982): 67.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco","North Africa","Quran case"],"materials":["embroidery","leather","Silver","Wood"]},"4285852d-bdc9-521a-a814-ba8b902153a3":{"name":"*Mihrab* (prayer niche)","short_description":"This mihrab, nearly 12 feet tall and dated 663/1265, is the masterpiece of the DDFIA collection. It is one of six surviving luster mihrabs made during the Ilkhanid period of rule in Iran (1256–1353) and one of only two of its type outside of Iran. Originally, it was located in the Imamzada Yahya, a tomb of a descendant of a Shi‘ite imam in Veramin, Iran. In the tomb’s prayer sanctuary, the mihrab was located on the qibla wall—the one indicating the direction of Mecca.","type":"Islamic, Indian & Southeast Asian works of art; tilework; ceramic","holder":"Shangri La, Doris Duke Foundation for Islamic Art","dates":"Dated hegira Sha'ban 663 / AD May 1265","location":"Honolulu, Hawai'i","dimensions":"Overall: 384.5 x 228.6 x 21.6 cm","provenance":"Iran, Kashan","keywords":["'Ali b. Muhammad b. Abu Tahir","arabesque","cobalt","Ilkhanid","Imamzadeh Yahya","inscription","Iran","Kashan","lustre","Mosque interior decoration","moulded","overglaze-painted","painted","Qur'an","stonepaste","underglaze","Veramin"],"materials":["molded","overglaze-painted in luster","Stonepaste","underglaze-painted in cobalt and turquoise"]},"43f2e562-6eda-5dde-81a4-a1b3639f9c94":{"name":"'Transylvanian' Double Niche Rug","description":"A characteristic type of Ottoman rugs is the 'Transylvanian' double niche rug. Several variants of the type fashionable for over two centuries are known. Its common feature is the hexagonal medallion filling the central field. This is created by mirroring the original *mihrab* (prayer niche) of the traditional prayer rug across the central axis. This rug of symmetrical design was particularly popular in Transylvania where it was used as table or bed cover and wall hanging. The name \"Transylvanian\" refers to the place of frequent occurrence and not to the place of origin.  \n  \nThis exquisite specimen is from the first double niche rug period and is characterized by arabesque tendrils (First Period \"Transylvanian\" Double Niche Rug). The dark blue field is filled with subtly designed tendrils, with flowers and leaves arranged symmetrically to both axes. This design is complemented by two mosque lamps hanging from the apexes of the *mihrabs* (prayer niches). Ochre fields above the niches with blue arabesque tendrils can be traced to Persian design prototypes. The main strip of the 'Transylvanian' border pattern contains elongated polygonal cartouches alternated with eight-pointed stars, a pattern typical of this carpet type. A similar design with an ochre central field is kept in the collection of the “Black Church” in Brassó (now Braşov, Romania).","type":"Carpet","holder":"Museum of Applied Arts","dates":"C. 1600","location":"Budapest","dimensions":"Height: 172cm, Width: 132cm, Knot density: 1540/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"Acquisition unknown","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 56–57, no. 50 and 141, figure.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 218, plate 158 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 160, no. 74 and 161, figure \\[Emese Pásztor\\].  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 116–117, no. 25 and figure.  \nWaterhouse, Rupert (ed), *In Praise of God: Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakıp Sabancı Museum, 2007: 78, figure 32 and 151, no. 19 and figure \\[Michael Franses\\].","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["Arabesque tendrils","Double Niche Rug","Ottoman rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"4477e256-7ea2-5cbe-bda1-f87ba36cdb04":{"name":"Prayer rug.","description":"This carpet demonstrates through its design that it belongs to the group of prayer rugs. The inner area is adorned with a red-coloured arch-shaped *mihrab* (prayer niche). Placed in front of the niche is a basin, seen from above, from which emerges a small tree with green leaves, rendered in a semi-abstract design with fine lines. A small yellow jug with a handle and short spout has been incorporated into the centre of the tree. This jug may relate to Sura 5 verse 8 of the Qur’an, which mentions obligation of ablutions to be undertaken before prayer. Green-coloured, eight-pointed plaited stars can be seen in the corners of the *mihrab* arch. Above the *mihrab* is a rectangular space filled with palms and cypresses. Two borders frame the inner area. The thinner border is filled by a decorative cloud-motif band. This cloud-motif band is a common feature of Ottoman art since the AH 9th and 10th / AD 15th and 16th century, and it originated in China. On this rug, the yellow cloud-motif bands are displayed over a red background, and are positioned very close to one another. The rug’s wider border consists of a continuous tendril-like interlacing band involving plant motifs, over a light-green background.  \nThe rug’s symbolism derives from the connection between the *mihrab* motif and that of the garden of Paradise, which is perhaps what is being illustrated on the rug through the pool of water and the tree. Paradise, described as a wonderful garden, is promised at different points throughout the Qur’an to those who believe in the Islamic faith. Followers of Islam will one day arrive and stay in this garden full of lovely streams, wonderful plants and beautiful young virgins (*Huri*s).  \nPrayer rugs from Cairo are frequently mentioned in the sources, but this particular rug is the only surviving Mamluk prayer rug. It is particularly noteworthy for its incorporation of Mamluk motifs with those derived from Ottoman art, hence the reason for dating it to around AH 900 / AD 1500 or a little later.  \nMamluk rugs can be seen in Italian paintings from the 15th and 16th century and moreover are mentioned in a great number of sources. During this period there was also a flourishing trade between Mamluk Cairo and Italy.","short_description":"This is the only prayer rug to have survived from the Mamluk period. It was probably made in Cairo around 1500. Its design shows a mixture of Mamluk and Ottoman features. Carpet manufacture flourished in Egypt under the Mamluk sultans and rugs were also exported to Europe.","type":"Rug, prayer, wool","holder":"Museum of Islamic Art at the Pergamon Museum","owner":"Museum of Arts and Crafts, Berlin.","dates":"Around hegira 900 / AD 1500.","location":"Berlin","dimensions":"Length 162 cm, width 120 cm.","method_for_datation":"The carpet exhibits both Mamluk and Ottoman elements in its style, and thus could be from around 900 / 1500 as manufacturers in Cairo were just in the process of adopting Ottoman elements into their repertoire. However, as all that remains is this single Mamluk prayer carpet, it is difficult to give an exact date.","method_for_provenance":"The whole host of its unique motifs, colours and characteristic asymmetric or Persian knots all collude to suggest that this carpet was made in Cairo in a Mamluk carpet workshop.","provenance":"Egypt.","obtention":"Purchased in 1888 by Wilhelm von Bode for the Museum of Arts and Crafts, Berlin. Transferred from the Museum of Arts and Crafts on a long-term loan.","bibliography":"Enderlein, V., *Wilhelm von Bode und die Berliner Teppichsammlung*, Berlin, 1995, p.25, plate 16.  \nEnderlein, V., “Zwei ägyptische Gebetsteppiche im Islamischen Museum”, *Forschungen und Berichte* 13, 1971, pp.7–15, plates 1 and 2.  \nMack, Rosamond E., *Bazar to Piazza: Islamic Trade and Italian Art, 1300–1600*,Los Angeles; London, 2002, pp.73–94, notes 54, 201.  \n*The Eastern Carpet in the Western World*, Exhibition catalogue, London, 1983, pp.60–1, cat. no. 19.  \nZick, J., “Eine Gruppe von Gebetsteppichen und ihre Datierung”, *Berliner Museen*, 11, 1961, pp.6–14, ill. 1.","linkcatalogs":"IAM_EG_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["knotted carpet","Mamluk","Paradise","prayer rug","vegetal decoration"],"materials":["dye in various shades and colours.","Knotted wool"]},"44cf7449-7064-5e7b-8625-27f3fafdff19":{"name":"Processional cross","alternate_name":"Processional standard of the brotherhood of the Tears of the Virgin Mary or of the Ponte del Borgo, later del Borgo, later Company of the Holy Sacrament","description":"This solemn gilded cross bears a rich decoration of vine leaves and vine-shoots made with a drill. There are interspersed with cherub heads and angels carved in the round, crowned with polychrome flowers and holding the instruments of the Passion of Christ.  \nThe branches resemble tree trunks with bark and knots. They end with two small knobs. The dead Christ in the middle is carved in the round, polychrome with an ample gilded cloth around his hips. On the upper part of the longitudinal arm hangs a cartouche with the writing \\`INRI\\` held by three small angels.  \nAlong the lower sides, stand on shelves four small statues carved in the round. They represent the Mourning Madonna, St. Bartholomew and two angels with gilded clothes and polychrome features.  \nThe stylistic features are late seventeenth-century and the delicate carving is associated with a skilled use of a drill.  \nAfter the suppressions of 1798 that affected all religious companies and brotherhoods by the confiscation of their property, many of these processional items got lost. Thanks to a decree by the viceroy of Italy Eugenio Beauharnais in 1807 which stated for each parish church the presence of just one company of the Holy sacrament many processional crosses were preserved as properties of these companies. This happened in Budrio, where even the name of the company was changed.","short_description":"This solemn gilded cross bears a rich decoration with vine leaves and vine-shoots made with the drill. It is interspersed with angels carved in the round holding the instruments of the Passion of Christ.  \nIn the middle is the dead Christ surrounded by the Mourning Madonna, St. Bartholomew and two angels.  \nThe elaborate design is reminiscent of the local artistic taste of the end of the seventeenth century.","type":"Woodwork","holder":"Church of San Lorenzo","initial_owner":"Brotherhood of the Tears of the Virgin Mary or of the Ponte del Borgo, later del Borgo, later Company of the Holy Sacrament","dates":"Seventeenth-century","location":"Budrio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna","obtention":"Moved to the church of San Lorenzo","bibliography":"Montevecchi, B. and Vasco Rocca, S., *Suppellettile ecclesiastica*, Dizionari terminologici, 4, Firenze, 1987.  \nBiavati, G., Marchetti, P. *Antiche sculture lignee in Bologna dal XII al XIX secolo*, Bologna, 1974.  \nMeluzzi, L. *Le insegne delle Compagnie e Confraternite laicali dell'Arcidiocesi di Bologna (Croci processionali),* Bologna, 2001, p. 47, fig.21.","workshop":"Full baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Federica Trombacco","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Budrio","carving","Cross","grape","liturgy","Procession","religious object","St. Laurence","vegetal decoration","vine tendrils decoration","wood","woodwork"],"materials":["gilded and lacquered","Wood carved"]},"44ff5030-1782-52cb-a816-7b58f2d32a22":{"name":"The *Mass of Saint Gregory*","description":"References in Portuguese inventories to the carpets of “Castile” and the “Levant” became progressively more frequent in the first half of the 16th century and coincided with the period when representation of knotted carpets, in the form of Iberian and Turkish carpets, reached its peak in Portuguese painting.  \nThis fact is owed to the Muslim presence in the Iberian Peninsula. Pre-existing contact with Arab culture, as well as the production of knotted carpets, preceded the arrival of oriental counterparts and restricted their demand in the market. Facing an already-established network of Iberian, Turkish and North African manufacturers, carpet manufactories had to respond to the demands of a society well used to the consumption of exotic luxury goods.  \nThe *Mass of Saint Gregory* originally constituted one of the panels from the *predella* of an altarpiece in the church of the Convent of São Francisco. The *predella* comprised 16 paintings depicting scenes from the Eucharist. The painting seen here represents a story made popular in the Golden Legend of the moment when Christ reveals himself on the altar to Pope Gregory; Christ responds to Pope Gregory’s prayer for a sign to convince a deacon, who had earlier confronted him with doubts about the doctrine of transubstantiation. In the painting, St. Gregory kneels before the altar on a carpet of Spanish origin. The carpet’s field is filled with octagonal medallions in which stars and quatrefoils are alternately inserted; the border is filled with a pseudo-*kufic* design interwoven with stylised floral motifs.","type":"Painting","holder":"National Museum of Ancient Art","dates":"c. 1508‒1511","location":"Lisbon","dimensions":"H: 121.5cm, W: 88cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred, from the high altarpiece of the main chapel in the church of São Francisco, Évora, Portugal","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.  \nHallett, Jessica, “Queen Leonor’s Carpets”, in Alexadra Curvelo (ed.), *Casa Perfeitíssima 1509‒2009: Celebrating 500 years of the Foundation of the Convent of Madre de Deus, 1509‒2009*, Lisbon Ministério da Cultura/IMC/Museu Nacional do Azulejo, 2009: 378‒81.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Francisco Henriques","painting","Portugal","Saint Gregory"],"materials":["Oil on oak panel"]},"451583b8-a3a8-528a-b5bb-8db3d1096e78":{"name":"Ladik Prayer Carpet (*seccade*) on Red Ground","short_description":"A prayer carpet in which the lower part of the field has an arched prayer niche in red. Small trefoils project into the field from each side of the niche. The blue spandrels are decorated with lanceolate leaves, rosettes, triangles, ewers, and hooks in various colors. The panel above the spandrel is separated from the latter by a band with a wavy floral scroll. The panel in red encloses the characteristic Ladik pattern of five lily stalks and *vandykes* with triangles and hook motifs. The field is framed by a narrow blue stripe containing S-motifs. The border has a repeat pattern of lilies and rosettes separated by varicolored narrow bands on a blue ground. The guard bands in yellow or orange contain wavy floral scrolls. Small S-motifs form the design of the guard stripes.","type":"Textiles","holder":"Saint Louis Art Museum","dates":"Hegira c. 1214 / AD c. 1800","location":"Saint Louis","dimensions":"Length: 201.9cm x Width: 128.3cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"The panel in red encloses the characteristic Ladik pattern of five lily stalks and vandykes with triangles and hook motifs.","provenance":"Konya province, central Anatolia, Turkey, Asia","obtention":"Gift of James F. Ballard, 1929","bibliography":"Denny, Walter and Farnham, Thomas, *The Carpet and the Connoisseur: The James F. Ballard Collection of Oriental Rugs*, Saint Louis: The Saint Louis Art Museum, 2016.","keywords":["Anatolia","Asia","carpet","Central","Ground","Konya","Ladik","Ottoman","prayer","red","Seccade","textile","Turkey","wool"],"materials":["approximately 58Vx28H per decimetre","sharply pulled to the left (raising the right warp of each knot pair)","symmetrical knot","wool"]},"45181682-9ce4-506e-a0dd-e86b8fb972d9":{"name":"Coupled-Column Prayer Rug","description":"A version of 17th century Ottoman Turkish prayer rugs very popular in Hungary was the \"column\" rug, in which the *mihrab* (prayer niche) is divided into three fields by three, four or eight columns. The most common is the six-column version, considered by many to have the most beautiful design of 17th century Turkish rugs. Their general characteristic is a *mihrab* (prayer niche) whose background colour is red or ochre (rarely ivory or blue), divided into three parts by slender columns in a 1+2+2+1 distribution. The rug’s ochre *mihrab* (prayer niche) is supported by six narrow columns, dividing it into three fields. The spandrels have a blue and red arabesque decoration on an ochre field, and the crenellated frieze above has straight-stem flowers growing out of it. The design of the peak field and the frieze are not sharply delineated. Rounded cartouches of alternating colour run along the border; the outer border has a row of leaves of alternating orientation and the inner border is decorated by leaves and flowers strung along an undulating stem. In May H. Beattie’s classification, the rug is an early, type I Coupled-Column Prayer Rug.","type":"Carpet","holder":"Museum of Applied Arts","dates":"First half or middle (?) of 17th century","location":"Budapest","dimensions":"Height: 191cm (+2cm x 27cm fringe), Width: 119cm, Knot density: 1,482/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"The rug previously belonged to Arnold Ipolyi (1823-1886), Bishop of Nagyvárad, who collected it in Transylvania. It was exhibited in the 1914 'Transylvanian' Turkish Exhibition in the Budapest Museum of Applied Arts by the Bihar County Museum of Nagyvárad (Oradea, Romania). The rug entered into the inventory of the Budapest Museum of Applied Arts in 1962 as 'Item in store, of unknown origin'.","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 63, no. 76 and 165, figure.  \nBeattie, May H., Coupled-Column Prayer Rugs, *Oriental Art*, 14 (1968), 244.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 222, plate 162 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 280–281, no. 288 and figure \\[Emese Pásztor\\].  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 148–149, no. 40.  \nWaterhouse, Rupert (ed), *In Praise of God: Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakıp Sabancı Museum, 2007: 147, no. 16 \\[Michael Franses\\].","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["mihrab","Ottoman rug","prayer rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"Qur’an Sections","short_description":"'This book binds two of the thirty parts (*ajza*) of the Qur’an. Known as *juz*, it was often sold separately during medieval Islam, with delicate floral and geometric patterns decorating the brown cover of the book.  \n  \nThe *ayah* (verses) appear in *naskh* calligraphy sectioned with golden illustrations of vegetal motifs including the lotus and other flowers incorporated from ancient Chinese and Buddhist tradition.  \n  \nAlthough most Muslims in China did not speak Arabic, a few Chinese Qur’ans existed during the Ming and Qing dynasties. Since the spread of Islam and establishment of Islamic schools during the Yuan dynasty, prayers recitation and calligraphy were performed in Arabic. Many Muslims originating from the Arab world had a merchant background where *naskh* script represented the official writing. Adapted forms of *naskh* including *Muhaqqaq* and *Rihani* thus became the predominant styles for Chinese Qur’ans decorated with the typical gold ink.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th–18th century","location":"Shahaniya","dimensions":"Length: 22cm, Width: 28.5cm, Height: 3.5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","provenance":"China","obtention":"Purchase","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64.  \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012.  \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","China","Qing Dynasty","Quran"],"materials":["handwriting","Ink","Rice paper"]},"473c085f-9830-5584-affd-3362c3aff805":{"name":"Coupled-column Prayer Rug","short_description":"A prayer rug where the creamy-white field is decorated with a triple arch on double columns in yellow, red, blue, and green. Between each pair of columns is a row of lozenges in yellow and red. The spandrel is decorated with a diaper of geometrical scrolls in white, reserving in the ground double arrow motifs in yellow and red. Across the top of the field is a panel with stalks of lilies alternating with other plants (probably tulips) in yellow, red, light and dark blue, and green on a creamy-yellow ground. The arches or so-called *vandykes* along the bottom of the panel are in blue and yellow and enclose arabesques in white, red, blue, and green. In the border is a row of compartments in blue, yellow, or green with floral devices in yellow, red, blue, and green. The guard bands contain a repeat pattern of a flower and leaf motif in white and red on a yellow ground (inner guard band) or in yellow (or green) and red on a white ground (outer guard band).","type":"Textiles","holder":"Saint Louis Art Museum","dates":"Hegira Early 12th to early 13th century / AD 18th century","location":"Saint Louis","dimensions":"Length: 182.9cm x Width: 121.9cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Kula district, probably western Anatolia, Turkey, Asia","obtention":"Gift of James F. Ballard, 1929","bibliography":"Denny, Walter and Farnham, Thomas, *The Carpet and the Connoisseur: The James F. Ballard Collection of Oriental Rugs*, Saint Louis: The Saint Louis Art Museum, 2016.","keywords":["Anatolia","column","Coupled","Kula","Ottoman","prayer","rug","textile","Turkey","Western","wool"],"materials":["approximately 34-35Vx38-40H per decimetre","pulled to left","symmetrical knot","wool"]},"482b2fe7-2ab8-521c-aeb6-542db13d4285":{"name":"Chasuble","description":"The background is made of red silk velvet embroidered with different silver threads. The white silver stitches blocking the metallic threads create many different surface motifs of different heights, and flat areas thanks to a light padding.  \nMost likely manufactured in Bologna, this vestment has a common decorative scheme especially evident in the chasuble. It is divided in three by a central rich bush of acanthus interlaced with the instruments of the Passion of Christ forming the main decorative feature. Great inflorescences alternate with the crown of thorns, the cock and the glove. They build a sort of central axis from which depart wide branches linked by delicate nets and vine shoots. The vestment is clearly indebted to models made in Rome in the age of Pope Benedict XIV, such as the ones donated to the Cathedral of San Pietro in Bologna. This is evident in the use of the silver thread as a reflective surface. The ample motif extended on a flat surface and the symmetrical disposition of the main shoots lead to Emilian decorative schemes and patterns. The colour red of the vestment and the symbols of the Passion might suggest a use connected with the feast of the Exaltation of the Cross or the Invention of the Cross, the sacrifice of Christ might also be generally referred to martyrdom.  \nThe high quality of the work was recognized in 1900 when the vestment was sent to the exhibition of sacred art held in Bologna, in the church of San Francesco. In 1926 this same vestment was photographed by the local Soprintendenza in one of the first campaigns documenting church heritage.","short_description":"The red background of the chasuble is divided by silver lace in fields. Two leaf garlands curl against a net ground; the sides are marked with a garland pattern in front of a net ground. The central pole springs from an acanthus bush holding the instruments of the Passion of Christ in its spires. Veil, burse, stole and maniple are embroidered using the most decorative patterns from the design.","type":"Liturgical garment (Vestment) consisting in chasuble, stole, maniple, chalice veil and burse","holder":"Parish church of San Giovanni Battista","dates":"Mid eighteenth century","location":"Minerbio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna (?)","bibliography":"Gatti, A. *Mostra d'Arte Sacra in San Francesco di Bologna* (exhibition catalogue), Bologna, 1900, p. 51, n. 30.  \n*Mistero e Immagine. L'Eucaristia nell'arte dal XVI al XVIII secolo* (exhibition catalogue) (eds. S. Baviera  and J. Bentini), Milan, 1997, p. 262, p. 264.  \nMajoli, L. “Una campagna fotografica del 1926 per il catalogo: la Chiesa di San Giovani Battista di Minerbio”, *Quaderni di Palazzo Pepoli Campogrande:* 5, 1998, pp. 12-19.","workshop":"Late Baroque","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Lorenzo Lorenzini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["embroidery","liturgical vestment","liturgy","Passion of Christ","vegetal decoration","vine tendrils decoration"],"materials":["Velvet embroidered in silk thread"]},"483e8679-d93d-56cd-b566-f321c598b6de":{"name":"*Dala’il al-Khayrat* (*Guidelines to Blessings*) by Abu Abdallah Muhammad ibn Sulayman al-Jazuli)","description":"The *Dala’il al-Khairat* (The Signs of Benediction) is a compilation of prayers for the Prophet Muhammad and other faith-related information by Muhammad ibn Sulayman al-Jazuli (d. ca. 1465). Popular throughout the Muslim world and particularly in Ottoman lands. It also contains descriptions of the Holy Mosque in Makkah and the Prophet’s Mosque in Madina, the two most important Islamic pilgrimage sites. Both are typically depicted in the centre of the manuscript, Here, detailed birds-eye views of both sanctuaries appear, surrounded by gold margins. On the right, at tthe heart of the Makkah mosque, the Ka’bah is dressed with its black kiswa cover, further enhanced by a golden belt (hizam) above and a golden door curtain (sitara or burqu’). On the left, within the mosque complex at Madina, a domed chamber contains the tombs of the Prophet and the first caliphs Abu Bakr and Umar, draped in golden covers – perhaps a reference to the precious, gold and silver-embroidered textiles that were spread over the tombs in Ottoman times.","type":"Illuminated Manuscript","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira 13th century / AD 19th century","location":"Sharjah","provenance":"Turkey","author":"Ulrike Al-Khamis"},"4859e54f-5855-587b-935f-40a00ec2c500":{"name":"The Mother of God Axion Estin","description":"These four icons form a set that depicts the Hymn of Axion Estin, as follows:  \n  \nIt is truly meet and right to bless you, O Theotokos,  \nEver-blessed and most-pure mother of our God.  \nMore honorable than the Cherubim,  \nAnd beyond compare more glorious than the Seraphim,  \nWho without corruption gave birth to God the Word,  \nTrue Theotokos, we magnify you.  \n  \nAccording to tradition, this hymn was revealed to an elder monk and his disciple before an icon of the Mother of God in the sanctuary of the main church of Karyes on Mount Athos. During an all-night vigil, they were joined by an unknown monk who called himself Gabriel. As he chanted an unfamiliar hymn, the icon of the Mother of God began to glow. The elder asked Gabriel to write down this hymn, so he inscribed the prayer with his finger on a roof tile “as if it were made of wax”. The tablet was sent to Constantinople, while the image was venerated as miracle-working. The revelation is commemorated on June 11, and the icon is celebrated on July 13.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 27.5cm, Width: 21cm, Depth: 3cm","provenance":"Russia","obtention":"From the private collection of Jacques Zolotnitzky. Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2012. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood with silver basma"]},"4a4a3490-2975-5ac7-9ff7-8346fbdc5189":{"name":"Prayer rug.","description":"In the AH 12th and 13th /AD 18th and 19th centuries, the small town of Milas in the southwest of Turkey was a centre for the manufacture of prayer rugs. A characteristic feature of later Milas prayer rugs is the dark red angular prayer niche. The inner side of the niche is edged all around with small flower-like ornaments. In the lower part of the niche is an octagon connected with four rosettes. The ornamentation within the arch is badly worn. Four green and red peonies with a rhomb between on a white background fill the area of the spandrels. The central rectangular field containing the prayer niche is framed several times by stripes of different geometrical patterns. The next border shows on a yellow background a design consisting of red octagons, alternating with large stylised blossoms in red, white and dark and light blue. From each of these blossoms emerge four heavily stylised carnations. The outer band shows a row of multicoloured small octagons on a white background.","short_description":"Prayer rug from Melas. Its characteristic feature is the dark red angular prayer niche surrounded by several stripes of geometrical pattern. Different kinds of flowers are spread over the whole area of the rug.","type":"Wool, knotted, carpet","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height 148.5 cm, width 113 cm.","method_for_datation":"Milas was a centre for the manufacture of prayer rugs in the 12th–13th / 18th–19th centuries. Prayer rugs from Milas showing angular niches are ascribed to the 13th / 19th century; a Milas prayer rug showing a very similar pattern is dated to the first half of the 13th / 19th century.","method_for_provenance":"Rugs with similar designs and colour schemes are usually ascribed to the Milas group of rugs.","provenance":"Anatolia (Milas district), Turkey.","obtention":"Gift from the estate of Axel and Nora Lundgren, registered 29 September 1977.","bibliography":"Dimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, Metropolitan Museum of Art, New York, 1973.  \nZipper, K. and Fritzsche, C., *Anatolische Teppiche: Battenberg Antiquitäten-Kataloge Orientteppiche* 3, Munich, 1989, cat. no. 67.","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["geometrical decoration","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"4b8ffd8e-ec58-5468-9e97-3c950ff7e6c9":{"name":"Mosque lamp.","description":"Glass mosque lamps with enamel decoration were mainly made during the Mamluk period in Egypt or Syria. They were made on commission and were presented by Mamluk sultans as gifts to Cairo mosques.  \nThe most famous of the Museum of Islamic Art’s mosque lamps is made of honey-coloured glass, with a foot shaped like an inverse chalice and a belly-shaped body that turns, above an indentation, into a long conical neck. On the body there are six eyelets laid on and pressed into escutcheon-shaped spaces. Chains were attached to these in order to hang the lamp from the ceiling. An additional funnel-shaped small oil lamp, which emitted the light, was hung within this lamp.  \nThe decoration consists of two frieze inscriptions, and of flowers painted on a small scale that betray a Far Eastern influence through their lotus blossom motif. The frieze inscription over the body of the lamp has been done in gold over a blue background. It mentions the name of the Mamluk sultan al-Nasir Muhammad, who ruled at various intervals (r. AH 698–708 / AD 1299–1309 and AH 709–41 / AD 1310–41). The mosque lamp could have been commissioned for a mosque or school that contained or had an adjoining mausoleum. These kinds of building complexes were constructed in Cairo in AH 704 / AD 1304 and between AH 718 and 736 / AD 1318–35. The inscription in blue over a tendril ending in spirals and a background that was originally painted in gold is particularly apt for a mosque lamp as its subject matter is based on the ‘Light verse’ from the Qur’an (Sura 24, verse 35). Both inscriptions are written in the *thuluth* script typical of the Mamluk period.","short_description":"Glass lamps were produced for mosques, shrines and mausoleums. An inner container held the oil and wick. According to the inscription on its body, this lamp was made in the name of the Mamluk Sultan al-Nasir Muhammad. It is also adorned by the Light verse of the Qur’an (Sura 24 v.35).","type":"Lamp, glass","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Count F. von Pourtales, St. Petersburg.","dates":"Hegira first half of the 8th century / AD first half of the 14th century.","location":"Berlin","dimensions":"Height 34 cm, diameter 24.8 cm.","method_for_datation":"A large number of glass mosque lamps were made during the Mamluk era. This one states the name of the Sultan al-Nasir Muhammad, who ruled in the 8th / 14th century.","method_for_provenance":"Mosque lamps were probably made in Syria as well as in Egypt. It is not yet possible to assign a precise origin to this piece.","provenance":"Egypt or Syria.","obtention":"A gift from Count F. von Pourtales in 1913.","bibliography":"Carboni, S. and Whitehouse, D., *Glass of the Sultans*, New York, 2001, pp.199–273.  \nLamm, C. J., *Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten*, Berlin, 1929–30, p.434, cat. no. 27, plate 190, no. 10.  \n*Museum für Islamische Kunst*, Catalogue, 1972–9, no.13.","linkcatalogs":"IAM_EG_EN_001","author":"Jens Kröger","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["glass enamel","Mamluk","Mosque","Mosque interior decoration"],"materials":["enamelled and gilded.","glass"]},"4be5a512-234f-5c97-a190-95e30c9a3d5f":{"name":"La Crucifixión","description":"This piece was exhibited at the International Exhibition of Modern Decorative and Industrial Arts exhibition in Paris, 1925, and won a Gran Prix Award.  \nThe Taller Mauméjean dates back to 1860, when Jules Pierre Mauméjean, aged 23, opened his first workshop in Pau (France). Jules Pierre Mauméjean was married to Marie Honorine Lalanne in Pau on 23rd July 1868 and they went on to have five children. All of their sons followed the same artistic career path as their father. However, although Joseph, Henri and Carl worked together, Léon remained independent in Paris, where he passed away on 1st March 1921.  \nIn 1890, Jules Pierre Mauméjean opened a workshop in Anglet, which he later moved to Biarritz in 1893. He passed away in San Sebastián in 1909, at age 72. Jules Mauméjean maintained permanent contact with the circles in Madrid that offered him various commissions and led to him becoming the official glass painter at the Casa Real de Alfonso XII.  \nJoseph, known as José Mauméjean, the firstborn of the family, spent numerous periods in Madrid. Not only did he spend time in the city to keep an eye on his workshops, but also to capture new clients. It was here that he met Augustine Jeanne Pastora Vic, daughter of Joseph Julien Vic, from Hendaya, then general agent of Saint-Gobain Glass in the Spanish capital. Born of his marriage to Marie, Joseph opened a new Mauméjean workshop in Madrid in 1898, located on Calle Abascal, Nº39, before moving to Paseo de la Castellana, Nº24, where he created the pieces currently located in the Museum.  \nSome years later, the Hermanos Mauméjean opened more branches in Barcelona, followed by San Sebastian. These workshops formed part of the S.A. Mauméjean Hermanos, with their headquarters in Madrid.  \nThe Hermanos Mauméjean opened a new workshop in Paris, registered in 1921. This was a Venetian Enamel-Mosaics workshop, changing its name to S.A. Mauméjean two years later, with headquarters in the same building. Shortly after, they opened a new, successful workshop in Hendaya.  \nHenri led the workshop in Mauméjean and passed away in 1932, leaving the workshop to his brother José, who passed away in 1952, aged 83, followed by Carl five years later and his son Georges, in 1970.  \nThe Mauméjean dynasty were involved in many national and international exhibitions. The most notable international exhibitions included Madrid in 1894, Paris in 1925 and 1937, Philadelphia y Pamplona in 1926, Milan and Madrid in 1927 and Seville in 1930.  \nIn Spain, the Mauméjean workshops in Madrid, Barcelona and San Sebastian provided stained glass to all major Spanish cities. Depending on the buyer, the workshop created stained glass with different themes and styles. These themes were predominantly religious, heraldic, labour-related, commercial and fundamentally ornamental. All of the styles have a historicist feel, reminding us of the Gothic, Renaissance, Classicism, etc.","type":"Stained glass window","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1925","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"400 x 300cm","method_for_datation":"Documented by Taller Maumejean","method_for_provenance":"Documented by Taller Maumejean","provenance":"Spain","obtention":"Purchased directly from Taller Maumejean","bibliography":"Manauté, Benoît, *La Manufacture de Vitrail et Mosaïque D’Art Mauméjean: Flambe! Ilumine! Embrase!*, Bordeaux: Le Festin, 2015.  \nPastor Rey de Viñas, Paloma, *Vidrieras del Taller Mauméjean en las Colecciones de la Real Fábrica de Cristales de La Granja*, San Ildefonso, Segovia: Proyecto VIDROSO, 2005.","workshop":"Mauméjean","author":"Paloma Pastor Rey de Viñas","translator":"Jessica White","keywords":["Mauméjean workshop","staned glass windows"],"materials":["glass","Stained glass"]},"4c547f09-e5de-5249-976c-d3b8e43f3370":{"name":"Two apexes from banners of the Prophet Moses.","description":"A pair of apexes from ceremonial banners widely used in official religious processions that took place at most of the religious sites and shrines in Palestine. Such processions formed an important part of the local cultural history of the region. The banners would carry either the name of the season, the city, village, or the family name of the household whose members were bearing it. The banner bearers would lead the procession. The banners had specific social and religious significance especially in a growing popular consciousness. In some cases, it indicated the high social standing of the family, the importance of the city, or a certain village. The raising of the banner was traditionally restricted to certain religious and social processions, limiting it to the local people, who considered it a form of social prestige.  \nOne of the most famous religious seasons in Palestine was that of the Prophet Moses. This celebration began in the Ayyubid period (beginning of the AH 6th / AD 12th century) and continued to widen and grow. It took place at the end of spring every year coinciding with Easter which was celebrated by the Christian communities in Palestine. Delegations would come to Jerusalem from different parts of Palestine, especially from the cities of Nablus and Hebron. Throngs of people would gather at the Haram al-Sharif with those who were participating in the celebration from Jerusalem. They would march in procession together, with a large and splendid retinue raising flags and banners that were specific to each city, village and important family as well as Sufi *tariqahs* (Sufi Orders). They would finally arrive at the Sanctuary of the Prophet Moses which was located between Jerusalem and Jericho. Here festivities would continue as well as the fulfilment of pledges, for the period of a week or more.  \nThe banner is typical, composed of a cylindrical pole of about 3m. The fabric flag held inscriptions that might be verses from the Qur'an, names of God, supplications, religious expressions, or the names of individuals or places. The two apexes exhibited here are similar in composition: each consisting of a cylindrical base that would fix onto the head of the pole, and a neck that bears a circular ring to support the apex. The circle of the apex includes an inscription of two lines, spaced out in copper, it reads: “God, our Lord”. On top of the circle is the crown of the apex; a spaced rhomboid shape, within which is a solid rhomboid.","short_description":"Banners were used in festivals and processions in Palestine and bore the names of the Prophets, shrines, cities and important families. The most famous shrine was the tomb of the Prophet Moses. Each of this similar pair has a copper crown that would be mounted on the head of a pole. An inscription of two spaced lines states ‘God, Our Lord’.","type":"Cast copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Height 39 cm, diameter 16 cm.","method_for_datation":"The piece was dated by means of studying its style and shape and looking at the casting technique used to produce it.","method_for_provenance":"It is likely that this piece was made in Jerusalem where such banners were widespread. There are still some families in Jerusalem who make similar pieces.","provenance":"Probably Jerusalem.","obtention":"The piece was transferred at an unknown date, from the Haram al-Sharif to the Islamic Museum.","bibliography":"Tamari, V., “Two Ottoman Ceremonial Banners in Jerusalem”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem,* London, 2000.","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Banner: apex","crown","Nabi Musa","pilgrimage"],"materials":["Cast copper."]},"4c5ec9e7-571c-57c0-a345-64717d007c10":{"name":"*Nazareth School*","description":"Pictured here is the Nazareth School, founded in 1868 by Mother Pauline de Vaux, Superior General of the Congregation of the Ladies of Nazareth. The decision to found this school was supported by the Bishop Vallegra, in Rome. It was first located in a large house in the European quarter of Beirut, nicknamed \"The Blue Castle\". However, with the number of students rapidly growing, the school had to relocate. In 1877 the new convent was opened for this purpose on St. George Hill, bought by the *firman* of Constantinople. The building is U-shaped and made of stone, with white cloisters and surrounded by a huge garden.","type":"Photograph","holder":"Nazareth School","dates":"1877","location":"Beirut","author":"Hady El Hajj","copy_editor":"Flaminia Baldwin"},"4cff674a-5737-5495-a700-496faacc7750":{"name":"Prayer rug with multiple prayer niches (fragment).","description":"This carpet fragment is the preserved part of a considerably larger prayer rug featuring multiple prayer niches. The carpet features a row of six red niches of various widths that are closed at the top by dark-blue arches. The sixth niche on the left-hand side is only a half-niche as the carpet was cut at this point and the border repaired. The niches are separated using fine green lines that run down to the bottom and which could be interpreted as substitute columns. The carpet’s narrow border consists of a double-edged, reciprocal pattern of alternating light-blue and yellow crenellations. The wider, less complete, border has a single row of crenellations, yellow alternating with blue.  \nThe particular clarity of the carpet’s design and its use of colour demonstrate the Ottoman understanding of the decorative arts and their practice. Unlike most of the other known multiple prayer-niche carpets, this one is very simple, in that nowhere is it overly decorated; however even in its simplicity, it still follows a systematic composition of ordered patterns covering the surface, as can be seen repeatedly within Ottoman art from as early as the AH 9th / AD 15th century. Its simplicity, vibrant colours and the combined overall impact it creates would definitely have appealed to middle European tastes. Followers of the Islamic faith would have prayed on multiple prayer-niche carpets placed parallel to the *qibla* wall in the mosque. Admittedly, the rows of niches on this carpet merely refer to its function or use, because, essentially, each clean surface acts as a pad on which to pray. The narrowness of each niche on the carpet hints that a believer would have required more space in which to pray than that afforded by the narrow niches on the carpet.","short_description":"This carpet with its pattern of multiple niches is part of a once much larger rug. It was probably made for use in a mosque. It is unique because the design does not include the usual complicated patterns but instead makes a strong impact through its plain vibrant colours.","type":"Ottoman textile, carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"O. Bernheimer Collection, Munich","dates":"Hegira 11th century / AD 17th century.","location":"Berlin","dimensions":"Length 128 cm, width 329 cm.","method_for_datation":"The carpet has been dated on the grounds of its pattern, colours and knot-technique to be from the 11th / 17th century.","method_for_provenance":"The carpet belongs to a group of Ottoman carpets that are referred to as the Ushak Group.","provenance":"Ushak region, western Turkey.","obtention":"Obtained in 1961 from the O. Bernheimer Collection, Munich.","bibliography":"Arseven, C. E., *Les Arts Décoratifs Turcs*, Istanbul, 1952.  \nErdmann, K., *Siebenhundert Jahre Orientteppich*, Herford, 1966, p.108, plate 9.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, no. 4.  \nSpuhler, F., *Die Orientteppiche im Museum für Islamische Kunst Berlin*,Berlin, 1987, no. 18, plate 18.  \n*Weltkulturen und Moderne Kunst*, Catalogue,München, 1972, pp.99–100, no. 291.","linkcatalogs":"IAM_TR_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["knot carpet","Ottoman","prayer rug"],"materials":["knotted.","maroon and white","wool"]},"4ee7fe82-e416-5820-a768-7626a3306e3b":{"name":"Daghestan prayer rug","description":"With a few notable exceptions, Daghestan rug motifs are field repeats. Many of the field repeats are used under *mihrab*s in prayer rugs. White-field prayer rugs of this same design were woven with little obvious change for over a century.  \nIn the prayer niche, as the field repeat motif, there are “floral lattice” motifs on the white background. The bird-like figures are palmettes. In the *mihrab* arch there are small florets, half of the stepped medallion and two small square motifs. The arch is a field with a red meander on a light green background. The central field is framed with three borders. The main floral border is decorated with polychrome floral motifs. Minor borders are “floral meander” on light blue ground in the inner border and floral meander on a dark blue background in the outer border. Floral meander is a very common major and minor border in Caucasian rugs.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 161cm, W: 89cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Caucasus","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Caucasus","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"4ee99078-4b66-5d16-830e-595e4da0246e":{"name":"Mosque Lamp","short_description":"This vase-shaped lamp belongs to a well-established lamp type made in the Mamluk workshops of Syria and Egypt, both great centres of glass making. The colourful palette of blue, red, green, yellow, and white with gilding remains subtle due to a considered distribution. Green and yellow, for example, are restrained, creating bright spots. The layout of calligraphy, from strong scrolls to arabesque and delicate lotus flowers, reflects precise planning in the layering clear in details such as the leaves that spread over the letters, themselves positioned over an arabesque background. The pseudo-*kufic* compositions, painted in blue and brick-red, placed prominently on the body of the lamp, are an original feature which creates a complementary visual contrast with the *thuluth* script (on the neck of the lamp), which reads: “mimma umila bi-rasm al-maqarr al-‘ali al-mawlawi al-‘amiri al-kabiri al-maliki\" (What was made for his Excellency, the Elevated, the Servant of the Lord, the Great Amir, the Possessor). This lamp was commissioned by an unknown prince, likely intended to decorate the interior of his mosque or madrasa.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height: 27.8cm, Diameter (from handle to handle): 25.9cm","provenance":"Egypt or Syria","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand: Masterpieces from the Museum of Islamic Art in Doha*, Milan, Musée du Louvre Editions / Five Continents Editions, 2006: 78-79.  \nCarboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 44-47,6.  \nSchmoranz, Gustav, *Old Oriental Gilt and Enamelled Glass Vessels*, London: G. Norman and son, 1899.","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"50b6f8e1-16d0-5432-9b45-cc0512192157":{"name":"Double niche ‘Transylvanian’ carpet","description":"The term “Transylvanian” rug refers to 17th- and 18th-century rugs preserved in large numbers in Transylvanian Saxon churches, and once considered to have been made in Transylvania, whereas in fact they were produced in western Anatolia. Certain Transylvanian rugs have a *mihrab* design, typical of prayer rugs; others, such as the present one, feature two opposing arches. The shape of this double niche and its undecorated beige ground are characteristic of later “Transylvanian” rugs, while the border of alternating polygonal cartouches and octagons can also be found in earlier examples. Several technical imperfections such as the inaccurate rendering of space, which accounts for the incomplete motifs in the main border, and the lack of left–right symmetry though indicative of a modest workshop, retain a certain appealing charm.","type":"Carpet","holder":"The National Museum of Art of Romania","dates":"Late 17th–early 18th century","location":"Bucharest","dimensions":"H: 180cm, W: 125cm; knot density ver. 33/dm; hor. 29/dm; 957/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 11.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"51e979e1-5041-52d1-b9e1-0d200f1af77f":{"name":"Monstrance from Kopřivná","description":"The pedestal of this monstrance, with its relief and shell-like ornamentation, is decorated with angels’ heads, their eyes turned to heaven. The stem is a simply rendered figure of the Virgin Mary standing on a crescent moon and globe, encircled by a serpent. The spiral kinesis is enhanced by the modelling of clouds, corn stalks and grapes on a casket crowned with the figure of God the Father and an angel adoring a cross decorated with red glass.  \nThe uniquely shaped monstrance with the Virgin Mary Immaculata was designed by Franz Ignaz Günther as part of his decoration of the Church of the Holy Trinity in Kopřivná. The church was built by Jan Ludvík of Žerotín-Lilgenau on the border between north Moravia and Silesia as a memorial pilgrimage site. The monstrance was made to fit the high altar tabernacle, below Günther’s statue of the Immaculata.  \nThe composition drew on Günther’s design of a copper monstrance for Munich, as well as on Egid Quirin Asam’s design of a monstrance for the Church of St. John of Nepomuk, also in Munich. All of these were preceded by a diamond monstrance in the Loretto, Prague, which was made in Vienna and designed by Johann Bernard Fischer of Erlach.  \nThe silversmith who executed the design participated in the creation of the Holy Trinity Column, Olomouc and the tomb of Olomouc Bishop Schrattenbach (Kroměříž, Church of St. Mauritz). Günther arrived in Olomouc after journeyman service in Augsburg, Nuremberg, Frankfurt, Linz and Vienna and worked for the Count of Žerotín. In 1757 he studied at the Vienna Academy in Munich, where he settled, becoming one of the most influential Bavarian sculptors of the 18th century.  \nDuring the Baroque period, the monstrance became a decorative object worthy of adoration, apart from its practical use of carrying the Holy Communion.","short_description":"A uniquely shaped monstrance with the Virgin Mary Immaculata it was created in an Olomouc metal workshop to the design of later famous Munich sculptor, Franz Ignaz Günther. It was part of his overall decoration for the Church of the Holy Trinity in Kopřivná, on the border between north Moravia and Silesia.","type":"Applied arts","holder":"Archdiocesan Museum","owner":"Roman Catholic Parish of Hanušovice u Šumperka","initial_owner":"Kopřivná Church","dates":"1752–1753","location":"Olomouc, Moravia","dimensions":"H: 67 cm; w: 34 cm","place_of_production":"Olomouc","method_for_datation":"The monstrance is marked with three hallmarks one of which is the master’s mark of Simon Forstner.","provenance":"Kopřivná Church","obtention":"The monstrance is on long-term loan to the Archdiocesan Museum, Olomouc from the parish office administering the Kopřivná Church.","bibliography":"Gregor Wolný, *Kirchliche Topographie von Mähren* I/IV, Brno, 1862, p. 162.  \nGerhard Woeckel – Erich Herzog, Ignaz Günthers Frühwerk in Kopřivná (Geppersdorf), *Pantheon* XXIV, 24, 1966, pp. 217–220.  \nBohumil Samek, *Umělecké památky Moravy a Slezska I, A–I*, Prague, 1994, pp. 487–488.  \nMiloš Stehlík, in Ivo Krsek –­­ Zdeněk Kudělka –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, ed. Zdeněk Kudělka, Prague, 1996, p. 607, cat. 307–308.  \nDana Stehlíková, in Jiří Kroupa (ed), *Dans le mioir des ombres. La Moravie a la age baroque 1760–1790*, Paris – Rennes – Brno, 2002, pp. 270–271, cat. 108.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["cut","figural decoration","glass","grape design","Madonna","Memoria","pilgrimage","religious object","vegetal decoration","zoomorphic imagery"],"materials":["Partially gilded silver and coloured cut glass"]},"529e4353-d9fb-5895-a243-1a19e6cb982c":{"name":"Kula prayer rug","description":"The rug-weaving areas of Anatolia are conventionally divided into western, central and eastern regions. Western Anatolian centres such as Uşak, Ghiordes, Kula and their vicinity have a long tradition of carpet and rug production. Carpets from these centres were very popular in Europe. The town of Kula lies southeast of Ghiordes. The most notable of its varied weaves is a type of prayer rug formerly considered as among the most successful Anatolian town and village weaves. Characteristic of Kula rugs are mellow and subdued colours of yellow and brown, and more solemn shades of red, blue and green. The cross panel is usually found only above the arch.  \nIn the central field there is a *mihrab* (prayer niche) with field repeat motifs organized in three rows. An interesting fact is that all motifs are faced in the opposite direction from the *mihrab* arch. Motifs in the central row resemble motifs on the so-called cemetery carpets. This motif has its origin in pictorial landscapes of the Turkish Baroque period beginning in the second half of the 18th century. The other two rows have vase with stylized flower motifs. Such a large repeating hanging floral ornaments are typical for mid-nineteenth century Kula carpets. Above the spandrel there is oblong field with a dragon and phoenix motif. The central field is framed with six rows of *sobokli* border and two minor borders with a dragon motif. The *sobokli* border is common in prayer rugs. It is made up of narrow stripes, usually seven, which symbolize seven steps of paradise.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 188cm, W: 124cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia","Ghiordes","Kula","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"53de341b-560c-5d23-b886-5d480f725f2c":{"name":"Seal of the Dome of the Rock.","description":"A circular seal made of copper with incised lines that demarcate a square, the corners of which are cut along the circumference of the piece. In the middle of the seal there is a horizontal depiction of the Dome of the Rock, octagonal in form, and in the middle of which is a circle. Portrayed within the circle is what is considered to be the footprint of the Prophet Muhammad, and inscribed below it the words: “Foot of the Prophet”.On top of the carving designated as the footprint of the Prophet, is the Dome of the Rock crowned by a crescent. Within the circle on each side of the Dome building, there is a tree resembling a palm. It is not known whether the two palms have symbolic meaning, perhaps they were drawn simply to fill empty space. Between the middle circle and the octagon there are eight arched niches, designating the interior octagon of the Dome of the Rock. Above the upper side of the octagonal is the façade of the Dome of the Rock, composed of the drum and the dome, and topped by a relatively large crescent. The horizontal depiction of the Dome of the Rock and the Dome's façade is surrounded on three sides by buildings; three portrayals of arcades appear, again surrounding the Dome of the Rock. These are likely to be depictions of: the southern arcade, which opens out in the direction of al-Aqsa Mosque; the south-western arcade, which opens out in the direction of the Bab al-Silsila (Gate of Chains) and the eastern arcade, which opens out in the direction of Bab al-Rahma (Gate of Mercy). The northern arcade, however, hidden by the portrayal of the Dome and its crescent, does not appear. The names of the buildings appear beside the illustrations of them, including the Dome of the Rock and the names of its four gates: Bab al-Janna (The Gate of Heaven), Bab al-Salaam (The Gate of Peace), Bab al-Sakhra (Dome of the Rock Gate), and Bab al-Mizan (the Balance Gate). Similar captions appear beside the illustrations of the Dome of the Mi'raj, the Minbar al-Sharif (Minbar of Burhan al-Din), Qubbat al-Arwah (Dome of the Spirits) and Qubbat al-Silsila (Dome of the Chain). Depicted on the eastern side of the Dome of the Rock is an illustration of a plant that resembles a flower, which is not present to the east of the Dome of the Rock. Historically, there was a dearth of plants in the surrounding environs of the building.  \nIt is possible that the seal was used as authorisation to enter the Dome of the Rock. Or perhaps, it was used to seal the papers of visitors who hoped to be blessed by such an image, or to commemorate their visit to the Dome of the Rock. It might also have been used as some form of shorthand guidebook for the visit.","short_description":"This is a circular copper panel in the middle of which is a layout of the Dome of the Rock. It also shows the surrounding buildings and the staircases which lead to the plaza of the Dome.  It might have been used as authorisation to enter the Dome or perhaps to seal papers of visitors to take home as a blessing or as a souvenir of their visit.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Diameter 16 cm.","method_for_datation":"The piece was dated based on a comparison with another seal which bears the names of holy places in Palestine and the date of which has been narrowed down to the 13th / 19th century.","method_for_provenance":"Jerusalem was narrowed down as the place of production for the seal; the images on it were probably implemented in the area.","provenance":"Jerusalem.","obtention":"The piece was transferred at an unknown date from the Haram al-Sharif to the Islamic Museum.","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","seal"],"materials":["Engraved copper."]},"556ddc9e-29c0-523e-bb8e-eb53f4c45d06":{"name":"Ablutions basin.","description":"This parallelepipedic tank marked with plain striations on the inside, the short sides and the corners, was beautifully adorned on the outside, and almost all of the decoration has survived on two sides. The design on the decorated face, whose inscription has been destroyed, is divided into two styles. The first one, rising from the base, consists of a large frieze of grooved foliage, dotted with buds and rosettes and wide-veined plain palms with calyxes, and double ones with acanthus leaves and buds. The second comprises a strip in relief with two lines of grooved intersecting knotwork, one curved and the other straight, bearing fleurons and veined palms. It is framed by an edge, set back, formed by vegetal knotwork accentuated with small stylised palm leaves in the shape of six-pointed stars.  \nThe short side is occupied by two identical animal scenes, sculpted on two vertical panels separated by an empty space. On each panel, there is an eagle spreading its tail, carrying two quadrupeds on its wings and two gazelles from its claws. Two winged ibex confronting each other on either side of a fleuron finish the scene in the lower part.  \nMost of the ornamentation on the other two sides has been destroyed, leaving only the text in *kufic* characters sculpted in relief on the rim and the decoration of the framing ribbon on the large side, which consists of a frieze of aquatic birds and fish alternating on a plant background.  \nThe surviving elements of the inscription that crowned the entire rim of the tank include the last digit of the hegira date (300), and the name of the patron, 'Abd al-Malik, *hajib* (chamberlain) of Hisham II.  \nThe design and animal scenes of this beautiful example of Caliphate artwork are reminiscent of the tank at al-Mansur and would appear to be from the same Madinat al-Zahira marble workshop in Córdoba.","short_description":"This basin is the work of a marble workshop in Madinat al-Zahira, Córdoba, the princely city built by al-Mansur. It was brought to Marrakesh by 'Ali ibn Yusuf and placed in the ablutions room of the Great Mosque.","type":"Basin, marble","holder":"Dar Si Saïd Museum.","dates":"Hegira 381–98 / AD 991–1008 (when 'Abd al-Malik served as *hajib*).","location":"Marrakesh.","dimensions":"Height 70 cm, length 155 cm, width 82 cm, depth 50 cm, thickness of sides 10 cm, thickness of base 20 cm.","method_for_datation":"1\\. The inscription, partially destroyed, sculpted on the upper rim of the tank reads '(the year) three hundred, in the name of God! God's blessing. Victory and divine assistance to the Hajib \\[followed with his honours\\] Abu Marwan 'Abd al-Malik ibn Amir (…), this is part of what he commissioned (…)'.  \n2\\. We know that 'Abd al-Malik was appointed *hajib* of Hisham II between 381 and 398 / 991 and 1008) by his father al-Mansur.","method_for_provenance":"Although it was discovered in the Ibn Yusuf Madrasa in Marrakesh, which belongs to the Sa'did period (10th / 16th century), the name of the patron and the comparative study with the al-Mansur basin in the National Archaeological Museum in Madrid suggest that it was originally from Madinat al-Zahira in Córdoba.","provenance":"Córdoba.","obtention":"As state property from a historical monument.","bibliography":"Deverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nDeverdun, G., *Inscriptions arabes de Marrakech*, Rabat, 1956.  \nGalloti, J., “Sur une cuve de marbre datant du Khalifat de Cordoue”, *Hespéris*, III, fasc. 3, Rabat, 1923, pp.363–91.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nPigeon, G., *Manuel d'art musulman*, Vol. I, Paris, 1927.","workshop":"Madinat al-Zahira workshop, Córdoba.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","figurative decoration","floral decoration","geometric decoration","religious object","vegetal decoration","water"],"materials":["Sculpted white marble."]},"55ec1f26-ba55-52bc-a1b6-556c48ff41e4":{"name":"A bronze Greek cross.","description":"The Christian cross is a familiar religious symbol. Its significance lies in the belief that the governor of Judea executed Jesus Christ on a large wooden cross. The cross was the first of the instruments of the passion that came to be venerated in the form of a relic.  \n  \nThis bronze cross is of Greek form, decorated with concentric incised circles on each arm and on both faces of the cross. Two of three iron nails are still preserved on the vertical arm while the third, at the bottom, is missing.  \n  \nIt seems that this cross was nailed to a wooden box as a reliquary in the Church of St Stephen at Umm al-Rasas. The upper part of the vertical arm is broken into two pieces and has been mended recently.  \n  \nThe importance of this cross is linked to its discovery at the Church of St Stephen, which was paved with mosaic floors in AH 138 / AD 756, according to the dedicatory inscriptions on either side of the altar. The inscription is significant because it indicates that there was an active Christian community present at Umm al-Rasas six years after the end of the Umayyad period and after more than a century of Islamic rule in the region.","short_description":"A bronze cross of Greek form from the Church of St Stephen at Umm al-Rasas, decorated on both faces. This cross was probably nailed to a wooden box by three iron nails, two of which are still preserved on the vertical arm.","type":"Cross, Greek, metalwork","holder":"Madaba Archaeological Museum.","dates":"Hegira, first third of the 2nd century / AD first half of the 8th century.","location":"Madaba","dimensions":"Height 8 cm, width 6 cm.","method_for_datation":"The cross was dated by a dedicatory inscription discovered at the Church of St Stephen.","method_for_provenance":"The cross was discovered at Umm al-Rasas during archaeological excavations but where it was originally manufactured is uncertain.","provenance":"Unknown.","obtention":"The cross was acquired by the Museum as a result of an archaeological excavation carried out at Umm al-Rasas by the Studium Biblicum Franciscanum, on-going since 1986.","bibliography":"Desreumaux, A., et Humbert, J. B., *Khirbet es-Samara. Contribution à l'épigraphie syro-palestinienne*, Annual of the Department of Antiquities of Jordan XXV, 1981, p.50, type Ec, Pl. XVI.  \n  \nPiccirillo, M., and Alliata, E., *Umm al-Rasas Mayfa'ah I: Gli scavi del complesso ecclesiastico di Santo Stefano*, Jerusalem, 1993.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["bronze","Christian community","Cross","Dedicatory inscription","Greek form","incised","religious object","religious symbol"],"materials":["Cast bronze."]},"5656dd0b-ba48-5ef4-a959-1d9718ee9e56":{"name":"Ablutions font.","description":"Ablutions font with a circular bowl, formed with eight lobes in the style of a flower. It has a unique decoration on the outside of the rim, a band in relief bearing an epigraph. Water has worn this away, obliterating the letters on the outer curves, with just a few remaining on the corners where the lobes meet. On one of them it is possible to read the beginning of the *Basmala* (first verse of the Qur'an) and everything leads us to suppose that this was completed with a quotation from the Qur'an, as was common on facilities of this kind related to ritual ablutions at the entrances to mosques. Another specimen of similar characteristics and probably from the same period is known in the Lisbon area.","short_description":"Almohad ablutions font decorated on the outside of the rim with a band inscribed in relief with the beginning of the *basmala*, which suggests that it also included a Qur’anic inscription. This piece was probably related to the ablutions ritual practised when entering a mosque.","type":"Font, marble","holder":"National Museum of Archaeology.","dates":"Hegira 6th century / AD 12th century.","location":"Lisbon.","dimensions":"Height 18 cm, diameter 53.5 cm.","method_for_datation":"The style of lettering dates it to the Almohad period.","method_for_provenance":"Dr José Leite de Vasconcelos left notes in the National Museum of Archaeology to the effect that it belonged to the collection of Estácio da Veiga and that it probably came from Cacela.","provenance":"Cacela (?) (Faro).","obtention":"It was probably taken to the National Museum of Archaeology by Dr José Leite de Vasconcelos.","bibliography":"Borges, A. G. M., “Pia de Abluções”, in *Portugal Islâmico*, Lisbon, 1999, p.265.  \nLabarta, A. and Barceló, C., “Inscripciones Árabes Portuguesas: Situación Actual”, *Al-Qantara*, 8, 1987, p.404.  \nNykl, A. R., “Arabic Inscriptions in Portugal”, *Ars Islamica*, 11–12, 1946, p.173.  \nNykl, A. R., “Inscrições Árabes no Museu Etnológico do Dr. José Leite de Vasconcelos”, *Ethnos*, 2, Lisbon, 1942, pp.27–8.  \nVasconcelos, J. L., *Etnografia Portuguesa: Tentame de Sistematização*, Vol. 4, Lisbon, 1982.","linkcatalogs":"IAM_PT_EN_001","author":"Artur Goulart de Melo Borges","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Almohad","Basmala","Font","marble"],"materials":["Sculpted marble."]},"56ae89a4-e69e-5467-915e-b99f5b5f752d":{"name":"Panorama: al-hujjaj bi-mina yawn al-‘id al-akbar (‘The pilgrims at Mina on the day of the big feast’)","description":"Muhammad Sadiq Bey was the first person to take photographs of Mecca, Medina and the Hajj. An Egyptian army engineer and surveyor, he was also the treasurer of the Egyptian Hajj caravan, travelling numerous times to the Hijaz. Using a technique first invented in the 1850s, Sadiq Bey took his first photographs in 1861 using glass plate negatives, especially useful for large-format frames. His most important photographs, of both the buildings and interiors of the sanctuaries at Mecca and Medina, as well as sites at Arafat and Mina, were taken in 1861, 1880 and 1881. For the first time, the pilgrimage and the holy cities were precisely and realistically documented.","type":"Photograph","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1880","location":"London","dimensions":"Height: 15,5 cm; Width: 42cm","place_of_production":"Mina, Saudi Arabia","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/panorama-al-hujjaj-bi-mina-yawn-al-id-al-akbar-arc-pp-0254-3/","keywords":["documentation","Mina","Ottoman","photography","pilgrimage"]},"56bb796e-7473-5c75-af83-c44e76fe7578":{"name":"Prayer carpet '*sajada*'","short_description":"A highlight of the Khanenko Museum's Islamic collection is an Ottoman carpet dating to AD late 17th–first half of the 18th century. The carpet belongs to the traditional type of \"*sajada*\", or prayer, carpets, with composition based on a stylized picture of *mihrab* - a prayer niche in a mosque indicating the direction where Muslims turn during the prayer. The composition and motifs of the carpet, particularly the central niche coloured in plain dark blue and crowned with arch of an acute stepped shape as well as a peculiar geometrized carnation pattern above and below the niche, suggest that the item was manufactured in workshops of Giordes or Kula, two leading centres of Turkish carpet-making in the 17th–18th centuries. Numerous narrow ornamental borders that fringe the central arch add a specific elegance to the piece of art.","type":"Applied arts; Carpet","holder":"The Khanenko Museum","dates":"AD late 17th–first half of 18th century","location":"Kyiv","dimensions":"Lenght: 190cm, Width: 130cm","method_for_datation":"Stylistic analysis by Yu Miller (examination, 1961,  date, origin), Hanna Rudyk and Antonina Makarevych (examination based on B. Biedronska-Slotowa publication, 2019, date and origin specified).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Turkey, Giordes or Kula","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Biedrońska-Słotowa, B., *Kobierce Wschodnie T.III.: Kobierce Tureckie 1*, Kraków: Muzeum Narodowe w Krakowie, 1983.  \nBilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nDimand, M.S., *Oriental Rugs in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1973.  \nRudyk, H., \"Islamic art in the Khanenko Museum collection\", *Islamic art in the museums of Ukraine*, Proceedings of the Vyazmitina Research Seminar, (2017): 39-45.  \nRudyk, H., \"Ottoman Collection in The Khanenko Museum\", *Chronicles-2000*, 1: 95 (2013): 479-495.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["carpet","Ottoman","prayer rug","Turkey"],"materials":["'ghiordes' knots","weft and pile)","Wool (warp"]},"56be57e8-2f07-5969-a236-a5ddc30a31cd":{"name":"Lamp.","description":"Bronze lamp consisting of various elements supported by a central rod. First, four spherical parts arranged in ascending order of size with a central fretwork border and *naskhi* inscription. Next, an eight-sided prismatic element with vegetal fretwork decoration. The lamp is completed by a truncated pyramid in the shape of a four-sided bell, decorated with plant motifs and two inscribed cartouches, one at the top and one at the bottom, with the emblem of Muhammad III: 'There is no conqueror but God. The Most Exalted'. There is another inscription in the bronze on the border, with a series and blessings and titles, as well as the date of manufacture.  \nThere is a convincing hypothesis as to the placement of the holders for the lights: the lamp arrived at the Museum with its hinged arms badly damaged; these arms would open out around the truncated pyramid section into a circle, some of which has survived. There were two arms per side, making a total of 16 arms and between 48 and 64 glasses that produced light without being obscured by the body of the object.  \nWe know that the Royal Alhambra Mosque was constructed at the behest of Muhammad III, and therefore the lamp would have hung in the central nave before the *mihrab* (prayer niche), the appropriate place for an object bearing the sovereign's emblem. It is logical to assume that the founding sovereign would have also provided the fixtures.","short_description":"A masterpiece of Andalusian metalwork for the exquisite fretwork decoration on the body, this lamp was commissioned by Muhammad III for the mosque in the Alhambra, according to its inscription. The body still bears the hooks for the arms that would have held the glass bowls for the lights.","type":"Lamp, metalwork","holder":"National Archaeological Museum.","initial_owner":"Following the conquest of Granada in AH 898 / AD 1492, the lamp was removed from its fixing and taken to Oran. Eventually it became part of the collection of Cardinal Cisneros, who deposited it with San Ildefonso College in Alcala de Henares, from where it passed to the University.","dates":"Hegira 705 / AD 1305.","location":"Madrid","dimensions":"Total height 230 cm, height of truncated pyramid 54 cm, diameter 79 cm.","method_for_datation":"The lower edge of the lamp bears a *naskhi* inscription with the year 705 / 1305.","method_for_provenance":"Despite the damage to the lower part of the lamp, the titles that appear in the inscription around the edge allow us to attribute it to Muhammad III (r. 702–9 / 1302–9), who would have commissioned it for the Alhambra mosque.","provenance":"Mosque of the Alhambra, Granada, Spain.","obtention":"The piece was assigned to the National Archaeological Museum as part of the organisation of the State collection on 20 March 1868.","bibliography":"Amador de los Ríos, R., “Lámpara de Abu 'Abdil-lah Mohammad III de Granada, Apellidada Vulgarmente Lámpara de Orán, y Custodiada Hoy en el Museo Arqueológico Nacional”, *Museo Español de Antigüedades*,Vol. II, Madrid, 1876, pp.466–91.  \nFernández Puertas, A., “Tipología de Lámparas de Bronce de al-Andalus y el Magreb”, in *Miscelánea de Estudios árabes y Hebraicos. Sección árabe-Islam*, 48, Granada, 1999, pp.379–92.  \nLévi-Provençal, E., *Inscriptions Arabes d'Espagne*, Paris, 1931, p.185, no. 192.  \nZozaya, J., “Lámpara”, in *Arte Islámico en Granada. Propuesta para un Museo de la Alhambra*,Granada, 1995, p.434, no. 187.","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Alhambra","bronze","Cisneros","Granada","Lamp","Mosque","Mosque interior decoration","naskhi","religious object"],"materials":["Bronze","casting."]},"5830662b-6f93-5e08-826b-c8179eb39b3c":{"name":"Crescent from the Dome of the Rock.","description":"A large copper crescent moon that once crowned the dome on the Dome of the Rock, removed in AH 1317 / AD 1899. The crescent consists of five parts: the first is the fluted base that takes the form of an inverted cup, and which was affixed to the apex of the dome. The base is connected by means of a small cylindrical neck to a second part, which consists of a large undecorated mass resembling a sphere. Next is a small cylindrical neck, on top of which is a ring, which transfers it to the third section consisting of a fluted and elongated ovoid form. This part ends with a ring, similar to the former. Adjacent to it is a cylindrical neck that is connected to the fourth part. This consists of a small spherical mass reminiscent of the sphere (the second part). On top of this section is a cylindrical neck, which forms the zone of transition to the fifth and final part of the section, the crescent.  \nThe crescent consists of a circle whose diameter measures 90 cm, and which takes a principal position. It is thickest at its lowest part, tapering in along the two sides to reach, at its height, its thinnest form. This crescent is considered one of the largest used on any building in the Islamic world, and on account of what we know about the singularity of its size, it may be the largest acquired by any museum. The Islamic Museum in Jerusalem acquired two other great crescents, which were brought from the Dome of the Rock and al-Aqsa Mosque respectively. The crescent shown here is in good condition and is undecorated as the crescent was placed at such lofty heights that no eye could possibly discern or distinguish any decorative detail.","short_description":"This large copper crescent crowned the apex of the Dome of the Rock. It has a circular ribbed base in the form of an inverted cup and continues in a number of forms to end with a large circle whose diameter measures 90 cm. This crescent is considered one of the largest in the Islamic World, and is probably the largest housed in a museum.","type":"Metalwork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock, Jerusalem.","dates":"About hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 490 cm, diameter (of crescent) 90 cm.","method_for_datation":"The crescent was dated based on a comparison with similar pieces whose dates are agreed.","method_for_provenance":"Jerusalem was narrowed down as the place of production because such a large object as this would probably have been made on site.","provenance":"Jerusalem.","obtention":"The piece was transferred following its removal from the Dome of the Rock to storage facilities at the Agency of Islamic Awqaf in the Haram al-Sharif; it was transferred to the Islamic Museum in around 1923.","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","crescent"],"materials":["assembled.","Crescent forged"]},"58467eac-791f-5968-9787-74e5c5043757":{"name":"Large pitcher","description":"This pitcher is inscribed in Ottoman Turkish with the following text:  \n  \n*\"Bu güğümden su içene şifalar olsun; eğer dahi kâfir içerse İslamla müşerref olsun. Tarih 1266’dır, cümle hakkında hayr olsun.\"*: “May those who drink water from this ewer be granted healing; and if an unbeliever drinks, may he be honored with Islam. The date is \\[AH\\] 1266; may it bring goodness to all.\")  \n  \nIt also reads *\"Fet oğlu Hüseyin Ağa, tûl-i ömrü ile muammer olsun.\"*: \"May Hüseyin Ağa, son of Fet, live a long and prosperous life.\"","type":"Pitcher","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 40cm","place_of_production":"Anatolia","method_for_datation":"Its date was determined by Islamic metal artefacts expert Güner Liman.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.","provenance":"Kastamonu","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Blessing","Copper","Ottomans","pitcher","water"],"materials":["copper"]},"5a261785-3c23-5c9b-b6cc-bbab118fe4a4":{"name":"*Angel I*","description":"This monumental figure of an angel is part of the sculpted decoration of the Minorite Church in Znojmo, only fragments of which have survived. The sculpture with its preserved polychromy, gilded robe and wings has retained its expressive air despite the loss of its former link with the architecture of the altar retable. Despite its larger-than-life size it features precise carving, full volume and a reduced means of expression: an elegant gesture of the hand and decoratively sculpted locks. The face has Heinz’s original trademark modelling of the nose, arches above the eyes and, in particular the chin. The figure testifies to the sculptor’s sense of monumentality. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. His first experience as a sculptor was under the tutorage of Jan Sturmer in Olomouc and then in the circle of Matyáš Bernard Braun; he also collaborated with Severin Tischler. The decoration of the garden and funeral chapel in Velké Losiny Chateau exhibits the influence of Baltasar Permoser. Heinz first lived in Olomouc and travelled in Moravia. In 1755 he joined the Dominican Monastery in Znojmo. Whilst there he produced statues for the grounds and decorated altars predominantly in the Znojmo area (Lechovice, Louka, Šatov).","short_description":"The *Angel* figure testifies to the sculptor's sense of monumentality for retable compositions. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. The sculpture features precise carving, full volume and a reduced means of expression.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Museum of South Moravia, Znojmo","initial_owner":"Minorite Church, Znojmo","dates":"Before 1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 220 cm","place_of_production":"Znojmo","provenance":"Church of St. Anne, Znojmo","obtention":"The sculpture comes from the decoration of a Franciscan (originally Minorite) Monastery. Around 1843 part of the interior was transferred to the Church of St. Anne, Znojmo, from whence it passed to the Museum of South Moravia, located on the premises of the former Minorite Monastery.","bibliography":"Miloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 176–177, cat. 53.  \nHelena Zápalková (ed), *Oltář Nejsvětější Trojice z kostela Nanebevzetí Panny Marie v Uničově. Restaurování 2003*–*2005*, Olomouc, 2005.  \nMiloš Stehlík, Matyáš Bernard Braun a Morava, in Miloš Stehlík, *Barok v soše*, Brno, 2006, pp. 65–70.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Polychrome wood","Radical Baroque","retable","sculpted wood"],"materials":["polychromy and gilding","Wood"]},"5b39f275-54df-59e1-af9d-1758c033e5d5":{"name":"Printing block (stamp) listing holy places in the region of Palestine.","description":"A printing block (stamp) composed of a simple copper panel that is rectangular in shape. It is devoid of decoration except for the inscribed record on its surface. A frame encompasses the list on all four sides, composed of straight lines engraved into the copper with the exception of the lower line, which takes the form of an undulating wave. There are two curved forms on both edges of the last line. The block holds an engraved Ottoman Turkish inscription that names the principal holy places in Palestine, such as al-Aqsa Mosque and the Dome of the Rock in Jerusalem, as well as al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil). The block also includes the names of the tombs of some of the prophets, including that of Moses located on the road leading to Jericho; the tomb of David, located outside the walls of the Old City of Jerusalem and the tombs of Ibrahim (Abraham) and Isaac as well as Jacob, and their wives, in al-Haram al-Ibrahimi and the tomb of al-Khadir. In addition, the block records the names of a series of sites and shrines that include: the Mihrab of Zakariya in the Haram al-Sharif;the site of Abu 'Ubaida 'Amar bin al-Jirrah in 'Amwas (Nicopolis); the Tomb of Mary at the foot of the Mount of Olives in Jerusalem;the Qubbat al-Mi'raj (Dome of the Mi'raj); Qubbat al-Arwah (Dome of the Spirits); al-Buraq al-Sharif (Sanctuary of al-Buraq) in the Haram al-Sharif; the Qubbat Rahil (Rachel's Tomb) in Bethlehem; the tomb of Joseph in Halhul and al-'Ais in Sa'ir. The block also contains the names of the great saints of the Sufi paths, among whom are Muhammad al-Khalili (d. AH 1146 / AD 1734), who was one of the *'ulama of the Bait al-Maqdis* (scholar of the Bait al Maqdis) and Muhammad al-Budairi (d. AH 1220 / AD 1805) who was another scholar of the *Bait al-Maqdis*. The inscription ends with the word “Opening”.  \nIt is possible that the printing block gave authorisation to enter the holy places named, or perhaps it was meant to be a list of places a Sufi should visit in the region of Palestine. It is likely that it was used to print on paper and then distributed to an interested public.","short_description":"A rectangular copper panel devoid of decoration. It is inscribed with a list of the most important sites and shrines in Palestine. It might have been authorisation to enter these places, or a list of places that one should visit, or merely places where one could be blessed. It was probably stamped on paper to be distributed to interested parties.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 31 cm, width10 cm.","method_for_datation":"The piece was dated by ascertaining the life-spans of the pious men who are mentioned (Sheikh Muhammad al-Khalili and Sheikh Muhammad al-Budayri).","method_for_provenance":"It is likely that this printing block was made in Palestine, as there were a number of copper workshops producing a variety of copper objects In Jerusalem. In addition, the names of the sites detailed on the printing block are all in Palestine, which strengthens the hypothesis that it was made locally.","provenance":"Jerusalem.","obtention":"The printing block was transferred on an unknown date from the Haram al-Sharif to the Islamic Museum in Jerusalem.","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","Entrance authorisation","inscription","list of holy places","list of shrines","printing block"],"materials":["forged","hammered and engraved copper."]},"5c13ad64-b549-5470-8c28-60447c1829ab":{"name":"Christ in Majesty","description":"This icon, known as Christ in Majesty, was once part of the Deesis tier as well as the centerpiece of an iconostasis, a wall of icons separating the nave from the sanctuary in an Orthodox church. An icon of the Mother of God would have hung to the right and an icon of John the Baptist to the left. The Deesis tier usually extends outward on either side with Archangels Michael and Gabriel and the apostles facing Christ. This image represents Christ’s Second Coming and Last Judgment. He is seated on a throne surrounded by seraphim and cherubim angels in a scene of glory based on visions of the Old Testament prophets. Christ’s radiance illuminates the whole scene. The corners depict the symbols of the four evangelists, Matthew, Mark, Luke and John. Christ bestows a blessing with his right hand and in his left holds the Bible open to the passage, “Come to me all ye that labor and are heavy laden and I will give you rest” (Matthew 11:28-29). The Greek letters in three sections of Christ’s halo represent the oneness of the three-part Trinity. At the very top of this icon are the letters IC and XC, representing the first and last initials of the Greek name for Jesus Christ.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1580","location":"Clinton, Massachusetts","dimensions":"Height: 166cm, Width: 128.3cm, Depth: 14cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from the Temple Gallery, London, in 2009. Gifted by Gordon Lankton to the Museum of Russian Icons in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"5cdd4963-ab03-5834-84db-f850572ca208":{"name":"Maronite Benevolent Catholic Society of New York rule book","description":"A copy of the book of regulations for the Maronite Benevolent Catholic Society of New York, a charitable society aimed at helping the needy within the Maronite community. It provided financial support for the poor and free medication for the sick, and financially supported burial of the deceased. The book outlines the objectives, rules and structure of the association.","type":"Print; printed book; booklet","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1895","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"5cf8b622-bc23-5c90-a393-46a79bb0514b":{"name":"Reliquary of St-George Chiopolites from Aivali","description":"The reliquary contained the head of George Chiopolites, who was martyred in Aïvali / Kydonies in 1807. The container made for the head has intricate rococo decoration with ribbons, bows, roses, blank heraldic shields and St George holding the attributes of a neomartyr under the imposing two-headed eagle of ecclesiastical authority. From the mid-eighteenth century, thanks to special administrative treatment or privileges, the inhabitants of Aïvali transformed what had been a small fishing village into a flourishing commercial centre on the Aeolian coast. The inscription on the reliquary refers to the goldsmith and to the Guild of Soap-Makers, which was one of the biggest trade associations in the town. It also refers to Sophronios, who oversaw the commissioning, and has been identified to the parish priest and a close relative of Theophilos Kaïris, a teacher at the Academy of Kydonies who was later expelled from the Church under the free Greek state for his revolutionary ideas and was to die in prison, the last ideologue of the Enlightenment.","type":"Metalwork","holder":"Benaki Museum","dates":"1816","location":"Athens","author":"Ballian 1992, 84, no. 44"},"5d100163-7783-5d0b-b8a8-5ee5feece0df":{"name":"Candlestick","short_description":"The candlestick was dedicated by the Mamluk sultan Qaytbay to the shrine at Medina in 1482. Monumental inscriptions whose letter-ends curve to form tongs enclosing small palmettes, occupy almost the entire height of the base. The sultan Qaytbay had the mosque of the Prophet restored in 1480 and offered to it at least five candlesticks, of which another two have survived and are now in Cairo.","type":"Candlestick, metalwork","holder":"Benaki Museum","dates":"Hegira 886 / AD 1482","location":"Athens","dimensions":"Height 46 cm.","provenance":"Egypt","keywords":["Candlestick","metalwork","Sultan Qaytbay"],"materials":["Brass inlaid with black organic material"]},"5d377e78-b054-59b0-820b-7328307c7e77":{"name":"Brass head of flagpole","description":"A crescent shape made of casted brass fixed on a pointed piece of copper with a hole at the bottom to install a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"5d81f529-0519-5b10-ba1c-6c8d92b01735":{"name":"The Battle between the Novgorodians and the Suzdalians","description":"This icon type, among the first to depict an event from Russian history, illustrates the 1169 battle in which the Suzdalians besieged the city of Novgorod. During the siege, Archbishop Ilya of Novgorod ordered that an icon of the Mother of God be brought out from the Church of the Transfiguration to give the Novgorodians courage. According to legend, the icon was displayed on the city walls where it was struck by a Suzdalian arrow. The icon miraculously began to weep, and through the intercession of the Mother of God, the Novgorodians defeated the Suzdalians. This image is particularly rich in its narrative and compositional details.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1790","location":"Clinton, Massachusetts","dimensions":"Height: 28.6cm, Width: 24.5cm, Depth: 3.8cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 1995. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"5d9bc47e-05b8-5889-945e-09b9078e013b":{"name":"Mihrab","short_description":"A mihrab is a characteristic architectural element in mosques and other places where Muslims worship. It serves to emphasize the direction of Mecca, toward which all prayer is oriented. Shaped like a niche, the mihrab is usually concave, but flat examples also occur, as here. This mihrab, which represents only the upper central panel of what was undoubtedly a larger ensemble, is inscribed with a passage from the Qur'an (15:45–47) that refers to Paradise, suggesting that it may have once graced a funerary monument.","type":"Architectural Elements","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira early 8th century / AD early 14th century","location":"Los Angeles","dimensions":"102.9 x 119.1cm","method_for_datation":"This mihrab relates to several dated luster mihrabs, including one from the shrine at Qom from Hegira 734 / AD 1334 now in the Iran Bastan Museum in Tehran (3270). Such tile mihrabs and related tile ensembles were likely produced in Kashan rather than in situ. Luster tile production in Kashan seems to have come to an end around 1340, providing an approximate terminus ante quem.","method_for_provenance":"Kashan was a major site of ceramics production in the 12th- 14th centuries (with a break during the Mongol invasions).","provenance":"Iran, Kashan","obtention":"Kevorkian Collection (sale, Parke-Bernet, New York, December 18, 1970). Collection of Nasli M. Heeramaneck (1902-1971), New York, until 1973 (sold to); LACMA, The Nasli M. Heeramaneck collection, gift of Joan Palevsky.","bibliography":"Komaroff, 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: 2, 17, 18  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Los Angeles: Museum Associates, 2005: Title page.  \nPal, Pratapaditya (ed), *Islamic Art: The Nasli M. Heeramaneck Collection*, Los Angeles: Museum Associates, 1973: 46, 47, cat. no. 70.","author":"LACMA Staff","keywords":["architectural element","ceramic","cobalt","funerary architecture","Ilkhanid","Iran","Kashan","lustre","overglaze-painted","panel","Paradise","Qur'an","Qur'anic inscriptions","tilework"],"materials":["Fritware","overglaze luster-painted","with cobalt and turquoise"]},"5d9fc24f-9c51-56b2-a925-33389c038005":{"name":"Paper crown for *Maulid an-Nabi*","short_description":"In Egypt, houses are festively decorated for the Prophet's birthday, the *Maulid an-Nabi*, and the mosques are brightly lit. Jugglers, fire-swallowers and dancing Sufis fill the streets and squares of Cairo. Processions snake through the streets. Children are treated to carousel rides. Merchants appear and sell a variety of figures made out of sugar, wrapped with coloured paper; that are particularly popular with children. Another hit amongst the children is a birthday crown, made out of cardboard, printed tissue paper and wire, on the forehead of which is displayed a paper image, cut out of a newspaper, of an *ʿud* (lute) player, or a famous star from film and television. Gifts given at the festival of *Maulid* are made of ephemeral, perishable materials such as paper. These are small works of art full of poetry and definite meaning. *Ephemera* are intended for shortterm use as they are unsuitable for prolonged use in daily life.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1976","location":"Vienna","dimensions":"Diameter: 17cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1976.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["Cardboard","Paper","pigment","wire"]},"5dd25402-aa83-5544-9e46-d6ccfe8b2a79":{"name":"Small magic cup","description":"Religious formulas or numbers written on magic bowls are used to compensate for medicine’s limitations. Liquid that comes into contact with these formulas acquires their curative property. The centre is decorated with a representation of the *Ka'ba* on top and a six-pointed star on the reverse.","type":"Copperware","holder":"Museum of the Arab World Institute","dates":"Hegira 10th-11th century / AD 16th century","location":"Paris","dimensions":"Height: 4.5cm, Diameter: 20.5cm","provenance":"Near East","obtention":"Purchased at auction on advice of François de Ricqlès, 2001.","translator":"Judy Harter","materials":["Copper alloy with engraved decoration"]},"60db83b0-e090-5ad3-b467-090f3263e0b9":{"name":"Single Niche 'Transylvanian' Prayer Rug","description":"A characteristic type of Ottoman rugs is the \"Transylvanian\" double niche rug. Several variants of the type fashionable for over two centuries are known. Its common feature is the hexagonal medallion filling the central field created by mirroring the original *mihrab* (prayer niche) of the traditional prayer rug across the central axis. The carpet is a fine example of the rare single niche version of \"Transylvanian\" rugs. Its red *mihrab* (prayer niche) is filled with a floral-foliate scroll symmetric about the long axis, and a mosque lamp hangs from the peak of the *mihrab*. The spandrels are decorated by a large rosette and serrated leaves on a dark blue field. In the border, \"Transylvanian\" cartouches alternate with eight-pointed stars.","type":"Carpet","holder":"Museum of Applied Arts","dates":"First half of 17th century","location":"Budapest","dimensions":"Height: 206cm, Width: 122cm, Knot density: 1,365/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"Acquisition unknown","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 60, no. 65 and 154, figure.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 211, plate 151 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 164–165, no. 80 and figure \\[Emese Pásztor.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 120–121, no. 27 and figure.","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["mihrab","Ottoman rug","prayer rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"6131fb50-04d3-542e-b078-c6c43dfd4c0a":{"name":"Chasuble (Mass vestment for the Catholic liturgy) made of decorative velvet and silk weave","short_description":"The chasuble is a *pasticcio* consisting of an older Italian decorative velvet and a chasuble cross of Ottoman silk. The latter silk has a pattern of large lancet ovals filled with tulips, pinks and floral scrolls, a decoration typical of Ottoman silk weaving of the time. This combination of textiles for a chasuble demonstrates that there were no reservations about using a textile from Islamic regions for the Christian liturgy on account of its impressive appearance.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"Velvet: 15th century;  \nSilk: 2nd half of the 16th century","location":"Vienna","dimensions":"H: 104cm, W: 64cm","provenance":"Velvet: Italy;  \nSilk: Ottoman Empire, Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97542","author":"Martina Dax","keywords":["floral decoration","liturgical vestment","Ottoman Silk","textile","trade","tulip","Velvet"],"materials":["Lampas broché","lancé","silk","Velvet broché"]},"618bc97a-0543-5e59-aeff-839fc23ec12e":{"name":"*Sitara* for the *rawda* of the Prophet’s mosque in Medina","short_description":"That this curtain was intended for the *rawda* is suggested by the text in the large medallion at the top. It consists of a *hadith* of the Prophet, *ma bayna qabri wa minbari rawda min riyad al-janna* (‘Between my tomb and my minbar is one of the gardens of Paradise’). The same text appears above the *mihrab* in the *rawda*.  \nSultan Mahmud II is known to have practised the art of calligraphy and a number of *sitara*s commissioned by him for the Prophet’s mosque bear his pear-shaped signature cartouche which reads, *katabahu al-‘abd Mahmud bin ‘Abdulhamid khan* (‘written by the servant \\[of God\\] Mahmud, the son of ‘Abdulhamid Khan’).","type":"Textile; *rawda* curtain; *sitara*; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1808–39  \n  \nwith the signature cartouche of Sultan Mahmud II","location":"London","dimensions":"280 x 163cm","method_for_datation":"The date is based on the presence of the *tughra* and signature cartouche of Sultan Mahmud II.","provenance":"Turkey, Istanbul; commissioned by Sultan Mahmud II and with his signature cartouche","bibliography":"al-Mojan, M.H., “The Textiles Made for the Prophet’s Mosque at Medina: A Preliminary Study of their Origins, History and Style”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 184–94.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","Curtain","Dedicatory inscription","embroidery","Hadith","hajj","Hijaz","Mecca","Medina","mihrab","Minbar","Ottoman textile","pilgrimage","Prophet’s mosque","Rawdah","Religion","religious object","silk","silver","textile"],"materials":["heavily relief-embroidered in silver and silver-gilt wire over card and cotton thread padding","Red silk"]},"61f8f6ec-92d5-556e-b7d6-2e874ba81191":{"name":"Hanging","short_description":"This prayer rug is woven with a triple arcade, hanging lamps, vases with bunches of flowers and large flower scrolls. The pastel pinkish colours and the band woven with a flower scroll are typical of Chian silks. A famous one dated 1742 is kept in the monastery of Nea Mone on Chios. The export of Chian silks is recorded from the 15th century when the island was under Genoese rule and continued when the island passed into Ottoman hands in 1566.","type":"Silk, gilt metallic thread","holder":"Benaki Museum","dates":"Hegira 11th century / AD 17th century","location":"Athens","dimensions":"Height 262 cm  \nWidth 187 cm with lining","provenance":"Chios (Sakiz)","keywords":["Chian Silks","floral decoration","floral motifs","Hanging Lamp motifs","Ottoman textile","textile"],"materials":["gilt metallic thread","silk"]},"63d7eb6d-8326-5395-9279-d48a47c2abba":{"name":"Pair of *mihrab* candlesticks.","description":"Each candlestick has a round base, a bell-shaped body, a cylindrical neck with a ring, and a wide candleholder. At the top and bottom of the body is a band of heart-shaped motifs with palmettes at their centres, a border repeated at the bottom of the neck. On the ring of the neck are large leaf motifs in relief. The neck itself is decorated with wavy lozenges featuring *hatayi*\\-style (peony) motifs shown both frontally and in profile. The candleholder is decorated with interlacing cartouches with inscriptions. The main part of the body is decorated with a wide inscription band on a background of peonies and spiralling tendrils. The inscription in Persian is a poem praising the light of the candlestick; the Arabic inscription reads: 'May Sultan Bayezid be preserved from calamities'; the inscription in Ottoman Turkish informs us that the candlesticks were made for the mosque of Sultan Bayezid II in Edirne. Both candlesticks are entirely gilded. The forms of these candlesticks recall Mamluk candlesticks.","short_description":"When Ottoman sultans commissioned the construction of their mosques, they also ordered the production of candlesticks to be placed on both sides of the *mihrab*. These candlesticks were made for the Mosque of Bayezid II in Edirne and the inscriptions offer good wishes for the sultan.","type":"Bronze","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Sultan Bayezid II (r. AH 886–918 / AD 1481–1512).","dates":"Around hegira 894 / AD 1488.","location":"Sultanahmet, Istanbul.","dimensions":"Height 89 cm, diameter (of base) 73 cm.","method_for_datation":"The mosque of Bayezid II in Edirne, named on the inscriptions of the candlesticks, was completed in 894 / 1488. Thus the candlesticks must have been produced at about the same time.","obtention":"The candlesticks were transferred to the Museum in 1911 from the Selimiye Mosque in Edirne.","bibliography":"ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.247.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, pp.441–2.","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","mihrab","Mosque interior decoration"],"materials":["Bronze","decorated with engraving and gilding."]},"65786a69-ccf0-52e9-acec-40d5ded53000":{"name":"Covered al-Buzuriyya Market","description":"Before the celebrations of Mawlid al-Nabawi (Feast of the Birth of the Prophet), shops in the historic Buzuriyya market in Damascus are filled with many types of sweets and chocolates. The most important sweet for Aid al-Mawlid is the *Mulabbas*, which consists of roasted almonds coated with a thin layer of sugar mixed with rose water. The shopkeepers arrange the various sweets inside the shops, while they place large bags of *Mulabbas* at the entrance to attract customers. The mosques organise the Mawlid celebrations, which take place between the Maghrib and Isha prayers in the evening, and a number of women like to host a Mawlid party in their homes. During the celebration of Mawlid, *Mulabbas* are distributed to all celebrants. Damascenes believe it is important to cook white food or serve white sweets on religious occasions, in order to greet the coming days with optimism symbolised by the colour white.","holder":"Museum for Islamic Art","owner":"Karin Pütt","initial_owner":"Karin Pütt","dates":"Hegira 1408 / AD 1988","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus” in Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili. “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["Colour photography"]},"665aed9d-195b-51b5-8961-06a52dfd6aab":{"name":"Piece of the *kiswa* (cover) of the Ka’ba.","description":"A piece of the Ka'ba *kiswa* (cover) which was probably produced in Syria, and was sent as part of the *Shami mahmal* (the Syrian Caravan carrying gifts for the Ka'ba) to Mecca to re-adorn the Ka'ba. Such a ritual occurred every year before the season of the Hajj, and included a venerated ceremony at which the commencement of the Hajj season was officially announced. It was and still is the case that the Ka'ba is washed, perfumed and purified every year and is then covered with a new *kiswa*. The fragmentexhibited here is made from red silk and embroidered with silver silken thread. The design includes two undulating bands which assume the form of a continuous chain made up of number “7”s. Both bands run from the beginning to the end of the cloth. Small, dispersed decorative elements are scattered between the two borders, as well as between the two undulating bands. Written inscriptions appear, the most prominent being: “There is no God but God and Muhammad is his Prophet”, repeating in the middle of the *kiswa* between the two zigzag bands. The two expressions, “Ya Mannan” (“Oh Merciful”) and “Ya Hannan” (“Oh Compassionate”) are also repeated, and consist of flowery forms running along both edges. On the upper undulating band, there is a verse from the Qur'an, “al-Baqara” (“the Cow”, 2: 144). The lower undulating band holds another chapter from the Qur'an: Surat Al 'Imran “the Family of Imran” (3:96). At the top and the bottom of the piece there are two expressions: “Dhu al-Jalal” (“Possessor of Majesty”) and “Dhu al-Ikram” (“Possessor of Honour”). One can conceptualise the size of the complete *kiswa* by bringing to mind the enormous scale of the Ka'ba. It is likely that the forms and inscriptions on this piece were repeated on the *kiswa* in its entirety. The name of the donor, the date of production and the emporium where it was produced is not recorded; the evidence has probably been cut off.  \nIt is worth mentioning that once used to cover the Ka'ba, the *kiswa* was cut into small pieces and sent as gifts to different capitals and cities in the Islamic world to bestow blessing on them. Ruling palaces and councils contained pieces of the *kiswa,* which were used to confer legality and sanctity.","short_description":"Every year the Ka’ba is washed and covered with a *kiswa* (cover) marking the beginning of the Hajj season. This piece is of red silk and embroidered with silver silk forming fragmented zigzags that repeat from the beginning of the piece to its end. Small forms are scattered in different places within inscription bands.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 142 cm, width 68 cm.","method_for_datation":"This fragment was dated based on comparison with similar pieces in the museums of Istanbul, whose dates had been narrowed down to around the 13th / 19th century.","method_for_provenance":"It is likely that this piece was made in Syria, since it is reminiscent of other pieces in the museums of Istanbul known to have been produced in the region.","provenance":"Probably Syria.","obtention":"Al-Sayyid Tahir Sayf al-Din, about whom nothing is known, donated the *kiswa* fragment to the Islamic Museum in 1937.","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["cloth","embroidery","kiswa of the Ka’ba","silk","silk textile","textile"],"materials":["Silk embroidered with silk thread."]},"66e2c06b-b34a-553e-b816-006fc1ef7ffe":{"name":"Engraving","description":"Engraving from the late AH 13th / AD 19th century showing a fountain alongside an area for prayer.","type":"Engraving","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th–14th century / AD 19th–20th century","location":"Istanbul","dimensions":"Height: 10cm, width: 20cm","place_of_production":"Europe","method_for_datation":"Date and origin are written on the piece.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["engraving","fountain","prayer","water"],"materials":["Print on paper"]},"694dde47-bada-58b2-bcc0-6d5bd86a4ac0":{"name":"Great lantern of al-Mu‘izz.","description":"The lantern is made up of a bronze hook supporting a shallow-domed hemispherical basin with an outwardly inclined upper rim. Attached to the six-faceted outer sides of the basin are three perforated chains with geometric and stylised floral decoration in the form of tracery and tri-lobed leaves. This is a common type of decoration in Middle-Age Kairouan. The chains support the large hammered-brass basin, which is shaped like a circular vase and allows light to shine through the myriad perforations. At the lowest point of the basin a six-point star has been punched out. This is surrounded by three inscriptions, one around the collar; another between the ring supports and a third circling the star. On the first strip, *kufic* calligraphy proclaims: 'Praise be to God … May he bestow blessings, good fortune, happiness, success, prosperity, health and glory on all who embrace Him.' On the circumference of the base is inscribed: 'The work of Muhammad son of Ali al-Qaysi al-Saffar \\[the metalworker\\] for al-Mu'izz.' This lantern closely resembles a mosque lamp kept at the Chicago Art Institute and a lantern of Persian origin belonging to the David collection in Copenhagen (Denmark). Both date from the AH 4th or 5th centuries (AD 11th century). All the evidence suggests that the lantern of al-Mu'izz, which lit up the Great Mosque of Kairouan, is an example of Byzantine–inspired craftsmanship, which was in vogue throughout the Arabic-Islamic world during the AH 4th and 5th centuries (AD 10th and 11th).","short_description":"Used to light the Great Mosque of Kairouan, this lantern is an example of Byzantine-inspired craftsmanship fashionable in Arab-Islamic society in the AH 4th–5th / AD 10th–11th centuries. A bronze hook supports a shallow basin from which three chains suspend a large circular brass basin perforated with holes for light.","type":"Lantern, metalwork","holder":"Museum of Islamic Art.","initial_owner":"Prince al-Mu’izz ibn Badis.","dates":"Hegira 424–43 / AD 1032–51.","location":"Raqqada., Kairouan.","dimensions":"Height 118 cm, diameter (max) 51.5 cm.","method_for_datation":"The last inscription states that the lantern was a gift from the Zirid prince, al-Mu'izz ibn Badis (r. 406–54 / 1016–62) to the Great Mosque of Kairouan. This donation could be contemporaneous with the legacy of the *Mudawwana* volumes, the work of the great Sunni legal expert Sahnun ibn Said (160–240 / 777–855), from the same prince to the Great Mosque of Kairouan in 424 / 1032. It was certainly before the Hilalian invasions of 443 / 1051.","method_for_provenance":"This lantern was part of the furniture of the Great Mosque of Kairouan. It was specially made by a lamp-maker for the reigning Zirid prince, so it was probably fabricated in a Kairouanese workshop.","provenance":"Kairouan.","obtention":"After the founding of the Museum of Islamic Art at Raqqada in 1986 it was decided to return this lantern, which was on display at the Bardo Museum, to its original location.","bibliography":"Marçais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.411–33.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.218.  \nWard, R., *Islamic Metalwork*, Milan, 1993, pp.11, 68.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","furnishing"],"materials":["moulded","perforated bronze."]},"6952044c-cc8b-5648-b20d-435ae6281ac3":{"name":"Niche or prayer carpet","description":"This is the first carpet purchased by the MAK after its founding. Together with numerous embroideries, it was bought in 1868 from the Mechitarist congregation based in Vienna and formed the start of the MAK’s internationally notable carpet collection. It supposedly came via Iran to Vienna. If one compares it with the pictorial carpets containing landscapes and pairs of birds, one clearly recognises the further development of the Mughal style: away from the naturalistic depictions towards the detailed *mille-fleur* design of the centre field and the integration of vegetal elements into the architecture, such as the flanking cypresses. The carpet displays a flora made of fine Pashmina wool, which allowed especially detailed lines.","type":"Carpet","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"First half of the 18th century","location":"Vienna","dimensions":"H: 171cm, W: 112cm; knot density 7,300/dm2","method_for_datation":"Research and documentary evidence","method_for_provenance":"Research and documentary evidence","provenance":"North India, Kashmir, or Lahore","obtention":"Purchased in 1868 from the Mechitarists, Vienna","bibliography":"Völker, Angela, *Die orientalischen Knüpfteppiche das MAK*, Vienna: Böhlau, 2001: 324–5.","author":"Angela Völker","copy_editor":"Mandi Gomez","keywords":["carpet","floral design","mille-fleur","Mughal","silk","textile","wool"],"materials":["asymmetrical knot","knotted","Silk warp and weft","wool (Pashmina)"]},"696eb90a-0ce9-5dba-973b-b54eeda3a5ad":{"name":"Miniature Folding Iconostasis","description":"Miniature and folding iconostases were used starting in the 16th century, both by priests who traveled to rural areas and domestically by the Russian people. These icons, which vary in size and composition, are scaled-down versions of the partitions found in an Orthodox church and were largely used as a way to bring faith into the home. This icon consists of 15 parts and depicts the Deesis, festival and prophet tiers. The Mother of God is pictured in the center of the top row, flanked by unidentified saints.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1800","location":"Clinton, Massachusetts","dimensions":"Height: 52.1cm, Width: 154.9cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Simon Morsink, Amsterdam, in 2008. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"69a554fe-128c-59b5-a563-4ccb1cd627fe":{"name":"Anatolian prayer rug","description":"Anatolian prayer rugs with two columns in the central field can be found in the west (Ghiordes and Kula rugs) and central (Ladik rugs) parts of the region. The spread of common design features makes it at times difficult to determine just which pieces are from which part of the region. It is very difficult, e.g. to determine the exact origin of this particular rug. The two column *mihrab* (prayer niche) resembles, with its geometrical decorated columns, some 19th century Kula prayer rugs. Palmettes in the border resemble some Caucasian palmette designs. The colours of the carpet are vibrant shades of red and blue that can be seen on Ladik rugs. The *mihrab* arch consists of a series of step-like progressions towards the top, which is also a characteristic of Ladik rugs.  \nThis Anatolian prayer rug was a gift to Izidor Kršnjavi, former director of the Museum of Arts and Crafts, from Ćiro Truhelka, former director of the National Museum of Bosnia and Herzegovina in Sarajevo. In the central field, on red background, there are two columns of geometric blue and white motifs. The border is decorated with rosettes, palmettes and octagons on the blue background. In the upper left corner there are two medallions with an inscription. In the upper medallion there is the Hegira 1190 /AD 1776. In the lower medallion there is the name of the weaver: Insuf.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"1776","location":"Zagreb","dimensions":"H: 145cm, W: 115cm","method_for_datation":"By stylistic analysis and inscripted year","method_for_provenance":"By stylistic analysis","provenance":"Anatolia","obtention":"Donated by Ph. D. Truhelka","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia","Ghiordes","inscription band","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"6c834b03-f120-537f-ad07-f35c0f191253":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","alternate_name":"Sitara","description":"The interior walls of the Shrine of the Prophet in the Madina were traditionally honoured with elaborate hangings. During the Ottoman period, it was customary for the Sultan to send hangings for the shrine  on the occasion of his ascension to the throne or when wear and tear demanded them to be replaced. The old  hangings were returned to Istanbul.Judging by their inscriptions, it has been suggested that  black-grounded Ottoman textiles like this one may have been commissioned specifically to cover the tomb of the Prophet (pbuh). In addition to qur'anic inscriptions, the calligraphic panels include a large green medallion with a hadith of the Prophet: ‘ (For) whosoever may visit my grave, my intercession will become an obligation’. Below, elaborate arabesque scrolling surrounds the emblem or tughra of the sultan Abd al-Hamid II (1293 H/1876 AD – 1327 H/1909 AD), who commissioned this hanging.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira mid 13th century / AD mid 19th century","location":"Sharjah","provenance":"Egypt","author":"Ulrike Al-Khamis"},"6d56bfde-b2d7-5b3d-b418-0b9d3e98d0e8":{"name":"Qur’an Cabinet","short_description":"This Qur’an cabinet from Istanbul would embellish rooms in private homes, mosques, *madrasas* (Islamic education centres), and mausoleums. Crafted in the Ottoman style, the box stands on four legs, mother-of-pearl inlaying, geometric patterns and calligraphy.  \n  \nThis rare type of Qur’an cabinet (called *sunduq* or *kursi*) attracts with an unusual form several compartments for religious items and scripts, and the dome-shaped cover. The calligraphy in *Diwani* style reads *Al Fatiha* (the opening chapter of the Qur’an) and *Al Zalzalah* (the 99th chapter).  \n  \nIn the 19th century, the mother-of-pearl style called Damascene became increasingly popular in Ottoman Turkey. Artisans arranged precious materials including mother-of-pearl, tortoiseshell, metals and ivory into interlocking asterisks, octagons and hexagons.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"20th century","location":"Shahaniya","dimensions":"Length: 163cm, Width: 52cm, Height: 52cm","place_of_production":"Turkey, Istanbul","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and style.","provenance":"Turkey","obtention":"Purchase","bibliography":"Hattap, E. S., \"Geometric Patterns and the Art of Kundekari in Traditional Turkish Woodworking\", *Digital Wood Design*, (2019): 463–478.  \nJames, D., *Qur’ans of the Mamluks*, London: Thames and Hudson, 1988.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Istanbul","Ottoman","Quran Box","Quran Cabinet","Turkey"],"materials":["inlaying","mother of pearl","Wood"]},"6da483f8-19ce-5f70-9bd8-3d093b8b1250":{"name":"Carpet","description":"The field of this knotted-wool carpet is decorated with a prayer niche (*mihrab*) whose centre features a willow flanked by two pear trees upon which birds are perched. Snakes coil themselves around the branches, while two lions lie at the foot of the trees. Deer on fields of red adorn the upper corners. The cartouches on the side-borders show birds in pear trees, while those on the horizontal borders depict doves or rabbits. The warp and weft yarns are in cotton. The three-millimetre-high wool knots – the rug has 4,030 of them per square decimetre – are asymmetrical. The motifs are in a wide array of colours: pink, red, yellow, green, orange, blue and brown.","type":"Carpet","holder":"Montreal Museum of Fine Arts","dates":"Late 19th or early 20th century","location":"Montreal, Quebec","dimensions":"391.2cm x 231cm; knot density 4,030 dm2","method_for_datation":"Stylistic and comparative analyses","provenance":"Iran, Kirman","obtention":"Adaline Van Horne Bequest  \nBequeathed in 1944 by Adaline Van Horne, who inherited the textile from her father, William Van Horne, who died in 1915.","bibliography":"Edwards, Arthur Cecil, *The Persian Carpet*, London: Duckworth, 1953: 205.  \nIttig, Annette, *Rêves tissés: tapis d’orient de la collection du Musée des beaux-arts de Montréal / Woven Dreams: Oriental Carpets from the Collection of the Montreal Museum of Fine Arts*, Montreal: Montreal Museum of Fine Arts, 1994: 52.  \nNeff, I. C., and C. V. Maggs, *Dictionary of Oriental Rugs*, Capetown: Ad Donker, 1977: 35‒6.","author":"Shirin Shafiee","copy_editor":"Mandi Gomez","keywords":["knotted carpet","Persian carpet","prayer rug","Qajar art"],"materials":["asymmetrical knot","cotton","wool"]},"6ef65cc3-4c33-56d6-9397-2ea841e48bc8":{"name":"Carpet","description":"Carpets had a number of functions in Central Asia, dictated by the specific way of life in this part of the world. The nomadic tribes wove smaller carpets, while the population in large settlements mostly used larger carpets. These carpets retained a great number of traditional patterns since they were less exposed to foreign influences. A strictly geometric pattern is always used in composing the design and flowers are skillfully stylised into geometric shapes. In prayer rugs, the top of *mihrab* or prayer niche is slightly emphasised. The central field is most often filled with geometric shapes – octagons, rhombi or stars. The rhombi are sometimes graduated and sometimes filled with hook motifs. Motifs taken from nature most often take on an octagonal shape. We also encounter dogs and camels, faithful companions of the nomads. Carpets belonging to this group are always distinguished by a central field and borders, usually three borders of which the middle border is most accentuated. The so-called *ensi* rugs have a central field within a frame or cross, which are filled with decorative patterns. The colours are mainly dark, mostly different shades of red, from brown to purple. The borders and central field are always the same colour, which may vary in tone. The individual patterns are blue, green, yellow and white. The warp is traditionally wool, and the weft and pile material fine sheep’s or goat’s wool, sometimes even camel hair. The carpets are usually made by knotting and the asymmetrical knot is almost always used. The central field of this carpet is divided into patterned strips with four mini-fields and at the centre of each of them is the *tree of life*. The main field has six borders of which two narrow ones are repeated, while the other four are different. The third border from the edge is the widest and is filled with geometric shapes in the form of squares. The overriding colours are dark red, blue, white and brown.","type":"Carpet","holder":"Museum of Applied Art","dates":"19th century","location":"Belgrade","dimensions":"H: 158cm, W: 122cm","method_for_datation":"Ref. Stojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","provenance":"Balucistan","obtention":"Obtained through the restitution after the Second World War","bibliography":"Vitković-Žikić, M., \"Odsek za tekstil i kostim\", in I. Zorić (ed.), *55 godina Muzeja primenjene umetnosti: 1950–2005*, Belgrade: Muzej primenjene umetnosti, 2005: 97–121.  \nStojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","keywords":["asymmetrical knot","Baluchistan","carpet","tree of life","wool"],"materials":["asymmetrical knots","wool"]},"6f7fa000-1d38-5400-8b90-6b15054dd8a3":{"name":"Inscription recording the presentation of a new rain spout for the Ka‘ba","short_description":"The inscription, which is written out at full size, is the first of three lines inscribed on the Mizab al-Rahma – the rain spout on the Ka‘ba – which was commissioned by the Ottoman sultan ‘Abdulmajid I in 1856 and installed in 1859.  \nThe present inscription, with its masterly interweaving of the letter forms, testifies to the skill of the master calligrapher, ‘Abdallah Zuhdi, who was known as katib al-haramayn (‘the calligrapher of the two Holy Sanctuaries’). Sultan Abdülmecid also commissioned ‘Abdallah Zuhdi in to re-design the inscriptions in the Prophet’s Mosque in Medina. He began his work there in 1856 and the task took him seven years to complete. Zuhdi spent the latter part of his life in Cairo, where he re-designed the inscriptions on the various embroidered textiles sent from Cairo to Mecca with the *kiswa*.","type":"Calligraphy; record of presentation; *thuluth* inscription","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1855–6","location":"London","dimensions":"20.5 x 155cm","method_for_datation":"The date and attribution are based on images of the rain spout and its inscriptions published by Ibrahim Rif‘at Pasha.","provenance":"Turkey, Istanbul","bibliography":"Rif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: 275–6, and fig.105.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.283, pp.248–9.","author":"Nahla Nassar","keywords":["calligraphy","Dedicatory inscription","hajj","Hijaz","Holy place","Ka‘ba","manuscript","Medina","Mizab","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Rain spout","Religion","thulth"],"materials":["edged with silk","ink and gold on paper","thuluth script"]},"6fa63cbf-0340-5e3e-8071-e07e6642fc87":{"name":"Bib for the camel of the Egyptian *mahmal*","short_description":"The camel destined to carry the Egyptian *mahmal* was specially chosen for its appearance as much as for its strength. It was looked after by a special employee in Dar al-Kiswa, and was caparisoned in richly embroidered textiles while being paraded through the streets of Cairo and major cities on its way to Mecca and back.  \n  \nThe Qur’anic inscription, *sura al-Nahl*, verse 7, is apposite. It reads, ‘And they carry your heavy loads to lands that you could not otherwise reach except with souls distressed. Truly, your Lord is full of Kindness, Most Merciful.’  \n  \nThe cotton lining bears a stamped trade mark of a firm in Manchester, England, consisting of an open hand bearing a name, possibly Abraham Harawi, in Arabic.","type":"Textile; bib; *mahmal* camel; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 19th century","location":"London","dimensions":"53 x 100cm (maximum, excluding tassels)","method_for_datation":"Dated on stylistic grounds, and by comparison with photographic evidence.","provenance":"Egypt, Cairo, Dar al-Kiswa","author":"Nahla Nassar","keywords":["banner","camel","Ceremonial object","cotton","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["cotton lining","Red silk","relief-embroidered in silver and silver-gilt wire over cotton thread padding","silk tassels","silver sequins"]},"70e81fc7-992c-56d9-a3b4-5af8b1052c23":{"name":"Prayer pulpit (*minbar*).","description":"This *minbar* features seven steps that are held up by two pentagonal sides, decorated with triangular, square and trapezium-shaped panels that have been joined through tenons and mortises. An interrupted horseshoe arch is positioned at the foot of the steps on two supports that are ornamented with vegetal decoration. This structure is linked at its sides by two lateral arches of the same height, which are likewise resting on two supports, their upper parts interlinked by a banister. The upper section of this entrance is adorned with candleholders.  \nThe panels are sculpted in bas-relief, embellished with floral or geometric decoration; the frontal arch features floral decoration, and, embracing the shape of the arch, a *kufic* inscription reads, rising from the right-hand side, 'In the name of Allah, the Merciful Benefactor. This pulpit was created'; sideways: 'The first of the month of Rajab; and rising from the left, 'of the year 490 \\[AD 1097\\]. The work of Muhammad'.","short_description":"This seven-stepped pulpit with side panels bears geometric and floral motifs, and a *kufic* inscription dating the object and naming its maker. The first step is covered by a pointed horseshoe arch.","type":"Woodwork, minbar, prayer pulpit, wood","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 490 / AD 1097.","location":"Algiers","dimensions":"Height 230 cm, length 264 cm, width 73 cm.","method_for_datation":"The inscription that features *kufic* characters on the arch preceding the steps of the *minbar* holds the date 490 (AD 1097.","method_for_provenance":"The *minbar* had been used in the Great Mosque of Algiers.","obtention":"Donation from the Religious Affairs Ministry; a ministerial decision taken in 1998 entrusted the *minbar* to the National Museum of Antiquities and Islamic Arts.","bibliography":"Bourouiba, R., *L'art religieux musulman en Algérie*, Algiers, 1973.  \nBourouiba, R., *Les inscriptions commémoratives des mosquées d'Algérie*, Algiers, 1984.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nMarçais, G., *Manuel d'art musulman,* Paris, 1927.  \nMarçais, G., “Note sur la chaire à prêcher de la Grande Mosquée d'Alger”, *Hespéris*, 1926, pp.419–22.","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Almoravids","Ascencion","calligraphy","engraving","floral and geometric adornments","floral decoration","geometric decoration","Great Mosque of Algiers","heaven","inscription","interior design","kufic","lettering","Minbar","Mosque","Mosque interior decoration","Muhammad","prophet","pulpit","religious objects","spiritual objects","stand","wood"],"materials":["bas-relief carving and marquetry.","Wood assembled through tenons and mortises"]},"718b2755-b86b-5577-8fe4-dae39544ddbd":{"name":"Scenes from the Life of John the Baptist","description":"John the Baptist was the cousin of Jesus Christ and preached in the Judean desert. He lived a life of self-denial by wearing camel hair clothing and eating only locusts and wild honey. The people of the region came to him to be baptized in the Jordan River. When Jesus asked to be baptized, John proclaimed that he was not worthy of such a task and that Christ should baptize him. Christ insisted, however, and during the baptism the Holy Spirit descended and a voice from heaven proclaimed, “This is my beloved Son in whom I am well pleased” (Matthew 3:17). John got into trouble when he criticized King Herod’s marriage to Herodias, who had a child from her previous marriage to Herod’s brother. Herod’s stepdaughter, Salome, convinced him to arrest John and demanded his head on a silver platter. Granting her wish, Herod ordered John beheaded.  \nThis icon shows several scenes from John the Baptist’s life in a single frame. At the top left, John is depicted in the wilderness, surrounded by animals. He receives inspiration from God in the form of flames. At the bottom, John is seen baptizing followers in the Jordan River while more followers prepare for baptism or don the white clothes of the newly baptized. In the top right corner of the icon, people stream out from the city while members of the aristocracy look on from above. The three figures in the central arch could be King Herod, his wife and stepdaughter, all of whom were responsible for John’s martyrdom.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 39.4cm, Width: 32.4cm, Depth: 4.3cm","provenance":"Russia","obtention":"Purchased by the Museum of Russian Icons from a private collection in 2010.","workshop":"Mstera","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"71d27a74-72e5-584a-a669-aeffec6787d6":{"name":"Prayer rug (fragment)","description":"Although less than half the size of the original rug, the fragment is still one of the most remarkable textiles of the Islamic art collection in the Museum. Following the latest research, the original rug was reconstructed based on several well-preserved details (see the virtual reconstruction of the original design, ill. 1a). The *mihrab*, an essential element of the mosque architecture represented on prayer rugs, has been replaced here with a triple arch reminiscent rather of a gateway or the cross section through a mosque; the dome over the centre arch in the original design supports this hypothesis. The coupled-column motif could be traced back to the architecture of Muslim Spain, and was apparently disseminated by Sephardic Jews. Similar columns, whose bases are rendered in linear perspective, feature on 16th-century Ottoman prayer rugs some of which were imperial court commissions produced in Istanbul; others, as is the case here, were made in Cairo, where the tradition of Mamluk workshops continued long after the Ottoman conquest (1517). The asymmetrical knot is characteristic of Mamluk carpets, whereas the decorative repertoire is typical of Ottoman art. The original rug may have served as a prototype for “Transylvanian” coupled-column carpets dating back to the 17th and 18th centuries, which only comes to highlight the historical significance of this fragment.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 16th–early 17th century","location":"Bucharest","dimensions":"H: 154cm, W: 62cm; knot density ver. 53/dm; hor. 62/dm; 3,286/dm2","method_for_datation":"Stylistic and technical analysis","provenance":"Egypt, Cairo","obtention":"Purchased from the owner (Teodor Tuduc)","bibliography":"Beattie, May H., “Coupled-Column Prayer Rugs”, *Oriental Art*, vol. XIV, no. 4 (1968): 243–58.  \nBoralevi, Alberto, “Column Rugs”, in Stefano Ionescu (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 156–7.  \nDenny, Walter B., *The Classical Tradition in Anatolian Carpets*, Washington DC: The Textile Museum, 2002: 50–5.  \nDunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 1.  \nDunca, Mircea and Gherghinescu, Luiza, “Tuduc’s Coupled-Column Prayer Rug Fragment: A Virtual Reconstruction of the Original Design”, *Oriental Carpet and Textile Studies VII, International Conference on Oriental Carpets, Selected Papers from ICOC X, Washington 2003 & ICOC XI (Istanbul, 2007)*: 133‒8, ICOC, 2011.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["court rug","Ottoman Cairo rug","prayer rug"],"materials":["asymmetrical knot","knotted","wool"]},"72ba3bfe-0cc8-514d-9707-7a480f54966b":{"name":"Prayer rug","short_description":"This is one of approximately 90 prayer or niche rugs often known as a ‘Salting’ group which are now generally accepted as having been woven in Iran sometime in the 16th or 17th century. Many are believed to have come from the Topkapi Palace Museum (which still holds some 35 examples), sold off during the economic crisis resulting from the Russo-Turkish war of 1877–8. It is very likely that they were a diplomatic gift and that they entered the Topkapi Palace sometime before 1680, as a treasury ledger of that year mentions Persian prayer rugs with embroidered inscriptions in metal thread. It has been suggested that they may have remained unused in the Palace stores due to the presence of inscriptions integral to Shi‘i daily prayers on some of them, which may account for the bright colours and often remarkable condition of many examples, including this one.  \n  \nThe inscriptions on this carpet consist of the *Ayat al-Kursi* (‘Throne verse’), *sura* *al-Baqara*, (II), verse 255, in the outer border and *sura* *al-Ahzab* (XXXIII), verse 56, in the inner one. The corner medallions enclise the phrase, ‘Glory to my most high Lord, and to His praise’. A pair to this carpet, previously known as the ‘Perez’ prayer rug, is in a private collection in Italy.","type":"Rug; carpet; prayer rug","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD 16th or 17th century; C-14 dating: 1474 –1667 (95% confidence)","location":"London","dimensions":"164 x 102cm","method_for_datation":"Date and provenance are based on stylistic and technical analysis, as well as C-14 dating.","provenance":"Iran","obtention":"Formerly A.M. Indjoudjian, Paris; Deroyan, Paris.","bibliography":"Canby, S., *Shah ‘Abbas. The Remaking of Iran*, exhibition catalogue, London: The British Museum, 2009: 80–81 (the pair to this carpet).  \nCoulter, J., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part Two. \\[In preparation/ forthcoming\\]  \nEiland, M.L., and Pinner, R. (eds), *Oriental Carpet and Textile Studies. The Salting Carpets*, vol. 5, Part 2, Danville, CA: International Conference On Oriental Carpets, 1999: no.24, pp.88–9 and Appendix C.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.398, p.335.","author":"Nahla Nassar","keywords":["carpet","diplomatic gifts","inscription","Iran","metal thread","prayer rug","Safavid","silk","Warp","weft","wool"],"materials":["in asymmetrical knot","metal-thread weft brocading","wool pile","Yellow silk warps and wefts"]},"73c04230-63e1-510e-98c5-207e053e23cf":{"name":"Chaplet of an Ottoman dervish","description":"The Austro-Hungarian troops who joined the Ottoman forces in 1915 performed their service very close to the Allies, but were never put under the administrative control of the Ottoman Empire, as the German soldiers were. Souvenirs of this very exotic mission during World War I were in high demand and were brought back to Austria after the end of the war.","type":"Stonework","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"74a9ac30-d924-5b63-8349-21d424570c93":{"name":"Covered al-Buzuriyya Market","description":"During the Prophet’s birthday, the historic Buzuriyya Market in Damascus is crowded with people buying the necessities for the occasion, such as sweets and chocolate. The celebration usually takes place in the evening after Maghrib prayers in many mosques. The Mawlid opens with a short recitation of the Holy Qur’an, then comes the “Mawlid Recitation”, which is a narration of the Prophet’s biography recited in a special style. After that, specialised chanting groups perform religious songs and praise of the Prophet, and the Mawlawiyya dance to their music. The ceremony concludes with the Isha prayer and the distribution of sweets.","holder":"Museum for Islamic Art","owner":"Rania Kataf","initial_owner":"Rania Kataf","dates":"Hegira 1438 / AD 2017","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus”, Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili, “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["Digital photo"]},"75647d49-efe8-541c-828b-b58acf35195a":{"name":"God Rested on the Seventh Day","description":"In this icon, God reclines on a bed, illustrating the part of the creation story that reads, “On the seventh day He rested” (Genesis 2:2). Angels hold his bed and the temporarily vacant throne aloft while the Holy Spirit, represented by a dove, flies above them. All this takes place within a circle featuring the archangels, the evangelists, Christ and the Mother of God. Meanwhile, scenes from the rest of the creation story take place below. Labels on the back of this icon reveal that it was sold by Gimbels department store in the late 1930s, suggesting that it once belonged to William Randolph Hearst. Hearst was a newspaper entrepreneur who famously sold off large parts of his immense art collection during the Depression.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1550","location":"Clinton, Massachusetts","dimensions":"Height: 27.5cm, Width: 23.5cm, Depth: 2.5cm","provenance":"Russia","obtention":"Sold at \"Exhibition of Russian Icons Arranged by Hammer Galleries\", New York City, in 1937. Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Biblical stories","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"757957ce-46d4-5799-8792-5f05be3e1e3f":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","description":"This green and black silk textile is richly embroidered with silver and gilt metal threads. The centre displays six cartouches with thuluth inscriptions, followed below by a black niche with a central lamp motif. A border with trefoil scrolling surrounds the central panel. The inscriptions used on this textile clearly indicate that this textile was intended for the Prophet’s Mosque in Madina. The four main cartouches contain verse 56 from chapter 33 (Al-Ahzab) of the Holy Qur’an: ‘Allah sends His Salat (merciful blessings) on the Prophet Muhammad (pbuh), and also His angels. O you who believe! Send your Salat on him and greet him with the Islamic way of greeting’. The inscriptions in the two cartouches below state that this curtain was ordered by the Ottoman sultan Abd al-Hamid II (1293 H/1876 AD – 1327 H/1909 AD) and renewed by Efendi Abbas Hilmi, the last Khedive Pasha of Ottoman Egypt (1291 H/ 1874 AD – 1350 H/ 1931 AD) in 1321 H/ 1903 AD.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira 1321 / AD 1903","location":"Sharjah","provenance":"Egypt","author":"Ulrike Al-Khamis"},"7b36747d-dca7-598b-b985-ad4799a191fe":{"name":"The Mother of God of the Burning Bush","description":"The Mother of God is shown in the center of this icon surrounded by rays of light that extend outward to form an eight-pointed star. Angels, archangels and symbols of the evangelists are pictured both in and around the star. This icon is a reference to a passage from the book of Exodus in which Moses saw the burning bush unconsumed by fire. Moses and other prophets are often interpreted as foretelling the coming of Christ while the unburnt bush serves as a symbolic representation of the Virgin Mary.  \nIn this icon, the four evangelists are represented by four winged figures. The angel represents Saint Matthew, the lion stands for Saint John, the ox symbolizes Saint Luke and the eagle is associated with Saint Mark. These symbols are based on the biblical interpretations of Saint Irenaeus (130-202).","type":"Icon","holder":"Museum of Russian Icons","dates":"1700s","location":"Clinton, Massachusetts","dimensions":"Height: 92.4cm, Width: 77cm, Depth: 10cm","provenance":"Russia","obtention":"Purchased by the Museum of Russian Icons from ArtVKG, New York City, in 2012.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"7bcc1f68-b1fc-5f4e-9ba9-572b00e46c54":{"name":"Qur’anic Manuscript","short_description":"Interlocking circles, often punctuated by circles or dots, are used in conjunction with squares, rectangles, diamonds or triangles to form the basis of intricate geometric patterns. Interlocking circles grace doors and windows, prayer niches and arches as an architectural ornament. Silver and gold jewellery and musical instruments also incorporate patterns based on interlocking circles. With such a broad range of applications, the scale of the patterns varies dramatically. For example, a pattern stamped in gold leaf for the decoration of a Qur’an case necklace can measure as little as few millimetres in diameter, while an identical pattern used in stucco or plaster that serve to adorn the interior of a prayer hall can be exponentially larger.","type":"Manuscript","holder":"National Museum Oman","dates":"2 Jumada al-Ula 1291 AH / June 1874 AD","location":"Muscat","dimensions":"Length: 34.6cm, Width: 24.5cm, Weight: 2395.2g","provenance":"Oman","obtention":"Ministry of Heritage and Culture Collection","scriber":"Suleiman bin Muhammad al-Wa'eli","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Qur'an"],"materials":["Ink on paper"]},"7f0081a0-67a5-56a0-9212-f80fe70cbeec":{"name":"Mosque lamp.","description":"An enameled glass and gilt mosque lamp with a wide flaring mouth and a squat globular body, a steeply sloping shoulder and flattened base. The body rests on a tall pedestal foot. Six applied loop handles are placed around the shoulder at regular intervals. The lamp holds extensive enamelled decoration on the mouth, body and foot, enhanced by gilding; the mouth having a large Qur’anic inscription in *thuluth* script executed in blue enamel and outlined in red. The inscription is interrupted by three roundels containing a *fleur-de-lys* blazon in red against a white background. The base of the mouth shows a delicately drawn scroll-band interrupted by cusped floral cartouches.  \nThe top of the shoulder displays a narrow band with cusped floral medallions, while the main part of the body has a wide inscription band in *thuluth* script that reads, translated: ‘This is one of the objects made for his most noble and high Excellency, the learned, the just, the administrator, the councilor, the regent, the vizier Najm al-Din Mahmud ibn Ali ibn Shirwin, the officer of al-Malik al-Muzaffar (Hajji), regent of the noble Islamic provinces, may Allah the Exalted make his victories glorious’. The inscription, set against a blue background, is interrupted by six lozenge-shaped areas that hold the trailed suspension loops.  \nThe underside of the body has further *fleur-de-lys* roundels and floral detailing. The foot (half of which is a replacement) holds a succession of five horizontal bands filled with abstract scrolling that alternates, linearly, with thickly drawn detailing. The horizontal bands are interrupted by three lozenge-shaped medallions that hold abstract vegetal motifs.  \nThe lamp dates exactly to AH 746–7 / AD 1346–7, during the short reign of al-Malik al-Muzaffar Hajji. Interestingly, the donor Najm al-Din Mahmud ibn Ali ibn Shirwin, did not begin his career as a slave contrary to usual practice. It is known that he arrived in Cairo in AH 737 / AD 1337, having been a vizier (a minister) in Baghdad. The red *fleur-de-lys* on his lamp is his heraldic device. Najm al-Din’s lamp is especially important because it appears to be the earliest example of a *fleur-de-lys* used as the badge of an official, a motif previously reserved only for sultans.","short_description":"Glass mosque lamps with enamelled decoration were commissioned in large numbers by the Mamluk elite in Egypt and Syria. Decorated with Qur’anic inscriptions and the titles of the patron, they were destined for the numerous mosques and *madrasas* endowed by the Mamluks throughout Cairo and the empire.","type":"Glasswork, enameled","holder":"National Museums of Scotland (NMS).","initial_owner":"Najm al-Din Mahmud ibn Ali ibn Shirwin.","dates":"Hegira 746–7 / AD 1346–7.","location":"Edinburgh, Scotland","dimensions":"Height 38.10 cm, diameter 26.04 cm.","method_for_datation":"The lamp was commissioned by an officer of al-Malik al-Muzaffar Hajji, who reigned for less than two years between 746–47 / 1346–7.","method_for_provenance":"Mamluk mosque lamps of this type are generally ascribed to Syria, where they were made for export to Mamluk Egypt.","provenance":"Syria; made for export to Egypt.","obtention":"Purchased by the NMS from the Major W. J. Myers Collection in 1900.","bibliography":"Carboni, S., *Glass from Islamic Lands,* London, 2001 (for discussion on related mosque lamps and Mamluk glass).  \nCarboni, S., and Whitehouse, D., *Glass of the Sultans*, New York, 2002 (for discussion on related mosques lamps and Mamluk glass).  \nEremin, K., and Al-Khamis, U., ‘Mamluk and Pseudo-Mamluk Glass in the National Museums of Scotland’, in *Annales du 15e Congrès de l’Association Internationale pour l’Histoire du Verre, New York, 2003.*  \nPiotrovsky, M. B., and Vrieze, J., *Earthly Beauty – Heavenly Art: Art of Islam, exhibition catalogue* Amsterdam, 1999, p.75 cat. no. 10 ( for another mosque lamp attributed to al- Muzaffar Hajji).","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["al-Malik al-Muzaffar Hajji","blazon","calligraphy","coat of arms","glass","Mosque interior decoration","Mosque Lamp","Najm al-Din Mahmud ibn Ali ibn Shirwin","Thuluth"],"materials":["Enamelled glass and gilt."]},"80275793-c91b-5334-93ac-d4126f4e645c":{"name":"Prayer rug","description":"Gördes prayer rugs of the 18th and 19th centuries were much appreciated in Western Europe as well as in Romania, where they have been preserved in large numbers. Here, the stepped arch of the niche is featured on a white ground; the floral and geometric motifs of the *mihrab* field are reminiscent of a mosque lamp. A tiny brown mosque lamp appears as such in the centre of the composition, hardly discernible amid stylised flowers and stars. The elaborate decoration, with a wealth of floral motifs on the inner edges of the niche, is a recurrent feature of 19th-century Ottoman carpets at a time when architectural motifs derived from courtly art were gradually losing their original shape and meaning. The cross panels featured above and below the niche are decorated with Chinese cloudbands. The main border is made up of seven narrow bands on white and red ground, sometimes associated with the seven heavens, while the secondary borders contain flowers connected by wave scrolls.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 176cm, W: 121cm; knot density ver. 53/dm; hor. 34/dm; 1,802/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, western Anatolia, Gördes","obtention":"Transfer from the Kalinderu Museum, Bucharest","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 32.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 6.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Ghiordes","prayer rug"],"materials":["cotton weft","knotted","symmetrical wool and cotton knots","Wool warp"]},"81099b4c-753f-53ba-9785-217e53613a49":{"name":"Madonna and Child","description":"It was not roses that guarded the sleep of the enthroned Madonna with the Child, but human bones. And her sleep lasted not for a hundred years, but for several centuries. The sculpture was piously buried in the charnel house of the church of Raron according to a custom prevalent in Europe at the time, and gradually vanished beneath the skulls and bones of the dead. The reason for burying the wooden figure was provided by the rebuilding of the parish church between 1510 and 1515. The Romanesque Madonna had fallen out of fashion and was no longer needed. The person who finally kissed her awake again was not Prince Charming, but a tradesman from the canton of Valais. During restoration work on the charnel house of Raron in 1924, he was told to clear out the bones – and so he stumbled upon several sculptures, including the most significant example of Romanesque art in Switzerland.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around AD 1150","location":"Zurich","dimensions":"H: 90,5cm, W: 25cm, Depth: 33cm","method_for_datation":"Stylistic analysis","provenance":"Switzerland, probably Sion, Canton Valais","obtention":"Found in Raron. Bought in 1924","keywords":["Child","Madonna","Raron","sculpture","Vallais"],"materials":["Carved in the round","Limewood","polychromy"]},"825bbc31-2ea9-5983-a4b5-235679be04cb":{"name":"Niche of al-Uweyna Mosque","short_description":"The 10th century AH/16th century AD is considered the richest period for production of *mihrabs* (mosque niches), known for the work of masters like Abdullah bin Qasim al-Manahi and the family of Mushmil al-Manahi who lived during this time. Talib bin Mushmil al-Manahi, who built the niches of the Grand Mosque in Nakhl and as-Saruj Mosque in Samail, also made the niche of al-Uweyna Mosque in 970 AH/1562 AD. The niche on display is covered with geometrical decorations, fine inscriptions, quotes from the Holy Qur'an and inscriptions documenting the names of the builder, designer and the patron.  \n  \nThe Islamic *ash-shahadatan* (Declaration of Faith) is written in *kufic* inscription at the upper part of the niche and the outer rectangular frame contains 30 seals with floral decoration. The niche itself sits in the cove of the inner frame with a rectangular shape above it baring inscriptions in two triangles and three plates of glazed Chinese pottery in the centre.","type":"Architectural Artefact","holder":"National Museum Oman","dates":"970 AH / 1562 AD","location":"Muscat","dimensions":"Height: 350cm, Width: 280cm","provenance":"Saih al-Hail village (ash-Sharqiyah North Governorate)","copy_editor":"Valerie Pulsifer","keywords":["Declaration of Faith","geometric","kufic","mihrab","niche"],"materials":["stucco"]},"82850beb-2fc7-5463-8d56-45c22b84b71b":{"name":"Carpet with triple-arch design","short_description":"This carefully drawn, subtly coloured carpet is among the finest of all Ottoman weavings. One of the earliest carpets to include a triple-arched gateway, its design probably originated in the Ottoman imperial workshop. The hanging lamp in the centre arch recalls verses from the Qur’an that liken God to the light of a lamp placed within a niche. The combination of this carpet’s imagery, high quality, and relatively small size suggest that it was used as a prayer rug by a member of the Ottoman courtly elite.","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira late 10th century / AD c. 1575–90","location":"New York","dimensions":"Rug: L: 172.7cm, W: 127cm; Mount: L: 180.3cm, W: 136.5cm, D: 9.2cm, Wt: 12 lbs/54.4kg","provenance":"Probably Istanbul, Turkey","obtention":"The James F. Ballard Collection, Gift of James F. Ballard, 1922  \nFormer owner: Edouard Chappey, Paris (until 1907; sale, Galerie Georges)  \nFormer owner: Félix Doistau, Paris (from 1907)  \nFormer owner: James F. Ballard, St. Louis, MO (until 1922; gifted to MMA)","bibliography":"Atil, Esin (ed), *Turkish Art*, Washington D.C/New York: Smithsonian Institution Press, 1980: 338, ill. fig. 192 (b/w).  \nAtil, Esin, *The Age of Sultan Süleyman the Magnificent*, Washington DC: Harry N. Abrams, Inc., 1987: 226–27, no. 159, ill. pl,. 159 (colour).  \nBerinstain, Valerie, *Great Carpets of the World*, New York: Vendome Press, 1996: 58, ill. pl. 58 (colour).  \nBreck, Joseph and Morris, Frances, *The James F. Ballard Collection of Oriental Rugs. The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1923: 16, no. 24, ill. (b/w).  \nBurn, Barbara (ed), *Masterpieces of the Metropolitan Museum of Art*, New York; Boston: The Metropolitan Museum of Art, 1993: 86–87, ill. 87 (colour).  \nDenny, Walter B., *How to Read Islamic Carpets*, New Haven/London: The Metropolitan Museum of Art, 2014: 46–47, ill. fig. 32 (colour).  \nDimand, Maurice S., *A Handbook of Mohammedan Decorative Arts*, New York: The Metropolitan Museum of Art, 1930: 264, 270, ill. fig. 162 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art, 1944: 309, ill. fig. 204 (b/w).  \nDimand, Maurice S. and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1973: 158–59, 233, no. 105, ill. fig. 188.  \nEkhtiar, Maryam, Canby, Shelia 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: 5, 287, 332–33, no. 237, ill. 332 (colour), fig. 10 (b/w).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators*, New York: The Metropolitan Museum of Art, 2012: 130–31, ill. pl. 24 (colour).  \nEllis, Charles, *Oriental Carpets in the Philadelphia Museum of Art*, Philadelphia: Philadelphia Museum of Art, 1988: 80.  \nImbrey, Jai (ed), *Mosques: Splendors of Islam*, New York: Rizzoli, 2017: 31, ill.  \nJenkins-Madina, Marilyn, \"Collecting the \"Orient\" at the Met: Early Tastemakers in America\", *Ars Orientalis*, 30 (2000): 81, ill. fig. 13 (b/w).  \nde Montebello, Philippe and Howard, Kathleen (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 1992: 326, ill. fig. 35 (colour).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 122–23, ill. fig. 92 (colour).","copyright":"The Metropolitan Museum of Art, The James F. Ballard Collection, Gift of James F. Ballard, 1922","keywords":["Anatolia","architectural motifs","column","column capital","Corinthian","Istanbul","light verse from the Qur'an","Mosque","Mosque Lamp","Ottoman","Ottoman carpet","Ottoman religious interior","silk","Turkey","wool","worship"],"materials":["asymmetrically knotted pile","cotton (pile)","Silk (warp and weft)","wool (pile)"]},"8483f56d-4097-5e63-a47a-8a53aa99f289":{"name":"*Hilye*","alternate_name":"Calligraphic composition describing the noble qualities of the Prophet Muhammad (pbuh)","description":"Despite the steady advance of western-style artworks, traditional Ottoman arts and crafts did not disappear entirely. This hilye or word portrait of the Prophet Muhammad (pbuh) has been rendered on tripartite, foldable cardboard, decorated on the outside with elaborate ebru paper marbling. Its composition follows a layout current since the 11th/17th century when it was devised by the famous Ottoman calligrapher Hafiz Osman (1052-1110 H/1642-1698CE). Traditionally, the hilye presents Hadith recounting the noble physical and spiritual attributes of the Prophet Muhammad (pbuh), often embellished with rich illumination. A large oval cartouche, with the hadith in black naskhi, appears in the centre, surrounded by four roundels naming the four rightly-guided caliphs Abu Bakr, Umar, Uthman and Ali. Above the cartouche, the Bismillah is written in thuluth style. Below, a verse from the Holy Qur'an (68:4) is followed by the last lines of the hadith, a prayer, the names of the artist and two individuals certifying his work, and the date. All calligraphic elements are set against a stippled gold background enhanced with European-style floral elements.","type":"Oil on board","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira 1295 / AD 1878","location":"Sharjah","provenance":"Ottoman Turkey","author":"Ulrike Al-Khamis"},"8485bf89-aab8-53ff-a59e-03b0ed9c4935":{"name":"The Last Judgment","description":"The Last Judgment is a common topic in Christian art. It combines biblical and apocryphal stories into a unified account of the end of times, of Christ coming to judge the world and of the afterlife. Typically, Russian Orthodox icons that depict the Last Judgment show Christ enthroned with a scale and an open Gospel. He is often flanked by the Virgin and Saint John the Baptist, who intercede for humankind. Adam and Eve are frequently seen kneeling at Christ’s feet. In Russian Orthodox iconography, the “serpent of suffering” is often depicted as well. Originally, the serpent was viewed as the instigator of original sin, seducer of Adam and Eve and the embodiment of evil. In this icon, 20 sins are depicted along the body of the snake in order of severity. They are as follows: (1) lying, (2) greed, (3) tale-telling, (4) idle talk, (5) anger, (6) blasphemy, (7) gluttony, (8) drunkenness, (9) slander, (10) foul language, (11) adultery, (12) fornication, (13) rape, (14) vanity, (15) money-mongering, (16) self-love, (17) despair, (18) murder, (19) self-glorification and (20) pride.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 155cm, Width: 122cm, Depth: 7cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Biblical stories","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"84dd3553-46ec-5600-8a2a-e99eb0f50285":{"name":"Three choir stalls.","description":"Three surviving seats from the choir stall. The arms, elaborately carved, mimic smooth timber columns with finely worked capital and base. The separators between the seats have been hollowed out and outlined to form mixtilinear arches with a strong Almohad influence. There are wheels in relief on the spandrels. There is now practically no colour left, with the exception of the persistent red and a few other traces from which a painted lion can be made out, already quite deteriorated when the piece was acquired. The dominant decorative elements are plant arabesques and the polychromy of the heraldic motifs relating to the kingdom of León.  \nThis piece is noteworthy not just for its intrinsic quality, but also because it demonstrates the importance of León in the emergence of Mudéjar carpentry. This low stall, along with the Astudillo stall also held at the National Archaeological Museum, is one of the most exceptional examples of this type of carpentry in this Mudéjar style.","short_description":"Mudéjar craftsmen were sometimes used to work on choir stalls in churches and monasteries, and they brought their own techniques and decorative motifs. These stalls from the Monastery of Santa María de Gradefes in León are particularly noteworthy for the excellence of the joinery and their rich decoration of plant arabesques.","type":"Woodwork, stall, pine","holder":"National Archaeological Museum.","dates":"1230–50.","location":"Madrid","dimensions":"Height 150 cm; width 70 cm.","method_for_datation":"From its typical characteristics. The earliest document on the monastery dates from 1140.","method_for_provenance":"From existing documentation. It remained in the monastery until its sale in 1874.","provenance":"Monastery of Santa María de Gradefes, León, Spain.","obtention":"The piece was purchased for the National Archaeological Museum from José Gil Dorregaray on 13 March 1874.","bibliography":"Calvo, A., *El Monasterio de Gradefes. Apuntes para su Historia y la de Algunos Otros Cenobios y Pueblos del Concejo*, León, 1936–45; facsimile edition, Leon, 1984.  \nFranco Mata, A., “Arte Medieval Cristiano Leonés en el Museo Arqueológico Nacional”, *Tierras de León*, 71, Leon, 1988, pp.54–5, no. 19.  \nGarcía Gutiérrez, A., *Noticia Histórico-Descriptiva del Museo Arqueológico Nacional*, Madrid, 1876, p.108.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, *Ars Hispaniae*, Vol. IV, Madrid, 1949, p.401.  \n  \n*Mudéjar Art: Islamic Aesthetics in Christian Art*, pp.66–8.","linkcatalogs":"IAM_ES_EN_001","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["carving","Choir stalls","Gradefes","Leon","Mudéjar","religious furnishing","wood"],"materials":["carving.","Pine"]},"87cd43a9-2f34-5603-8fcc-c5f26dd19789":{"name":"Noble Qur'an Manuscript","short_description":"Literally meaning \"the recitation\", the Noble Qur’an is the central religious text of Islam. It was revealed to the Prophet Muhammed (Peace be upon him) from Allah verbally through archangel Jibril (Gabriel) over a period of twenty-three years (609–632 AD).  \n  \nThe Qur’an is comprised of 114 *surah*s (chapters) classified into two types, *Makki* and *Madani*, depending on whether their *avat* (verses) were revealed before or after the Hijrah (the Prophet’s migration from Makkah to Madinah). The Qur’an is arranged in 30 *juz* (parts).  \n  \nMuslims regard the Qur'an as proof of Muhammed’s prophethood and the culmination of a series of divine revelations from Adam, the first prophet, and continuing with the Scrolls of Suhuf Ibrahim (Abraham), the Torah or *Tawrat* (Pentateuch) of Moses, the Book of Zabūr (Psalms of David, and the *Injil* (Gospel) of Jesus.","type":"Manuscript","holder":"National Museum Oman","dates":"20th Safar 1332 AH / 17th January 1914 AD","location":"Muscat","dimensions":"Length: 31.3cm, Width: 21.5cm, Weight: 1641.7g","obtention":"Ministry of Heritage and Culture Collection","scriber":"Muhammed bin Udai al-Battashi al-Wardi","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Noble Qur'an"],"materials":["gold leaf and opaque watercolour on paper","Ink"]},"88a1a2c9-da3a-59b6-88ec-2a538e5b82e2":{"name":"*Flügelaltar (Winged Altar)*","description":"The creator of this triptych, which was intended as a small travel altar for private prayer, was Jan van Eyck, the most important representative of Old Netherlandish painting. Characteristic features of his new artistic style are the miniature-like, extremely realistic rendering of details and the use of brilliant colours. Enthroned in the centre of the Basilica is the Madonna with her son, the infant Christ. Stretched out at her feet is a precious woven carpet. It has a rhombic pattern featuring eight-pointed stars set in circles. Its intense colours contrast with the muted hues of the ingeniously patterned floor tiles.","type":"Painting","holder":"Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Dresden State Art Collections","dates":"1437","location":"Dresden","dimensions":"Central Panel: Height: 33.2cm, Width: 27.2cm; Left Wing: Height: 33.2cm, Width: 13.9cm; Right Wing: Height: 33.2cm, Width: 13.7cm","method_for_datation":"Artist signature: \"Johannes de eyck me fecit et c(o)mplevit Anno Dm M• CCCC• XXXVII• ALC• IXH• XAN\"","method_for_provenance":"Research and documentary evidence","provenance":"Dutch","obtention":"This travel altar is known to have been in Dresden since it was first mentioned in the 1754 inventory-where it was still recorded as a work of Dürer.","bibliography":"Campbell, Lorne, “Jan Van Eyck. Dresden and Bruges”, *The Burlington Magazine*, 148. 1235 (February 2006): 138–140.  \nKetelsen, Th., and Neidhardt, U., et al. (eds), *Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden* exhibition catalogue, München et al.: Deutscher Kunstverlag, 2005: 177ff.  \nMarx, Harald (ed), *Gemäldegalerie Alte Meister*, 2 vols, Köln: Buchhandlung Walther König, 2005/07: vol. 1, p. 386f., vol. 2, p. 244, gallery n. 799.  \nNeidhardt, U.,“The Development Process of the Dresden Triptych. News and Questions”, in Ch. Currie (ed), *Van Eyck Studies: Papers presented at the eighteenth symposium for the study of underdrawing and technology in painting*, Paris et al.: Peeters Publishers, 2017: 351–366.  \nNeidhardt, U., and C. Schölzel, “Jan van Eyck’s Dresden Triptych.”, in S. Foister et al. (eds), *Investigating Jan van Eyck*, Turnhout: Brepols, 2000: 25–39.","author":"Bettina Forger","copy_editor":"Janice Medina","keywords":["Bibel","carpet","Christianity","Madonna","painting"],"materials":["Oil on wood"]},"892929c1-c076-5866-8b6c-b938d759084c":{"name":"La Marche de la Caravane du Grand Caire pour la Mecque","description":"‘The march of the caravan from Cairo to Mecca’ is an illustration (page 130 ) from volume II of Troisième voyage du sieur Paul Lucas, fait en M.DCCXIV, & c. par ordre de Louis XIV dans la Turquie, l’Asie, la Sourie, la Palestine, la Haute et la Basse Egypte, & c., by Paul Lucas. It is the earliest printed European depiction of the mahmal procession.","type":"Illustration","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1719","location":"London","dimensions":"Height:16 cm; Width: 35,7cm","place_of_production":"Printed in Rouen, France","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-la-marche-de-la-caravane-du-grand-caire-la-mecque-arc-pt171/","materials":["Engraved print"]},"8965ef4e-0491-5348-8ff0-02681f79580f":{"name":"Woman’s court robe (*conteş*)","short_description":"This *seraser* silk was discovered in the latter half of the nineteenth century in a monastery located in the historical region of Oltenia (southwestern Romania), probably at Bistriţa, where it was preserved as an ecclesiastical cope. A hundred years later, following ample restoration undertaken at the Museum, it regained its original form, namely that of a woman’s court robe. It can be assumed that the robe had been donated to the monastery by a boyar’s family, which testifies to the wealth and refinement of the Romanian aristocracy in the sixteenth century, given the fact that *seraser* silk was by far the most precious Ottoman textile, covered ‘from end to end’ with silver and silver-gilt thread. The robe features a design of large palmette garlands, outlined with green silk, each of which encloses a circular motif and a crescent. Between the garlands, circular motifs surrounding a star.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 151cm (from collar to hem on the back)","method_for_datation":"Stylistic analysis, comparison with related objects; technique","method_for_provenance":"Stylistic analysis","provenance":"Bursa or Istanbul, Turkey","obtention":"Transferred from the collection of the Commission on Historical Monuments in 1949.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W. and Tezcan, H., *Ipek. Imperial Ottoman Silks and Velvets*, London: Azimuth Editions, 2001: 259, fig. 179.  \nLăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 127-128, cat. no. 49.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 35, cat. no. 4, fig. 11-14.","author":"Mircea Dunca","keywords":["Seraser"],"materials":["silver and silver-gilt thread","Woven silk"]},"89b49f74-0b20-58b1-a4a0-9699eb76d737":{"name":"Caucasian prayer rug","description":"In Caucasus there is a great variety of motifs due to artistic exchange among ethnic groups. Different classifications of carpets are based on the weaver's ethnicity and the geographic origin of the carpet or the carpet structure. No system of classification is based on design or motifs. Therefore it is difficult to establish the origins of this peculiar rug.  \nIn the prayer niche there is a diagonally placed polychrome (white, yellow, blue and green) of small hooked medallions on a red background. These medallions resemble an *aina kochak* motif. In the upper part of the *mihrab* (prayer niche) there are two larger medallions which resemble hooked diamond medallions. The central field is framed with three borders. The main border is a “floral vine” border in red, blue and green blossoms (possibly carnation) on a white background. This type of border can be found in Kuba, Seishour and other rugs of the Caucasus. It may be used as either the main or a minor border. Two minor borders are *laleh abbasi* (abbasi tulip).","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 144cm, W: 93cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Caucasus","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Caucasus","medahil","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"89f81d78-7886-5bf1-850f-f11ee861c1ae":{"name":"Qur’an Pages with Case","short_description":"Single pages of the Qur’an from Granada remain inside this box stitched of brown, black, red and white leather. Two leather covers without a spine mantle 1,172 loose paper sheets.  \n  \nFloral and geometric patterns in red and yellow ink surround the *ayah* (verses) in Arabic calligraphy. The Mudejar and Morisco read and wrote scriptures in Arabic as well as Spanish as distinct interpretations of the Qur’an.  \n  \nSince the forced expulsion of Muslims in the 15th century, very few complete samples of Qur’ans from Andalusia still exist. While Arabic calligraphy expresses a religious devotion as the worldly form of God's word, a gradual disappearance of Islamic schools in the Iberian Peninsula limited access for Muslims to study the Arabic language.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"15th century","location":"Shahaniya","dimensions":"Length: 17.5cm, Width: 12cm, Height: 5.5cm","place_of_production":"Spain, Grenada","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"Spain","obtention":"Purchase","bibliography":"Ekhtiar, M., *How to Read Islamic Calligraphy*, New York: The Metropolitan Museum of Art, 2018.  \nGonzalez, V., \"THE HERMENEUTICS OF ISLAMIC ORNAMENT: THE EXAMPLE OF THE ALHAMBRA\", in S. Schmidtke (ed), *Studying the Near and Middle East at the Institute for Advanced Study,* New Jersey: Gorgias Press, 2018: 375–388.  \nLopez-Morillas, C., \"The Genealogy of the Spanish Qur’an\", *Journal of Islamic Studies*, 17: 3 (2006): 255–294.  \nOmran, Z., *Applied Art ornamented by Arabic Calligraphy in the Iberian Peninsula (10th-15th centuries)*, Doctoral dissertation, 2021.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","Granada","Quran","Spain"],"materials":["handwriting","Paper"]},"8a101d28-6d11-5832-8d73-47c11308f989":{"name":"Letter from Father Joseph Yazbek to the Maronite Patriarch Yuhanna el-Hajj","description":"A small but growing Maronite community settled in the Chinatown area of Boston in the 1890s. In 1893, the Archbishop of Boston, John Williams, assigned F. Gabriel Korkemaz as the first Maronite priest. He was succeeded by his cousin, F. Stephan Korkemaz, two years later, and shortly afterwards by F. Joseph Yazbek. At the time, the hundred-or-so families that formed Boston's Maronite community worshiped at the St. James' Church on Harrison Avenue. Father Yazbek later bought a four-storey building on Tyler Street, which he remodelled to include a chapel, social hall, and priest's residence. This letter is a copy of a letter sent by Father Yazbek to the Maronite Patriarch Yuhanna el-Hajj, inviting him to the ceremony dedicating the Syro-Maronite chapel to Our Lady of the Cedars of Lebanon.","type":"Print; letter; correspondence","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"24 December 1898","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"8b569dc5-e1b2-50a0-b4d0-c169fc260f13":{"name":"Engraved rock","description":"This engraved rock bears an inscription of a poem consisting of 12 verses composed by Khalfan bin Rashid. The prose documents the completion of a well in the Wilayat of al-Hamra for the Governor Saif bin Muhammad ibn Sayyar in AH 1177 / AD 1763, during the reign of Imam Ahmad bin Said al-Busaidi, the founder of the al-Busaid Household.  \n  \nThe poem reads as follows:  \n  \nThe Almighty granted the efforts with success  \nThe well has been built with mold and rocks.  \nIts omens were like a magic,  \nThe area around seems heavenly, a garden full of trees bearing fruits.  \nWhat a garden that burying sadness, with its flourishing beauty  \nBlessed be its owner, the builder and those who dwelled in it.  \n  \nHe , who had been freehanded to build the well, is Saif, son of Mohammad ibn Sayyar,  \nAnd is the wise Wali of Oman, and the best leader.  \n( )  \nMay the Almighty Allah protect him from the enviers, and those who are disloyal  \nThe best we conclude is by prayers upon the prophet Mohammad (Peace be Upon Him) as much of rainy clouds and more.  \nIn AH 20 Safar 1177, was written by (), Khalfan bin Rashid, ().","type":"Engraved rock","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"Hegira 20 Safar 1177 / AD 29 August 1763","location":"Muscat, Oman","dimensions":"Length: 52cm, width: 25cm","place_of_production":"Wilayat of al-Hamra (ad-Dakhiliyah Governorate)","method_for_datation":"Found on the gravestone.","provenance":"Local acquisition – Purchased 2020 from Badar bin Mohammed bin Hamed al-Sinani","obtention":"Local acquisition.","scriber":"Khalfan bin Rashid","copy_editor":"Alvaro Miranda","keywords":["al-Busaid","gravestone","water"],"materials":["Schist rock"]},"8c4c25d1-c138-5454-9937-8a71723f3492":{"name":"Prayer rug","description":"The singular shape of the *mihrab* on Milas prayer rugs with its two side indentations can be traced back to 17th- and 18th-century Ottoman carpets. Here, a triangular indentation has been added at the bottom of the niche. The red ground of the *mihrab* is decorated with parallel rows of small red or white floral motifs. The inner side of the niche is edged all around with tiny blossoms. Different coloured stylised flowers identical in shape cover the white area of the spandrels. The rather unusual decoration of the wide border includes eight-pointed stars separated by red octagons. The warm colour scheme dominated by a strong red is typical of 19th-century Milas carpets.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"First half of the 19th century","location":"Bucharest","dimensions":"H: 160cm, W: 110cm; knot density ver. 42/dm; hor. 35/dm; 1,470/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, southwestern Anatolia, Milas","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 42.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 4.  \nTuna, Ali Riza, “Later Ottoman Rugs”, in Stefano Ionescu (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 220–1.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"8de9b633-bd8a-5dc3-8bc1-cea21fc40ec5":{"name":"Seljuq Rug","description":"This is an outstanding example of the “Konya Group”. It is considered one of the earliest Turkish rugs found in the Konya Aladdin Mosque in Anatolia. The main border bears large stylized green *kufic* letters which are contoured with white on a dark blue background. This design gives a monumental image to the rug. Such monumental *kufic*script borders are characteristic of Seljuq rugs. The thin border framing the main border inside and out has eight‒cornered dark blue crosses. The stylized double diamond infinity motifs are a dark red on a light red background. One end of the double diamond motif is open and looks like tongs. The motifs have blue dots in the middle.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 285cm, W: 520cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatının Bin Yılı*, Istanbul: Eren Yayınları, 1987: 18.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007, s.23, Kat.no.1.  \nErdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Seljuq Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"8fd8864e-24a3-584e-8096-e0df273d81e1":{"name":"Hanging lamp.","description":"A ceramic lamp with bulbous body and flaring neck, painted blue-and-white. The neck bears an inscription in angular *kufic* script between friezes of geometric knotted designs. Small split-palmette tendrils emanate from some of the letters. The words are illegible but may derive from the phrase 'wa-asu Sahwan' ('and they grieved distractedly'). Around the main body is a scroll of lotus blossoms with the distinctive 'tadpole' leaf common to a number of blue-and-white ceramics of this period. The row of elongated pointed panels around the shoulder of the lamp is a design that is also found on Ottoman silverware, and a motif that recalls Balkan silverware. This presents an interesting example of the innovative exchange both artistically and culturally that saw shapes, designs and patterns shift between different materials and between the cultures of Europe and Asia.","short_description":"Around the neck of this blue-and-white ceramic lamp is a *kufic* inscription of illegible words. Although modelled on a glass prototype, this ceramic lamp would clearly give little light. Its function must have been more symbolic or decorative than functional.","type":"Blue-White ceramic","holder":"The British Museum.","dates":"About hegira 917 / AD 1512.","location":"London, England","dimensions":"Height 22.7 cm.","method_for_datation":"It is thought that this lamp came from the Turbe of Bayezid II (d. 917 / 1512), because of its close resemblance to a group of four lamps made for this building.","method_for_provenance":"Iznik was the main centre of production for ceramics of this quality in Ottoman Turkey.","provenance":"Iznik, Turkey.","obtention":"Bequeathed to the British Museum by John Henderson 1878.","bibliography":"Atasoy, N., and Raby, J., *Iznik: The Pottery of Ottoman Turkey*, London, 1989, no. 109.  \n  \nCarswell, J., *Iznik Pottery*, London, 1998, pp.41–3, plate 23.","linkcatalogs":"IAM_TR_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["blue-and-white","Mosque interior decoration"],"materials":["Blue-and-white underglaze painted ceramic."]},"90125812-6d25-5c71-907f-5f0277cdf7b9":{"name":"Mosque Lamp","short_description":"Enamelled and gilded mosque lamps are a well-established type of glass vessel made in workshops of Syria and Egypt, both important centres of glass making during the Ayyubid and Mamluk periods. This Mamluk mosque lamp has a globular body, a long-flared neck and a splayed foot. Six small loop handles are applied around its body. On the neck, two narrow horizontal bands with sketchy vegetal motifs outlined in red frame a broad register with red and white enamelled floral decoration on a blue background accented by three circular medallions with a badge that usually would refer to the donor. The body of the lamp shows another wide register containing a red outlined inscription on a blue background. The *thuluth* inscription reads: “izzli-mawlana al-sultan, al-malik, al- alim, al’adil\" (Glory to our Lord, the Sultan, the King, the Wise, the Wise, the Just). The underside of the body shows the same floral pattern as the broad band on the neck. This mosque lamp probably belonged to a Cairene mosque as a donation from an unknown ruler, sultan or high officer. The floral decoration of the mosque lamp, however, is very similar to other mosque lamps belonging to the Complex of Sultan Hassan (r. 748-752 and 756-762 AH / 1347-1351 and 1355-1361 AD).","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD mid-14th century","location":"Doha","dimensions":"Height: 26.5cm, Diameter (widest point): 17.5cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 40-43, 5.","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["enamelled and gilded decoration","free-blown with tooled","glass"]},"90a1aa86-0d15-5967-aec3-c44d24bea557":{"name":"*The Kiss of Judas*","alternate_name":"*The Treason of Judas*","description":"The sculpture represents a scene from the Gospel of St. Matthew (26:49) when Judas, one of the apostles, marks Christ with a kiss as the man who should be arrested and tried. As in the sculptures featuring Christ parting with Mary in the Heiligenkreuz Monastery Museum, Austria, and in the Bratislava City Museum, Slovakia, in *The Kiss of Judas* Giuliani concentrates – in the encounter of two figures – on the motif of instant motion typical of the work of Giovanni Bernini, a key baroque sculptor. The dramatic subject of Judas's treason is conveyed by means of the medium as a contrast in the approach to both figures: the figure of Christ is self-absorbed, resigned to his fate, characterised by calm gestures and static drapery flowing in large forms, while Judas approaches Christ in an expressively captured haste which the sculptor has portrayed, aside from Judas's step forward, by a dramatic gesture extended into space, as well as by Judas's clothes floating around the body as if blowing in a wind.  \nThe sculpture is unique, in that no associates or assistants participated in its creation, as was the case with Giuliani's sizeable works.  \nGiovanni Giuliani was apprenticed in Venice, and later in Munich under Andreas II Faistenberger. From 1690 he worked in Vienna, particularly for the aristocracy, in Moravia for the Kounics (Slavkov) and many times for the Liechtensteins (Lednice).","short_description":"The sculpture depicting a dramatic scene of treason from the Gospel of St. Matthew exemplifies a typical baroque motif of instant motion. Giovanni Giuliani was apprenticed in Venice and later in Munich. From 1690 he worked in Vienna, particularly for the aristocracy in Austria and Moravia.","type":"Wood carving","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","dates":"Early 18th century","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 36 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The overall approach to shape in the figures is classic Giuliani. His authorship is confirmed by the execution of the faces as well as by the softly modelled and finely executed drapery of both figures, which complement not only the form but also become major interpretational elements of the content.","obtention":"The sculpture became part of the museum’s collections before 1962; its provenance is unknown.","bibliography":"Miloš Stehlík, Nuovi particolari sull´opera do Giovanni Giuliani, *Sborník prací filosofické fakulty brněnské univerzity* F14–15, 1970–1971, p. 225.  \nVlasta Kratinová, in Jiří Kroupa (ed), *V zrcadle stínů.* *Morava* *v době baroka 1760–1790*, Brno–Paris–Rennes, 2002, p. 165, cat. 40.  \nLuigi A. Ronzoni*,* *[Giovanni](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=0061F25094&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Giovanni+Giuliani+%281664%2D1744%29%2E%5C%5C%5C+Band+2%2C%5C%5C%5C+Katalog) Giuliani*, Johann Kräftner (ed), Munich, 2005.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Christian themes","dramatic nature","gesture","religious object","sculpted wood","sculpture"],"materials":["Wood with traces of gilding"]},"91edb81f-fd53-5ef4-97f9-e53eac5c04c2":{"name":"Saint Nicholas of Mozhaisk with Scenes from His Life","description":"Saint Nicholas, a 4th-century bishop from modern-day Turkey, is one of the most venerated saints in Russia. Stories of Saint Nicholas giving gifts to the needy and protecting children spread far and wide as people traveled or emigrated from Russia to other countries. In this icon, a full-length statue of Saint Nicholas is set in a *kiot* (wooden box). Painted panels with images of Christ and the Mother of God were once affixed to either side. In the center panel, Saint Nicholas originally held a sword in his right hand and a church in his left hand; both are now missing. The doors are illustrated with important scenes from the saint’s life.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 83.82cm, Width: 63.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Sotheby's Auction in 2005. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"9245b827-e2b3-5d39-ad6f-d1f2358eaffb":{"name":"Fatwa on water management","alternate_name":"Legal opinion on water rights; Islamic jurisprudence manuscript","description":"This manuscript presents a fatwa—an Islamic legal opinion—concerning the management and distribution of water in Moroccan society. Issued by a religious jurist (*faqih*) in Marrakech during the AH mid-14th / AD mid-20th century, it reflects the pivotal role of Islamic law (*fiqh*) in regulating access to water as both a natural resource and a sacred trust. The fatwa provides guidance on conflicts between water users, allocation of irrigation turns, and the religious duty of ensuring fairness and equity in distribution. Written in Arabic script in clear, formal calligraphy, the text embodies the enduring connection among law, faith, and environmental stewardship in Morocco. Such documents illustrate how water, a scarce and precious resource, was historically governed through ethical and religious frameworks, complementing customary practices and communal agreements. Today this manuscript serves as a testimony to the moral and spiritual dimensions of water management, highlighting how Islamic scholarship reinforced the idea of water as a collective right entrusted by God. The manuscript’s presence in the museum underscores the continuity of faith-based governance and its influence on Moroccan hydraulic traditions.","type":"Manuscript: religious and legal text","holder":"Mohammed VI Museum of Water Civilisation","owner":"Mohammed VI Museum of Water Civilisation","initial_owner":"Religious institution / private library (later transferred to museum)","dates":"AH 1370s / AD 1950s","location":"Marrakech","dimensions":"Folio (approx.): 30cm x 22cm","place_of_production":"Marrakech","method_for_datation":"Based on internal colophon, handwriting, and curatorial records.","method_for_provenance":"Museum documentation and historical context of religious endowments.","obtention":"Museum acquisition for permanent exhibition (details not available).","bibliography":"El Faïz, M., *L’eau et les hommes au Maghreb*, Rabat: L’Harmattan, 2002.","scriber":"Traditional Islamic scholar (anonymous copyist)","author":"MUSEUM Staff","copy_editor":"Judy Harter","keywords":["fatwa","Islamic law","Marrakech","Morocco","religious manuscript","water rights"],"materials":["Arabic script in traditional calligraphy","Ink on paper"]},"92b6403f-d36a-550d-b953-dceb45d22cf5":{"name":"Key for the Ka’ba.","description":"A single key that was used for the *Ka'ba* (meaning literally cube in Arabic). It consists of a ring (the diameter 3.6 cm) that is attached to a moveable cube-like shape with bevelled edges, and which is linked to the handle of the key. The handle consists of three small cuboids that alternate with two baluster-shaped separators. The body of the key itself assumes the form of an elongated cuboid whose cross-section is small in relation to its length, measuring 13 cm. The body of the key terminates with four protrusions.  \nA number of inscriptions with religious, political and documentary significance ornament the key including a series of inscriptions written in *naskhi* script that appear on all three of the handle cuboids. The inscriptions, carved on four planes of the first, read as follows: 'It is He who has sent His messenger with guidance and the religion of truth to prevail it over all religion' (Qur'an: 'The Victory'; 48:28). The inscriptions written on the second are: 'By order of Allah, no God but Allah – Sha'ban ibn Husayn – in the year 765'; while the inscriptions on the third cuboid read: 'One of the things made for Bayt al-Haram (the Sacred House, the *Ka'ba*) during the reign of our lord the Sultan al-Malik al-Ashraf'. Thus, the inscriptions clearly indicate that the owner of the key was the Mamluk Sultan al-Ashraf Sha'ban ibn Husayn who began his reign on a Tuesday, the 15th day of the month of Sha'ban, in the year AH 764 (AD 1362), when he was 12 years old, and that he ruled Egypt and the Levant until his death in AH 778 / AD 1376. The key bears the date of manufacture, AH 765 (AD 1363).  \nOn the shaft of the key there are a number of inscriptions in Mamluk *naskhi* script, distributed over its four surfaces. These consist of the following Qur'anic verses: 'Verily We have granted thee a manifest victory: That Allah may forgive thee the faults of the past and those to follow; Fulfil his favour to thee and guide thee on the straight way. And that Allah may help thee with powerful help. It is He who sent down tranquillity in to the hearts of the believers to increase their faith'. ('The Victory'; 48:1–4). 'The first house \\[of worship\\] appointed for men was that at *Bakka* full of blessing and of guidance for all kinds of beings. In it our signs manifest; (for example), the Station \\[*maqam*\\] of Abraham; whoever enters it attains security; Pilgrimage thereto is a duty men owe to Allah – those who can afford the journey; but if any deny faith, Allah stands not in need of any of his creatures.' ('Al-Imran'; 3:96–7).  \nIt may be observed that the Qur'anic verses recorded on the body of the key complement the key's objective, and affirm the religious obligation of the *Hajj* (pilgrimage) on Muslims. In addition, the verses allude to the city of Mecca by the name 'Bakka' which is one of a number of names given to the city including, 'Umm al-Qur'a', 'al-Balad al-Amin' and 'al-Bayt al-Haram'. Likewise, the verses also point out the Station of the Prophet Abraham. According to Imam al-Bukhari, the intended meaning of the Station of Abraham is a rock, upon which Abraham is believed to have stood when he raised the building of the *Ka'ba*. The rock is located in proximity to the *Ka'ba* and is covered by a wooden dome, the interior of which is decorated with gilded ornamentation. The structure rests on stone supports, between which there are four iron windows.  \nEgypt used to send the keys of the *Ka'ba* with the *kiswa* (cover) every year to Mecca. Despite the fact that the keys were presented every year, those housed in museums today number very few, and date back to the Mamluk and Ottoman periods. The Topkapi Palace Museum in Istanbul has acquired most of the *Ka'ba* keys, while the Islamic Art Museum in Cairo houses only this one *Ka'ba* key.","short_description":"Sultans and amirs sent gifts to the holy sites in Mecca, Medina and Jerusalem. This key was a gift from Sultan Sha'ban to the Ka'ba. It is decorated with verses from the Qur'an, ornamentation and inscriptions. A *kiswa* (covering) for the Ka'ba was sent with the key every year in the pilgrimage season.","type":"Key, the Ka'ba,wood","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Ashraf Sha'ban ibn Husayn.","dates":"Hegira 765 / AD 1363.","location":"Cairo","dimensions":"Length 34 cm.","method_for_datation":"The key is accurately dated by the inscription recorded on it.","method_for_provenance":"It is likely that this key was made in Egypt since it carries the name of the sultan of Egypt at the time and the year of production. That this piece was made in Egypt is further supported by the fact that Egypt was responsible for despatching the *kiswa* along with the key each year to Mecca.","provenance":"Egypt.","obtention":"This object was purchased in 1945 from a dealer of antiquities, Ralph Harari.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nMajid, Abdel Al-Mon'em, “Mafatih al-Ka'ba \\[Keys of the Ka'ba\\]”, *Mijalat Kuliyat al-Athar* \\[*Journal of the Faculty of Antiquities*\\], Vol. 1, 1978, pp.108–9.  \nSayour, S., “Mafatih wa Kiswa al-Ka'ba \\[Keys and the Covering of the Ka'ba\\]”, *Prism Magazine* (Foreign Cultural Relations Dept., the Egyptian Ministry of Culture), No. 6, 2000, pp.29–32.  \nStierlin, H., and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517)*, London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","hajj","in-lay","inscription","Ka’ba","Key","Kiswa","naskhi script","religious object"],"materials":["Copper inlaid with silver."]},"934df7dd-8577-516b-8cc1-6742a0d27a2d":{"name":"Mosque lamp.","description":"A large ceramic mosque lamp with a high flaring neck and a bulbous, almost pear-shaped body on a low foot. The lamp is divided into three registers by thin white bands. In the top register, around the neck, a Qur'anic inscription features part of the famous Light Verse (24: 35), which, because it likens the light of God to a lamp, was often used on mosque lamps. The lower two registers are decorated with floral motifs on the body which are painted under the glaze in turquoise, cobalt-blue, black, and red. Curiously, the floral motifs, most noticeably the large bisected quatrefoil motifs in red, do not line up between the middle and lower registers; perhaps the painter was working from a design not originally meant for an object of this shape. Around the middle of the lamp are large bosses alternating with handles, one of which is now missing. The loss of one handle may be the reason that the suspension chains have been riveted directly to the lamp's body.  \n  \nThis 'lamp' – which would have shed no light, being made of ceramic, and is thus clearly meant to be symbolic – is reputed to have been made for the mosque complex in Istanbul built by Sultan Süleyman 'the Magnificent'. This complex was an important act of architectural patronage which provided a major stimulus to the Ottoman ceramic industry, centred at Iznik. One result was the addition of a brilliant red to the colour range of Ottoman ceramics. The clearly tentative quality of the red on this lamp, the thin and uneven application of the pigment, indicates that it comes from the early phases of the Ottoman potters' experimentation with the colour.","short_description":"A ceramic ‘lamp’ with a bulbous body and flaring neck. Although clearly meant to hang from a ceiling like a regular lamp, it would have shed no light, and is thus clearly meant to be symbolic. It is reputed to have been made for the Süleymaniye mosque complex, which was completed in AH 963 / AD 1557.","type":"Ottoman ceramics, glazed, calligraphy","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Süleyman the Magnificent.","dates":"Around hegira 963 / AD 1557.","location":"London, England","dimensions":"Height 48 cm, diameter 31 cm.","method_for_datation":"The lamp is supposed to have been made for the mosque complex built by Sultan Süleyman in around 963 / 1557.","method_for_provenance":"Iznik was the centre of quality ceramic production in this period.","provenance":"Iznik, Turkey.","obtention":"Purchased by the Museum in 1885.","bibliography":"Atasoy, N., and Raby, J., Iznik: The Pottery of Ottoman Turkey, Istanbul/London, 1989, p.224.  \n  \nAtil, E., The Age of Sultan Süleyman the Magnificent, Washington, DC, 1987, pp.264–7.  \n  \nLane, A., Later Islamic Pottery: Persia, Syria, Egypt, Turkey, London, 1957, p.56.  \n  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.28, p.103.  \n  \nWatson, O., \"An Iznik Mosque-Lamp,\" Oriental Art 35:4, Winter 1989–90, pp.194-5.","linkcatalogs":"IAM_TR_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","Mosque interior decoration","patronage","religious object"],"materials":["Painted and glazed ceramic."]},"93ee1091-8763-5b6d-885f-d833bd95f55d":{"name":"Incantation bowl","description":"The bowl is inscribed in Mandean script, in Aramaic Mandean dialect. The text spirals from the bottom of the bowl about fifteen times around. The beginning of the text is unreadable because of a crystal deposits and blackening. The name of the sponsor, the beneficiary of these incantations, which is typically stated at the beginning of the text, remains unknown here. The remaining lines consist essentially of a repetition of names of demons exorcised by linked formulas, including the female demon Lilith, her ancestors (“all her families and lineages”), and her offspring. The Aramaic communities of Mesopotamia are heirs to ancient beliefs dating back to the Akkadian and even Sumerian texts, according to which demons were of an inexhaustible variety. The Mandean, because of his dualistic faith, believes in evil spirits whose harmful actions he dreads. Magic is therefore an essential aspect of his religious life. This practice, consisting in burying the cups thus inscribed at the four corners of the house, was widely diffused among the various religious communities of Mesopotamia until the Muslim conquest and beyond.","type":"Ceramic","holder":"Museum of the Arab World Institute","dates":"Before Hegira 2nd-1st century / AD 6th-7th century","location":"Paris","dimensions":"Height: 6.4cm, Diameter: 19cm, Base diameter: 5.8cm","provenance":"Nippur (?), Iraq","obtention":"Purchased at Art Musulman gallery in 1984.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 295.  \n  \nMoulierac, J., et al., *Céramiques du monde musulman: collections de l'Institut du monde arabe et de J.P. et F. Croisier* , Paris: Institut du monde arabe, Paris, 1999: 151.  \n  \nSafadi, Y.H., *Calligraphie islamique*, Paris: Chêne, 1978: 6.  \n  \nRéunion des Musées nationaux, *Naissance de l'écriture: cunéiformes et hiéroglyphes*, Paris: Réunion des Musées nationaux, 1982: 113, 183, Fig. 73, 74.  \n  \nSoustiel, J., *La céramique islamique*, Fribourg: Office du Livre, 1985: 34, Fig. 16.  \n  \nTeixidor, J., \"The Syriac Incantation Bowls in the Iraq Museum\", Sumer,18 (1962): 51–62.","translator":"Judy Harter","materials":["inscription traced in black ink.","Unglazed ceramic"]},"940aec1c-3a64-5908-99a0-bb3d302b70cd":{"name":"The Noble Qur’an (single volume)","short_description":"The circle is an Islamic symbol of wholeness and unity and a quintessential element of Omani design. This is a recurrent theme throughout Islam culture as demonstrated by this example of the Noble Qur'an. Circular motifs and families of patterns are based on the mathematical division of circles into smaller geometric components. Hexagons, octagons, squares and triangles are used in combination with smaller circles and other geometric elements to form elaborate medallion-like designs known as 'roundels'. Roundels are featured in wood, plaster, copper and silver work and serve as a central motif on the *al-kummah* (men’s traditional embroidered cap). Contained entirely within a single circle, the roundel exemplifies the mathematical lucidity that characterises all Islamic art and architecture.","type":"Manuscript","holder":"National Museum Oman","dates":"Rabi al-Awwal 1295 AH / 6 March 1878 AD","location":"Muscat","dimensions":"Length: 33.4cm, Width: 24.3cm, Weight: 2212.7g","obtention":"Ministry of Heritage and Culture Collection","scriber":"Umar bin Salim bin Said al-Mahruqi","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Noble Qur'an"],"materials":["Ink on paper"]},"94a5375c-0f26-51bb-b2ed-85c5c6b0cf18":{"name":"Portière (*kapı perdesi*)","short_description":"Used mostly to embellish garments, furnishings or household items, Islamic embroidery is also present on large textiles. The most important is *kiswa*, the cover enclosing the Ka'ba, which is sent every year to Mecca at the time of the pilgrimage. Over the door of the Ka'ba hangs an embroidery called *sitara*, decorated with inscriptions in different calligraphic styles. The present embroidery was probably destined to cover a mosque door. The rounded arch in the centre recalls the shape of the *mihrab* and its representation on prayer rugs. The entire surface of the cover, made from yellow, red, black, and turquoise pieces of silk, is decorated with cartouches and rosettes filled with vegetal and epigraphic motifs embroidered in the *dival* technique, i.e. over a base of paper or wool. The inscriptions, some of which were written in mirror-image, are illegible.","type":"Embroidery","holder":"The National Museum of Art of Romania","dates":"Hegira 13th century / AD 19th century","location":"Bucharest","dimensions":"Height: 317cm, Width: 209cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Transferred in 1949 from the Toma Stelian Museum in Bucharest.","bibliography":"Beldescu, A., *Broderii turceşti*, Bucharest: National Museum of Art of Romania, 1997: 14, cat. no.1.  \nDunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 66, cat. no. 40.","author":"Mircea Dunca","keywords":["Mirror inscription"],"materials":["Silk embroidered with silver-gilt thread"]},"95f0e5c9-0936-55b5-ae88-631dafd406d1":{"name":"*Minbar*.","description":"The *minbar*, a raised wooden pulpit used for delivering the weekly oration, or *khutba*, during Friday communal prayers, is one of the earliest types of Islamic liturgical furnishings, introduced in the time of the Prophet himself. When Nur al-Din (d. AH 569 / AD 1174) came to rule Syria and al-Jazira, he commissioned several important *minbars* as part of his propagation of piety and *jihad*. He assigned the execution of these wooden *minbars* to the renowned carpenters of Aleppo.  \nThis *minbar,* now located in the Museum of Hama, was commissioned by Nur al-Din as part of a new mosque he constructed in Hama in AH 558 / AD 1163. It consists of a narrow staircase attached to a raised chair with a covered top. Although it has lost its original stairs and flanking walls, the upper structure is entirely original. The raised chair is square with three arched openings and a back rest. A richly engraved and domed entablature crowns the top. Vegetal and geometric arabesques demonstrate a high level of wood carving. It also contains two historical inscriptions along the friezes on either side of the balustrades. The left inscription, which has been removed and hung above the mosque's entrance, speaks of Holy War and Justice. The right inscription, still *in situ*, emphasises Piety and Humility. The cornice also bears a Qur'anic inscription describing the wonder of God's Creation and the Heavens, while the back of the chair is inscribed with the *Shahada*, or declaration of faith, written in two lines of large *thuluth* script within a cartouche.  \nClearly, the *minbar* re-affirms Nur al-Din's political and religious position, a stance which is reiterated on the inscriptions of the mosque as well. The importance of the *minbar* lies in its symbolism of authority. The inscriptions carved upon it and the speeches delivered from its platform are visible and aural manifestations of the community's leadership and vision. In Nur al-Din's case, historical records show that he was meticulous in organising what was said on his behalf in the many mosques built in his name. The image he projected was one of piety as opposed to magnificence, humility as opposed to wealth, and always dedication to Holy War.  \nNur al-Din's dream of liberating Jerusalem is expressed by a similar but more richly ornamented *minbar* he commissioned for the Aqsa Mosque in Jerusalem, prior to its reconquest from the Franks by Saladin. Sadly, this *minbar* was destroyed by fire in recent history (1969).","short_description":"Nur al-Din's *minbar* of Hama is an important example of Syrian woodcarving. Nur al-Din is known to have employed the most talented Aleppine carpenters to create a number of *minbars* which he distributed throughout the mosques of Syria in order to preach Holy War when the Crusaders took Jerusalem.","type":"Woodwork, minbar, wood","holder":"Hama Museum","initial_owner":"Nur al-Din Mahmud bin al-Zangi (r. AH 541–69 / AD 1146–74).","dates":"Hegira 558 / AD 1163","location":"Hama","dimensions":"Height (at highest point) 430 cm, length 320 cm, width 85 cm.","method_for_datation":"The inscription on the back of the chair reads “559” (1164).","method_for_provenance":"The pulpit was originally in the Nur al-Din Mosque in Hama which was constructed by Nur al-Din Mahmud bin Zangi in 558 / 1164.","provenance":"Hama, Syria.","obtention":"Although it was originally located in the Nur al-Din Mosque in Hama, the *minbar* is now in the Hama Museum.","bibliography":"Ettinghausen, R., Grabar, O., and Jenkins-Madina, M., *Islamic Art and Architecture 650–1250*, New Haven, 2001.  \nMoaz, A. R., “The Minbar of the Aqsa Mosque, Woodwork in 12th-Century Syria-Palestine”, *Islamic Arts and Crafts*, Istanbul, (in print).  \nTabbaa, Y., \"Monuments with a Message: Propagation of Jihad under Nur al-Din (1146–1174)”, *The Meeting of Two Worlds: Cultural Exchange between East and West during the Period of the Crusades.* (ed. Vladimir P. Goss), Michigan, 1986, pp.223–40; figs. 24, 25.","author":"Waal Hafian","copy_editor":"Mandi Gomez","keywords":["carving","geometric decoration","geometric design","hama","inlay","jihad","Mosque","Mosque interior decoration","Nur al-Din Mahmud bin al-Zangi","wood","zangids"],"materials":["Carved and inlaid wood."]},"9689a417-7d8e-5c3e-bb23-afdd8da1ff34":{"name":"Carpet","description":"The rug’s red-background, three-part prayer niche (*mihrab*) is supported by slender columns set on footings and arranged in a 1+2+2+1 formation. A carnation representing a lamp hangs from the peak of the central, higher arch and from each of the two outer, three-peak arches. The blue spandrels above the arches are decorated on each side by two arabesque-like curved leaves leaning towards each other and one serrated rosette; in the middle, the palmette growing out of the peak of the *mihrab* is surrounded by serrated leaves. The horizontal band, the frieze above the arch is filled with arabesque-like motives alternating with each other on a red ground.  \nThe main border contains undyed and red serrated rosettes sting along an undulating stem on ochre ground. The inner secondary border consists of small flowers of alternating orientation and colours. The outer secondary border is a succession of rosettes alternating with tree-of-life on a red ground.  \n  \nThe provenance of the rugs is still uncertain, and so they are found referred to under a variety of names in the literature. Ernst Kühlbrandt, and later Emil Schmutzler mentioned this group of rugs as Säulenteppich (Kühlbrandt 1911, Schmutzler 1933), but later scholars, identifying their place of manufacture as the town of Ladik, designated them Ladik prayer rugs. In a 1968 publication, May H. Beattie called the Ladik origin into doubt and traced the six column type to 16th century Ottoman Court rugs, naming them, after the double column supporting the three-span vault, coupled column prayer rugs (Beattie 1968). Beattie classifies six column prayer rugs by the decoration in the spandrels above the arches. Ferenc Batári also considered there were insufficient grounds for asserting that the rugs came from the town of Ladik, he used the title ‘Ladik type prayer rugs’ (Batári 1994). Stefano Ionescu adopts the Beattie classification and maintains that the technical execution of the rugs is close to the other types found in Transylvania. He classifies column rugs by the number of columns, i.e. two, three, four, five and six column “Transylvanian” rugs (Ionescu 2007, p. 67–68). (Pásztor 2007, 137.).","type":"Prayer rug","holder":"Eszterháza Kulturális, Kutató- és Fesztiválközpont","owner":"Eszterháza Kulturális, Kutató- és Fesztiválközpont, Fertőd-Eszterháza","dates":"Hegira 11th century / AD 17th century","location":"Fertőd-Eszterháza","dimensions":"L: 189cm, W: 132cm, warp: 76/dm, weft: 38/dm; knot: 37/dm; knot density: 1406 /dm2","method_for_datation":"The six-column prayer rug, a version of Ottoman Turkish prayer rugs was very popular during the 17th century. Their general characteristic is a prayer niche (*mihrab*) whose background colour is red or ochre (and rarely ivory or blue), divided into three parts by slender columns in a 1+2+2+1 distribution.","method_for_provenance":"The carpet was exhibited at the 1914 Turkish Carpets from Transylvania exhibition in the Museum of Applied Arts in Budapest, it appeared under catalogue number 284. (Csányi 1914, 81). The carpet was published by Végh 1925, 24. Since then until xxxxxx the carpet's whereabouts were unknown. This carpet was the prototype of many  copies or forgeries made at  the Tuduc worshop in Rumania between 1925-1940. (Ionescu 2012, 94.)","provenance":"Turkey, Western Anatolia (Ladik ?)","obtention":"Purchased from XXXXX in XXXX. Formerly at the collection of Mrs József Keszler, née Irma Reich, Budapest","bibliography":"Csányi, K. (with Csermelyi, S. and Layer, K.), *Erdélyi török szőnyegek kiállításának leíró lajstroma* (Exhibition of Turkish Carpets of Transylvania. Descriptive catalogue), Budapest, Országos Magyar Iparművészeti Múzeum (National Hungarian Museum of Applied Arts) 1914, no. 284, p. 81.  \nVégh, J. - de-Layer, Ch., *Tapis Turcs provenant des eglises et collections de Transylvanie*, Paris n.d. (1925) pl. 24.  \nIonescu, S., *Handbook of Fakes by Tuduc *(World's most famous rug forger, Berlin: fourth edition published on the occasion of the Volkmann-Treffen Symposium, October, 2012, p. 94. Pásztor, E., *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts*, Budapest, Museum of Applied Arts 2007.**","author":"Emese Pásztor","keywords":["Ottoman carpet","prayer niche","prayer rug","Warp","wool"],"materials":["Gördes knot","wool"]},"96998c67-dbae-5a23-8da5-21ca0231218d":{"name":"Mosque lamp.","description":"Lamp in the form of a jar with six rings for suspending it and a tall truncated cone-shaped foot. It has an inscription in duplicate on the neck and on the rounded part with the following text: 'This is one of the objects made for the mausoleum of Amir Alan al-Din Ali, son of his Excellency Sayf al-Din Baktamur, *al-hajib* (chancellor), may God grant him mercy.' Three blazons divide the inscription on the neck into equal parts, while another three blazons alternate with stylised arabesques around the lower section of the rounded part. The tall foot has three medallions with simple trefoil motifs. The circular blazon is divided into three fields: the upper and lower areas are white, while the central field contains the image of a horse with a structure in the form of a cupola on its back.","short_description":"The lamp’s inscription dates it to c. AH 721 / AD 1321: ‘This is one of the items made for the mausoleum of Amir Alan al-Din Ali, son of his Excellency Sayf al-Din Baktamur, *al-hajib* (the chancellor), may God grant him mercy’. The shape and decoration of the lamp are typical of the Mamluks.","type":"Lamp, glass","holder":"Calouste Gulbenkian Museum.","initial_owner":"Amir Alin ibn Baktamur.","dates":"Later than Hegira 23 Muharram 721 / AD 21 February 1321.","location":"Lisbon.","dimensions":"Height 31 cm, diameter (of rim) 21 cm, diameter (max.) 20.5 cm, diameter (of base) 13.5 cm.","method_for_datation":"Dated, according to the inscription, a short time after the death of the Amir Ali ibn Baktamur, on 21 February 1329.","method_for_provenance":"By expert examination, stylistic and comparative analysis and published catalogues.","provenance":"Egypt or Syria.","obtention":"It came from the collection of Baron Gustave de Rothschild, purchased from Philip Sassoon through Joseph Duveen, in London, on 8 November 1919.","bibliography":"*Arte do Oriente Islâmico. Catálogo*,Lisbon, 1963.  \n*Museu Calouste Gulbenkian. Catálogo*, Lisbon, 2nd edition 1989.  \n*Only the Best: Masterpieces of the Calouste Gulbenkian Museum, Lisbon*, exhibition catalogue, New York, 1999.  \nRibeiro, M. Q. and Hallet, J., *Os Vidros da Dinastia Mameluca no Museu Calouste Gulbenkian*, Lisbon, 1999.","linkcatalogs":"IAM_EG_EN_001","author":"Maria Queiroz Ribeiro","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Alin ibn Baktamur","Blown glass","Egypt","Lamp","Mamluks","Mosque interior decoration","Syria"],"materials":["green","Honey-coloured blown glass with gilded decoration and enamelled in blue","pink","red","yellow and white."]},"96b73ca3-92f9-5650-8a53-7c417d5387ad":{"name":"Mosque lamp.","description":"An enamelled glass mosque lamp with a flaring mouth and squat body standing on a low foot. The glass is brownish, with decoration in blue and white enamelling, and highlights in red, green, yellow and gold. The decoration consists almost exclusively of an inscription in majestic *thuluth* script, with additional bands of exuberant floral decoration around the neck and just above the foot. The inscription includes verses from the Qur'an (83:22, 24–5) and the phrase 'Glory to our lord, the Sultan, al-Malik al-Muzaffar, the learned, the just, Rukn al-Dunya wa'l-Din, may God grant him victory'. This refers to the Mamluk Sultan Rukn al-Din Baybars II, who ruled only for a short period, from AH 708–9 / AD 1309–10, before being overthrown and killed. He did, however, govern with a fellow officer as co-regents for the captive al-Nasir Muhammad Ibn Qala'un, beginning in AH 698 / AD 1299. He also built a fine complex in Cairo, containing his tomb as well as a lodge for Sufis, between AH 704–8 / AD 1306–9. Inscriptions in the building – immediately erased by his successor – referred to him even then as Sultan. Since the Qur'anic inscriptions on this lamp refer to the afterlife, it may have been intended to hang in the tomb chamber. The lamp's decoration is also similar to that found in a large Qur'an that Baybars had commissioned for the same complex, suggesting that there may have been a team of designers consciously working to give a unified look to the decorative programme there.","short_description":"An enamelled glass lamp of typical Mamluk form, whose decoration is almost exclusively calligraphic. It includes Qur’anic verses and praise of the short-lived Sultan Rukn al-Din Baybars II. The verses refer to the afterlife, implying that the lamp may have been intended for the sultan’s tomb.","type":"Glasswork, enameled","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Rukn al-Din Baybars II.","dates":"Between hegira 704 and 709 / AD 1306 and 1310.","location":"London, England","dimensions":"Height 29 cm, width 25.4 cm.","method_for_datation":"The lamp dates from the brief reign (708–9 / 1309–10) of the Mamluk Sultan Rukn al-Din Baybars II, to whom the phrase in the inscription, 'Glory to our lord, the Sultan, al-Malik al-Muzaffar, the learned, the just, Rukn al-Dunya wa'l-Din, may God grant him victory', refers.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1900.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.113.  \n  \nCarboni, S. and Whitehouse, D., Glass of the Sultans, New York, 2001, pp.230–2.  \n  \nLamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1929–30, pp.428-9.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["Enamelled glass."]},"97c84e4d-b5db-513a-8e7d-cfa06d0b62ff":{"name":"In Thee Rejoiceth","description":"This icon is based on a famous hymn written by 7th-century saint and theologian, John of Damascus, to the Mother of God. The hymn includes the following text:  \n  \nAll of Creation rejoices in thee, O full of grace:  \nthe angels in heaven and the race of men,  \nO sanctified temple and spiritual paradise,  \nthe glory of virgins, of whom God was incarnate  \nand became a child, our God before the ages.  \nHe made thy body into a throne,  \nand thy womb more spacious than the heavens.  \nAll of creation rejoices in thee, O full of grace:  \nGlory be to thee  \n  \nIn this icon, the images of the Mother of God and Christ are serene while the choir of saints and people depicted at the lower part of this icon are animated and immersed in song. The landscape, with green trees on a white background, is symbolic of paradise. The crowd at the bottom of the image represents humankind, and the domes signify the church.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 32.5cm, Width: 27.5cm, Depth: 2.6cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"99095f8b-3eac-55bd-8d83-8bd6a4a69678":{"name":"Qur’an","short_description":"This *juz'* is the final section of a 30-volume Qur’an from Morocco, written in brown ink using *maghribi* script, developed in AH 4th century / AD 10th century North Africa. Sura headings are in Kufic script, the word Allah is highlighted in gold through the text. Verses are marked by polylobed gold markers, while groups of verses are separated by teardrop and circular shapes. Copied by Ahmad ibn ‘Ali, it was dedicated to Abu Muhammad Sayyid ‘Abdallah al-Ghazwani, a Sufi saints of Marrakesh.","type":"Manuscript","holder":"Museum of Islamic Art","dates":"Hegira 1063 / AD 1653","location":"Doha","dimensions":"Height: 25.8 cm, width: 20.5 cm, depth: 3.3 cm","provenance":"Morocco","obtention":"Bernard Quaritch Ltd, until 1999; sold to Qatar Museums via Bonham's London","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \nHilloowala, Franak, *Reading Qur'anic Manuscripts*, Doha: Bloomsbury Qatar Foundation Publishing, 2011.","author":"Mounia Chekhab-Abudaya","keywords":["Alawite","manuscript","Morocco"],"materials":["Bookbinding","calligraphy","Gilt Paint","Illumination","Ink","leather","Opaque watercolour","Paper"]},"998a912b-36fb-51e9-9d23-92392129a07c":{"name":"Prayer rug.","description":"A rug produced by peasant weavers in Ghiordes, Anatolia, famous for their tightly woven work with a short, silky wool pile. Ghiordes was one of the major carpet-making centres during the AH 13th / AD 19th century and both the design and colour scheme of this rug, a deep-blue niche framed with elaborate spandrels and borders, is typical of Ghiordes rugs. The niche confirms that this is a prayer rug, used to provide a ritually clean place for the five daily prayers. The niche reflects the *mihrab* or prayer niche in an Islamic mosque, indicating the direction to Mecca, towards which Muslims turn in prayer. It may also symbolise the gateway to Paradise. The ornament suspended in its apex may have a spiritual meaning.","short_description":"Every household in Ghiordes, Anatolia, had a handloom for the womenfolk and girls to weave small carpets and prayer rugs on. This prayer rug is decorated with an elaborate central niche reminiscent of the architectural prayer niche found in Anatolian mosques.","type":"Wool, Knotted, Carpet","holder":"St. Mungo Museum for Religious Life and Art, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Length 183 cm, width 119 cm.","method_for_datation":"Artistic analysis: both the layout and weave of this rug resemble several other 13th- / 19th-century prayer rugs of this type, attributed to Ghiordes in Anatolian Turkey in particular.","provenance":"Gördes, Anatolia, Turkey.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Bennett, I., *Rugs and Carpets of the World*, London, 1977.  \n  \nScarce, J. M., 'Oriental Carpets: The Burrell Collection', *Arts of Asia*, May–June 1990, p.136.","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["floral decoration","religious objects"],"materials":["Wool (warp and weft and pile) with cotton in parts","woven on a handloom."]},"998d3461-0770-50eb-a5de-123b9ad0c56d":{"name":"Healing basin","description":"The base is low, and the body is hemispherical. Both the bottom and the rim are flat, while the centre is slightly convex. The interior and exterior are inscribed. The inside of the healing bowl is divided into thirteen mihrab-shaped sections. The base bears the inscription \"Sahip Ali\" in Ottoman Turkish.","type":"Bowl","holder":"Edirne Museum Directorate","dates":"AH 13th / AD 19th century","location":"Edirne","dimensions":"Diameter: 16cm","copy_editor":"Alvaro Miranda","keywords":["bowl","brass","healing","Ottomans","Religion","water"],"materials":["brass","forged","incised"]},"9a411d81-270a-514a-a9ac-3f661d8e4f3e":{"name":"Mosque lamp","short_description":"This hammered brass lamp is decorated with openwork pattern inlaid with silver and a black compound. It was commissioned for the mausoleum of Mamluk ruler al-Malik al-Zahir Baybars (AH 620-675 / AD 1223–1277), constructed in Damascus in AH 675 AH / AD 1277. The inscription carries the words that plead God to sanctify the sultan's spirit and illumine his tomb. A tray would have accompanied this lamp, which when filled with oil and suspended, would have projected the inscriptions across the mausoleum.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 7th century  / AD 13th century","location":"Doha","dimensions":"Height: 29cm, Diameter: 25.5cm, Circumference: 94cm","provenance":"Syria, Damascus","obtention":"Cornette de Saint-Cyr, Nouveau  \nDrouot, Paris, 26 May 1981, lot 89  \n(top; bottom acquired later in  \nDenmark); Jasim al-Humayzi  \nCollection until 1999; sold to Qatar Museums","bibliography":"Abdellatif, Rania, *Syria Matters*, Milano: Silvana Editoriale, 2018.  \n  \nAl Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection* London: Thames & Hudson, 2022.  \n  \nKomaroff, Linda, *The Gift Tradition in Islamic Art*, Los Angeles: Yale University Press, New Haven and London, 2012.","author":"Tara Desjardins","keywords":["calligraphy","inlay","Lamp","Mamluk","metalwork","Mosque","Syria"],"materials":["Black compund","brass","Engraving","gilding","hammering","inlaying","openwork","Silver","Solder","soldering"]},"9adcd1ba-69fc-5d1e-b977-f72226d33bb1":{"name":"Processional cross.","description":"A cross with *fleur-de-lys* outlines, with the upright and two arms intersecting inside a square, a flattened spherical node, and fitted into a tubular pole. The decoration of the field of the cross is formed by a continuous band which runs round the edge of the entire piece and contains lozenges and triangles inside it, filled with geometric and floral motifs. In the corners of the square into which the centre of the cross is inscribed there are four eight-leaved shapes. The reverse is similarly outlined by a band, with the branches and upright filled with plant-inspired geometric interlacing. A large circumference is formed in the centre, decorated with rather complex geometric interlacing, forming multiple centres, which are the most typical Islamic element of the decoration of the cross. The decoration and the strong likelihood that the metal was extracted from a North African mine suggest that this is the work of a craftsman of the Islamic peninsular communities, Christianised or otherwise, but obviously working for the Christian kingdoms of the Iberian peninsula.  \nThis type of cross had a twofold function: it served as a cross to be held aloft in processions and funerals, but was also able to be fixed to a base and used as part of the liturgical instruments on the altar.","short_description":"This cross of unknown origin would have been produced in the AH 8th / AD 14th century. The interlacing patterns, typical of Islamic art, at the centre of one side of the cross are particularly noteworthy. This piece would have been made by a Muslim artist working for a Christian patron.","type":"Cross, copper","holder":"National Museum of Ancient Art.","dates":"14th century.","location":"Lisbon.","dimensions":"Height 63 cm, width 37 cm, weight 1814.2 gr.","method_for_datation":"For stylistic reasons relating to the shape of the cross.","provenance":"Unknown.","obtention":"Purchased from a private individual in 1878 by the National Academy of Fine Arts, it was incorporated into the collection of the National Museum of Fine Arts and Archaeology, set up in 1884 as part of the Academy. The National Museum of Ancient Art took over this collection when it was created in 1911.","bibliography":"Cordeiro, M. I. G. M., 'A Arte do Ferro em Portugal', National thesis for Museum Curators, unpublished typed text, Lisbon, 1962.  \n*Inventário do Museu Nacional de Arte Antiga. Colecção de Metais. Cruzes Processionais – Séculos XII–XVI,* Lisbon, 2003.  \n*Portugal Islâmico: Os últimos Sinais do Mediterrâneo*, exhibition catalogue, Lisbon, 1998, p.302.","linkcatalogs":"IAM_ES_EN_001","author":"Joaquim Oliveira Caetano","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Cross","geometric decoration","Mudéjar","religious object"],"materials":["Incised and gilded copper."]},"9af64071-595d-57de-a710-92c27227476c":{"name":"*Antependium with the Tribute of Continents and Imperial Countries to the Holy Family*","description":"This colourful embroidery was executed as a “needle painting” and is set within an original gilded frame. An eventful scene opens out with a central motif of columned architecture with staircases and balustrades, and adoring female figures. At the bottom left, four girls kneel, with the coats of arms of the imperial Electors of the clergy who facilitated the foundation of the Franciscan Convent of St. Joseph in Brno. The Archbishops of Treves, Cologne and Mainz are represented by the coats of arms of Karel Kaspar von der Leyen (1652–1676), Maximilian Heinrich von Bayern (1650–1688) and Johann Philipp von Schönborn (1647–1673). Opposite, four girls kneel with the coats of arms of the imperial countries: Bavaria, Saxony, Brandenburg and Pfalz. In the centre are four female personifications of the continents, Asia, America, Africa and Europe, in precious attire. The women and a host of lay people of both sexes pay tribute to the Holy Family. The Virgin Mary is supervising the education of Jesus, while St. Joseph hands to the Pope – a personification of the Church – a sheet with the text *Ecclesiae Petenti Satisfiat*. The scene is crowned with the dove of the Holy Spirit. At the sides are monumental summerhouses with decorative vases and cartouches with the inscription *Ite ad Joseph* (Go to Joseph), while the Old Testament quotation (Gen 41:55) relates to the figure of St. Joseph of Nazareth. In combination with the text on the donated sheet, it elucidates the subject of the embroidered antependium emphasising the role of St. Joseph, patron saint of the Franciscan Convent of St. Joseph in Brno, as a righteous protector of the church and promoter of Divine will. Towards the horizon, various landscapes alternate on the antependium, valleys and hills dotted with dominant castles. The intricate layout of the embroidery may refer to a major event in the history of the Franciscan convent or it could commemorate the establishment and construction of the Convent Church of St. Joseph in 1651–1653.","short_description":"The subject of the technically and artistically remarkable antependium is derived from the legends of St. Joseph, a popular saint of the Baroque period. It is one of only a few examples of the use of figurative embroidery in sacred art during the first half of the 18th century, and a specimen of monastery art.","type":"Embroidery and painting in original gilded frame","holder":"Moravian Gallery, Brno","owner":"Czech-Moravian Province of the Roman Union of the Order of St. Ursula, Prague (OSU Prague)","initial_owner":"Franciscan Convent of St. Joseph, Brno","dates":"1710–1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 291 cm; w: 100 cm","place_of_production":"Brno","method_for_datation":"According to archival records, this embroidery – which is of extraordinary quality – was executed by Sister Marie Tekla Bittnerová of Glückstein who during 1705 and 1730 lived in the Franciscan Convent of St. Joseph, Brno, where she produced chasubles, as well as other antependia.","provenance":"Franciscan Convent of St. Joseph, Brno","obtention":"On long-term loan","bibliography":"Dana Stehlíková, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie à ľâge baroque 1670*–*1790,* Paris–Rennes–Brno, 2002, pp. 279–280, cat. 120.  \nDana Stehlíková*, Bohemia* *Sancta. Poklady křesťanského umění z českých zemí,* Caltanissetta–Syracuse–Prague, 2004.","author":"Andrea Husseiniová","copy_editor":"Zora Wörgötter","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Antependium","Christian themes","embroidery","figurative decoration","garden","personification","religious object","textile","vegetal decoration","zoomorphic imagery"],"materials":["decoration and painting in gouache on canvas and parchment.","Repp (warp of silk and weft of cotton","silver lamellas). Embroidery in silk and metal lamellas"]},"9b0fa536-0fe5-5f95-ba19-41b4f81e9fd4":{"name":"Brass head of flagpole","description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"9b7f13f5-9188-59a0-bf2d-8b4f7c9b66cb":{"name":"Brass head of flagpole","description":"A cultic item with Arabic calligraphy mentioning God and his prophet Muhammad made of casted brass; fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized that would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"9b960e40-8e8e-58fe-bdb1-3947c5bce14d":{"name":"Textile fragment with white ground with the Virgin Mary and the Christ Child, surrounded by angels, tulips, roses and honeysuckle","short_description":"The image on the textile is of Our Lady of Victories (*Nikopoia*); she is holding the Christ Child, who has his arms outstretched in a gesture of the Crucifixion. Fabrics with Christian motifs were woven in the Ottoman Empire for liturgical vestments of the Orthodox liturgy and exported, Russia being an example. The Christian motif is framed by plants of Ottoman origin, such s the tulip and the honeysuckle.","type":"Ottoman textile fragment, lampas, gold lamella, Liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"4th quarter of 16th century","location":"Vienna","dimensions":"H: 55cm, W: 58cm","provenance":"Ottoman empire, Istanbul or Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-92909","author":"Martina Dax","keywords":["Christian themes","liturgical vestment","Madonna","tulip"],"materials":["gold lamella","Lampas","silk"]},"9d51960b-dfb8-57bd-aa72-d264926dc7d8":{"name":"The Presentation of the Virgin Mary into the Temple","description":"This icon shows the presentation, or entrance, of the Virgin Mary into the temple. The story derives from the apocryphal book of James and is one of the 12 major feasts of the liturgical year, celebrated on November 21. This icon shows the child Mary before the priest Zacharias, father of John the Baptist. Mary’s parents, Anna and Joachim, stand with a group of maidens who also serve in the temple. Mary is seen again in the sacristy being approached by an angel.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 100.9cm, Width: 78cm, Depth: 6cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2007. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Biblical stories","Religious iconography"],"materials":["Egg tempera on wood"]},"9f677e6f-1913-5ba1-b196-5a3e7d1c4fc7":{"name":"*Pontifical Ceremonial Jug and Basin*","alternate_name":"*Jug and Lavabo*","description":"This oval basin, incised on its perimeter, is decorated with a strip of wrought ornamentation with festoons, grids, roses and a pair of *putti* heads. Its perimeter features a half-figure of St. John of Nepomuk, the patron saint of the person who commissioned the work. Opposite is a wrought oval label with a winged column representing the emblem of the Nová Říše Abbey, and engraved initials of the person who commissioned the piece, *N.A /W./P.N./C.G.* (*Nobilis Abbas \\[Johannes Nepomucenus\\] Wyminko, Praepositus Neureuschensis /C.G.*). Provost Jan Nepomuk Wyminko/Vejminko (c. 1683–1755) graduated from Hradisko, near Olomouc. He was provost of the Premonstratensian Abbey in Nová Říše from 1725 to 1732; in 1733 he was appointed the monastery's first abbot.  \nThe jug and basin are part of a luxurious set that included ceremonial cruets and a chalice (not preserved). The works, both in their shape and decoration, are derived from Augsburg models (for example, those created by masters of the Biller and Drentwett families). The jug serves for purification at the mass: the priest uses it to wash his hands before taking the blood and body of the Lord. Any spilt water is caught in the basin.  \nJosef František Rossmayer probably took his apprenticeship in Prague and after journeyman's service abroad was appointed master in Olomouc in 1730. He made, among other things, candlesticks “in the Augsburg manner” for the main altar of the Sv. Kopeček Church, near Olomouc, a chalice with enamel figures of Christ's relatives for Brno cathedral and bindings for missals for the cathedral in Olomouc, in which he combined Augsburg and French models known from prints.","short_description":"The jug and basin are part of a luxurious set that included ceremonial cruets and a chalice. The pieces, from an Olomouc workshop, are derived from Augsburg models both in shape and decoration (compare, for example, those created by masters of the Biller and Drentwett families).","type":"Applied arts","holder":"Moravian Gallery, Brno","owner":"Premonstratensian Abbey, Nová Říše","initial_owner":"Premonstratensian Abbey, Nová Říše","dates":"1732","location":"Governor’s Palace, Brno, Moravia","dimensions":"jug h: 22.4 cm, oval flap 9.9 cm x 8.1 cm; bowl 51 cm x 39 cm","place_of_production":"Olomouc","method_for_datation":"The objects feature four hallmarks, on the jug flap 1: an eagle in a circular label – Olomouc; 2: a partially blurred monogram *FR* in a cartouche – master's mark of *Fr. Rossmayer*; 3: partially blurred year in a label: *1732(*?); on the bowl edge: *1*–*\\-3*.; 4: re-hallmarked: *12.F* in a rectangular label; re-hallmarked Brno from 1806–1809; engraved initials *N.A /W./P.N./C.G.*","provenance":"Premonstratensian Abbey, Nová Říše","obtention":"The set remains at and originated from the Premonstratensian Abbey, Nová Říše.","bibliography":"Miloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 600, cat. 301.  \nDana Stehlíková, in Jiří Kroupa (ed), *Dans le miroir des ombers.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 266–267, cat. 105.  \nDana Stehlíková, *[Encyklopedie českého zlatnictví, stříbrnictví a klenotnictví](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=008AF3E757&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Encyklopedie+%9Fesk%82ho+zlatnictv%A1%2C+st%FD%A1brnictv%A1+a+klenotnictv%A1)*, Prague, 2003.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["ceremony","coat of arms","Enamel","figurative decoration","incision","religious object","vegetal decoration","workshop"],"materials":["damascened and gilded)","Silver (wrought"]},"9f83d7a3-3fef-5717-a3ed-b729ae98a77b":{"name":"Ship’s commode/oratory","alternate_name":"Cómoda Papeleira Oratório para navio","description":"Oratories commonly belonged within a domestic context but an oratory desk was used either as a portable piece of furniture for religious purposes or as a cabinet-on-a-stand for reading. This particular oratory was used on board a ship and is the result of a cumulative commercial exchange among merchants who travelled via existing Portuguese trade routes to overseas colonies and ports or to north or north-western Europe. This is why it is probable that the ship's commode would have been influenced by several artistic styles: from Coromandel (the south-eastern coast of the Indian Peninsula), Chinese folding screens (*Henan*), or English Japanned furniture.  \nDesigned by Gaspar Ferreira and Manuel Silva, the commode was built to enable sailors and passengers to practice their religious routines on board ship. Probably commissioned by King D. João V, it is composed of two parts: the inferior part consists of three drawers and a desk with an oblique lid; while the superior section is shaped like a cupboard with a gabled segmental arch topped by the royal coat of arms.  \nCarved and sculpted urns with flares decorate the top edges. Painted in bright red lacquer it has black decorative tablets and gilded iconographic motifs or *chinoiseries* – Chinese scenes. Both the design and ornamentation are characteristic of the so-called D. João V style. On the inside of the cupboard is an oratory with the following figures: St. Anthony of Lisbon on the right and St. Barbara on the left flanking Christ Crucified. The inside of the doors are painted with scenes of the Passion of Christ (Christ with the Cross; Lord of Cana Verde on the right; Christ tied to the Column and the Resurrection of Christ on the left).","short_description":"A large commode/oratory with a cupboard, for use on board ship. The black decorative tablets are decorated with vegetal elements, while Chinese scenery – known as *chinoiserie* – decorates the larger panels.","type":"Ship’s Furniture; religious furniture","holder":"Vista Alegre Historic Museum","owner":"Pinto Basto Family","initial_owner":"Pinto Basto Family","dates":"Second quarter of the 18th century","location":"Vista Alegre, Ílhavo, Aveiro","dimensions":"H: 268 cm; w: 72 cm; width: 44 cm","method_for_datation":"Stylistic analysis","provenance":"Vista Alegre Palace (Vista Alegre – Ílhavo)","obtention":"Deposited at the museum by the Pinto Basto Family, founder of the Vista Alegre factory in the 19th century","bibliography":"Sandão, A., *O Móvel pintado em Portugal*: Porto ,1973, pp. 117–119, figs. 62–63.  \nTeixeira, J. M., “Papeleira com alçado – oratório”, in *O Triunfo do Barroco*, *Europália*, 1991, pp. 175–177, figs. I–33.","workshop":"Chinoiserie","author":"Paulo Pereira","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["chinoiserie","furnishing","japanned furniture","painted furniture"],"materials":["Lacquered and gilded oak"]},"9ff5077e-cf93-5273-8105-87762d317700":{"name":"*Ihram* belt","short_description":"This *ihram* belt would have been worn by a male pilgrim, and used for carrying valuables while performing the Hajj rites. The *ihram* garment for men consists of two pieces of unstitched white cloth. One cloth (the *rida’*) is worn around the upper body while the other (the *izar*) would be worn wrapped around the lower body. This belt would have been worn around the waist on top of the *izar*. The inscription upon the belt wishes the wearer good health.  \nAs well as referring to ritual clothing, *ihram* also donates a state of mind in which a Muslim must enter in order to embark on Hajj. During this period, pilgrims must adhere to certain rules, for instance men and women are both forbidden from killing animals, uprooting trees, or cutting their nails or hair.","type":"Belt; clothing; money; *ihram*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"118x8cm","method_for_datation":"Provenance and date are based on stylistic grounds","provenance":"Turkey","author":"Qaisra Khan","keywords":["Belt","Clothing","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrimage","prayer","Prophet Muhammad","Religion","travel"],"materials":["leather","silk and linen with metal fittings"]},"9ffa2249-250d-57c6-aa02-12cdbaa08791":{"name":"Covered al-Buzuriyya Market","description":"The historic Buzuriyya Market is located south of the Great Umayyad Mosque in Damascus. This photo shows the very crowded market during Mawlid an-Nabawi (Prophet Muhammad’s Birthday). The Buzuriyya Market dates back to the Ayyubid era (AD 12th century). In the 18th century, the Ottoman government and several khans developed it together. In 1893, the Ottoman governor of Damascus, Hussein Nazim Pasha, replaced the Buzuriyya Market’s wooden roof with a metal roof. During Mawlid the market is decorated with colourful flags, especially green ones, and banners bearing the name of the Prophet Muhammad. Shops are filled with sweets, especially *Mulabbas*, which is associated with Mawlid and distributed in mosques and homes to all.","holder":"Museum for Islamic Art","owner":"Rania Kataf","initial_owner":"Rania Kataf","dates":"Hegira 1439 / AD 2017","location":"Berlin","place_of_production":"Damascus/Syria","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus” in Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., “Mevlid Kandili. La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["photography"]},"a0292759-10a9-5092-8afb-5b3e2db3b197":{"name":"*Presentation of the Child in the Temple*","description":"The production of knotted carpets in Portugal has been documented since the 14th century, mostly in association with the Moorish community. With the expulsion of the Muslims and Jews in 1496 by King Manuel I (1469‒1521; r.1495‒1521), the Portuguese carpet workshops were inevitably abandoned and the manufacturing tradition was lost. Aside from local production, Portuguese consumers imported high-quality items as well. This ensured the supply of luxury goods to the wealthier clientele. Despite that Spanish carpets were esteemed throughout the 15th century, according to representations in paintings, by the second quarter of the 16th century, they were replaced by Ottoman carpets produced in the regions of Anatolia and Uşak.  \nAlthough, surprisingly, there are no surviving examples of this type of carpet in Portugal, its presence in paintings, as well as in other documentary sources such as in inventories, confirms their presence in Portuguese interiors, thus enabling us to identify the patterns and original colours of the imported carpets. This is the case with this painting, where a Turkish carpet, placed on the floor near the altar, displays most probably a “small-pattern Holbein” design: it comprises a repeated pattern of alternating quatrefoils and octagonal medallions, with *kufic* script motifs represented in detail on the red border.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1538","location":"Lisbon","dimensions":"H: 140cm, W: 95.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the Convent of Santa Joana, Lisbon, Portugal, at an unknown date","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Garcia Fernandes","painting","Portugal","Presentation in the Temple","the Annunciation"],"materials":["Oil on oak panel"]},"a06054cf-1305-5f2c-b722-f5e5f3586c49":{"name":"Sivas Prayer Rug","description":"Less well known than other regions, Sivas was an important centre for rug production. Sivas rugs are famous for their detail, an intricate design is created with a high number of knots per inch. This prayer rug is a beautiful example of a Sivas rug. Niche corners are decorated with stylized clove motifs and the *mihrab* niche is framed with four borders, from inside to outside. Very detailed plant motifs, including leaves and flowers are used to decorate the four borders.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 162cm, W: 110cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Sivas","obtention":"Donation of Turkiye Diyanet Foundation","bibliography":"Unpublished","author":"Mehmet Demir","copy_editor":"Lisa Kelman","keywords":["Middle Anatolian","prayer rug","Sivas"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"a319402b-f899-522c-a00d-0966b699e425":{"name":"Cloth","short_description":"This devotional textile would hang from the ceiling or walls inside the Kaaba, the Muslim house of God in Mecca. Qur’anic verses in different calligraphy styles appear printed on red silk. Sultans would drape the Kaaba’s interior walls in silk from China or India as a religious offering since the Mamluk sultan al-Nassir Hassan in 1359.  \n  \nIn medallions, *Tughra* calligraphy illustrates prayers and God’s names “the Merciful” and “the Generous”. The opening chapter of the Qur’an *al-Fatiha* and the *shahada* or declaration of faith rest between serrated lines in *thuluth* calligraphy.  \n  \nProtected from environmental factors inside the Kaaba, Muslim rulers would not change the interior silks annually but wash them twice a year. As a form of worship, the bestowal of this cloth would simultaneously achieve closeness to the shrine for blessings, reinforce the sanctity of the Kaaba and remind of the sultan’s power and prestige.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 120cm, Width: 76.5cm","place_of_production":"Syria","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy, and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy, and style.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Basahih, N. A., \"Crafting the Kaaba Kiswa’s, context and traditional practices\", *Australia, Perth: Futuring Craft IOTA21 Conference*, (2021).  \nBehrens-Abouseif, D., *Practising diplomacy in the Mamluk sultanate: Gifts and material culture in the medieval Islamic world*, London / New York: Bloomsbury Publishing, 2014.  \nHutchings, T., and McKenzie, J. (eds), *Materiality and the study of religion: The stuff of the sacred*, London: Taylor & Francis, 2016.  \nPersson, H., \"Chinese Silks in Mamluk Egypt\", *Global Textile Encounters* ,(2018): 107–118.  \nSardi, M., \"Weaving for the Hajj under the Mamluks\", *The Hajj: Collected Essays*, 2013: 169–174.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Kaaba","Mecca","Ottoman","Saudi Arabia","silk","Syria","Textiles"],"materials":["Print","silk","Wood"]},"a45839e2-37d8-5fb0-8ec9-90569c5bc248":{"name":"Floor mat","description":"An almost complete mat has perimetrical bands with lozenge designs and triangular motifs. It combines brocaded decoration with self-patterned elements such as the beaded medallions in the centre. Two parallel lines of inscriptions are included in the composition and repeat the same word *baraka* (blessing) in a poorly executed *kufic* script. Geniza records describe how such reed mats were used to cover the floor surface and how detailed descriptions might be given to weavers in order to fill every available space. Based on this information, this small mat could be part of a larger commission, used to fill specific recesses or the entrance of a room.","type":"Prayer rug","holder":"Benaki Museum","dates":"10th century","location":"Athens","dimensions":"57 x 45 cm","method_for_datation":"The form of the repetitive word in the *kufic* script places it to this period","method_for_provenance":"Geniza records describe how such mats were used to cover the floor surface and how detailed descriptions might be given to weavers in order to fill every available space. Based on this information, this small mat could be part of a larger commission, used to fill specific recesses or the entrance of a room.","provenance":"Tiberias","obtention":"Acquired in Egypt","bibliography":"Published in Moraitou, M., \"Early islamic Textiles\", *Hali*, 156 (summer 2008): 62-64.","author":"Mina Moraitou","keywords":["Floor mat","geometric","inscription band","kufic script"],"materials":["fringe along one edge","hemp and bast fibre","Plain weave with brocaded decoration"]},"a4a5eb77-13a0-5a5c-9e6a-16dc9862a0fb":{"name":"‘Transylvanian’ rug","description":"The term “Transylvanian” rug does not relate to the area of production but to the geographical region where many such rugs were preserved, that is, Transylvania. Rugs belonging to this group could be found mainly in Transylvanian churches. They were made in the villages of Anatolia during the 17th and 18th centuries.  \nSize wise, Transylvanian rugs are rather small. Their most distinctive feature is a border filled with elongated, polygonal cartouches; however, sometimes, these are substituted by a row of simplified rosettes. The majority of so-called Transylvanian rugs are decorated with the double prayer niche, created from two *mihrab* niches in mirror image. They are mainly red, but some white-ground examples are known. “Transylvanian” rugs were very popular in Poland and many of them form part of Polish collections.  \nThe Kraków rug was probably made in Uşak. On the red field of the double niche, an indigo-blue cartouche of Uşak type joins with the pointed tops of the niches with flowering stems. The presence of such a medallion also suggests the place of origin of the rug. The lozenge-shape cartouche is decorated with a four-lobed motif inscribed within a double diamond, two palmettes situated on the vertical axis, and motifs of carnations and tulips as well. Placed along the edges of the cartouche are rows of graceful, small white flowers. The spandrels are decorated with lanceolate leaves and roses. The main border is filled with a row of rosettes and the outside borders with trefoil motifs.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 160cm, W: 125cm; knot density 1,326/dm2","method_for_datation":"Stylistic analysis of the rather geometrised ornament suggests this rug dates to the end of the 17th century","method_for_provenance":"The “Uşak-style” central medallion allows us to presume that the prayer rug was made in Uşak, Anatolia","provenance":"Anatolia, Uşak (?)","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 48, 153, cat. 12.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 182‒3.  \nBiedrońska-Słotowa, Beata, *Sarmatyzm: sen o potędze* (Sarmatism: A dream of power), Kraków: The National Museum in Kraków, 2010: 137, cat. 104.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 32, cat. 2.  \n*War and Peace: Ottoman‒Polish relations in the 15th‒19th centuries*, exhib. cat., Istanbul: Museum of Turkish and Islamic Arts, 1999: 239, cat. 132.","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["‘Transylvanian rug’","Anatolia","mihrab","prayer rug","Transylvania","Uşak","Ushak"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"Two Chinese blue-and-white porcelain sealed ‘Zamzam’ water bottles","short_description":"Prophet was known to drink from the well and use the water for significant purposes. The most famous *hadith* (Prophetic saying) regarding Zamzam states that the water is good for whatever purpose it is intended. Thus, over time, the water has been used for many purposes: in graves, to prevent harm, to cure and in ceremonies to obtain blessings.  \nSimilar examples to these bottles are in the Topkapi Palace in Istanbul and were used during ceremonies involving the mantle of the Prophet. During these ceremonies the mantle was dipped in Zamzam water and what dripped from the cloth was then collected in bottles similar to these. Other comparable types were simply sent from Mecca to Istanbul containing Zamzam water and closed with leather, string and sealed with wax.  \nThe well is believed to have been discovered by Hagar and Ismael, after being abandoned by Abraham in Mecca. It was later rediscovered by ‘Abd al-Muttalib, Prophet Muhammad’s grandfather, who is credited with having dug several wells, most importantly that of Zamzam. From then on the responsibility of giving water to pilgrims was to remain in the lineage of one of his sons.  \nWater from the well of Zamzam was previously collected in buckets by a rope pulley mechanism and then transferred to earthenware vessels. Now the well is entirely managed subterraneously by electric pumps and the King Abdullah Zamzam Water Factory produces approximately 200,000 bottles of water a day.","type":"Bottle; Porcelain; Containter; Flask","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"21.4x11.5cm","method_for_datation":"Date and provenance based stylistic grounds and by comparison with similar items in the Topkapi Palace Museum.","provenance":"China","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005.  \n*Zamzam*, in Saudi Geological Survey ([https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx](https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx) last accessed 08-07-2019)","author":"Qaisra Khan","keywords":["blue-and-white","China","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["leather","Porcelain","string","wax"]},"a878caed-2598-567c-80a3-7ec37561865b":{"name":"Seljuq Rug","description":"Carpets from the 13th century Aladdin Mosque in Konya are known as the “Konya Group”. They were identified in 1906 as the first finds from this period. These carpets are of key importance in the history of World Carpet Art. This example was specially woven to be used in a mosque. It is decorated with religious motifs and*kufic*writing. A light blue eight‒pointed star design on a dark blue background covers the entire central field. The main border is divided into square sections with stylised*kufic* characters arranged back‒to‒back in light red on a dark red ground. On the small borders, bird motifs are stylized to form leaves on branches.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 240cm, W: 320cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*, Istanbul: Eren Yayınları, 1987: 16‒19.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*,Istanbul: C.2, 2007, 26, Kat.no.4.  \nErdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 41‒43.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 4.  \nÖlçer, Nazan ve Öte., *Türk ve İslam Eserleri Müzesi*, Istanbul: Akbank Yayınları, 2000: 144.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Seljuq rugs"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"a96d02ab-fea4-5e29-9dc5-16c7773c9331":{"name":"Ewer for Zamzam water","short_description":"The ewer is unsual in that the cover for the mouth and the stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. This implies that their purpose was more than keeping insects and the like away form the contents; rather, they were meant to minimize evaporation, a factor which has lead to the designation of such vessels as containers for Zamzam water. The somewhat flattened sides also allowed the ewer to be carried suspended from a saddle during the journey back from hajj. An almost identical ewer in the Louvre, Paris, which was on display at the Louvre Abu Dhabi in March 2018, still retains the chain which allowed the ewer to be suspended from the two loops on its sides, and which is now missing from the Khalili ewer.","type":"Ewer; Zamzam ewer; *tombak*; gilded copper","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD second half of the 18th century","location":"London","dimensions":"Overall height: 33cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"Turkey","obtention":"Villanfray & Associés, Drouot, Paris, 21 December 2017, lot 309.","author":"Nahla Nassar","keywords":["Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["cast and engraved decoration","chain of thick copper wire","Gilded copper (tombak)","piece cast"]},"a98d0e50-3029-5377-a2cf-b09ed33dce7b":{"name":"*Hirz* (Necklace) with Qur’an case","short_description":"The iconic *hirz* (necklace) with Qur’an case is imbued with religious significance, having as its central feature a rectangular or cylindrical box in which protective verses from the Noble Qur’an are kept. Qur’an cases may be simply strung on a silver chain or rope or featured as part of a much larger necklace as seen here with silver beads, coins and amuletic pendants. Smaller cases are also used as hair ornaments and incorporated in headdresses.","type":"Silver Jewellery","holder":"National Museum Oman","dates":"14th century AH / early 20th century AD","location":"Muscat","dimensions":"Length: 30.6cm, Weight: 152.9g","provenance":"Northern Oman","obtention":"Ministry of Heritage and Culture Collection","copy_editor":"Valerie Pulsifer","keywords":["Hirz","jewellery","Necklace","Qur'an"],"materials":["Silver with geometric and silver leaf designs"]},"aa631f7f-3808-586d-b316-c8c2c17e2045":{"name":"The Royal Doors","description":"In Russian Orthodox churches, the sanctuary, which contains the altar, is separated from the nave by a wall or screen called an iconostasis. A typical iconostasis has three doors. The “angel doors” are located on the right and left sides and sometimes depict the Archangels Michael and Gabriel. The “royal doors” are located in the center of the iconostasis and can only be entered at certain points during liturgical services by ordained clergy members. The use of the royal doors varies by local tradition, but they are typically opened during the reading of the Gospel and distribution of the Eucharist. The royal doors typically depict the Annunciation while the four evangelists are shown on four separate panels.  \nThis set includes the symbol for each evangelist: Saint John is shown with a lion, Saint Luke with an ox, Saint Matthew with a man and Saint Mark with an eagle, following the famous interpretation of Saint Irenaeus (c.120-202). The symbol for Saint Mark is different than the one depicted in The Mother of God of the Burning Bush icon in this collection, reflecting a difference in the interpretation of biblical texts by the iconographers for each image.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 155cm, Width: 42.5cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary"],"materials":["Egg tempera on wood"]},"ab4e426c-8d5c-55f7-aabf-1a580562cf9b":{"name":"Prayer hanging","short_description":"Pieced together from numerous embroidered fabric scraps, this cotton hanging is suggestive of a mihrab, or prayer niche. The arched \"niche\" form at center is formed by juxtaposing light fabrics against dark reds. In the Qur'an, God (Allah) is likened to the presence of a lustrous lamp in a niche. Hence, lamps are often placed in niches in mosques and, similarly, they are depicted in niches on tile panels and textiles. In this textile, two stylized lamps extend outward from the top of the arch.","type":"Islamic, Indian & Southeast Asian works of art; Moroccan cotton textile","holder":"Shangri La, Doris Duke Foundation for Islamic Art","dates":"Hegira c. 1214 / AD 1800","location":"Honolulu, Hawai'i","dimensions":"Overall: 224.8 x 171.5 cm","provenance":"North Africa (Morocco or Algeria)","keywords":["carpet","cotton","floral decoration","geometric motifs","mihrab","North Africa","rug"],"materials":["cotton"]},"ab91307f-d3d5-5f2a-88d0-9f2eb6934a29":{"name":"Qibla directional plate.","description":"Muslims must face the *qibla*, the direction of the Ka'ba in the city of Mecca, while praying. They therefore often need instruments to help pinpoint the direction of the Ka'ba. This plate is one such instrument. Its base is a round and flat area that has a circle of semi-vertical columns on it. Recorded around the centre of the circle is the name of the craftsperson and the place in which it was made (“made by Sayyid Thabit in Damascus”). Emanating from the centre towards the rim are tables in the form of a sequence of rings. These rings contain the names of a number of cities in three bands (Damascus, Baghdad, Constantinople, Jerusalem, Tehran, Kabul …), in addition to alphabets corresponding to numbers that indicate degrees of angles. The inner circumference of the plate's rim is marked by units, each of which is equivalent to five degrees and also the four cardinal directions (east, west, north, south), which are set in half circles.  \nThe exterior surface of the rim contains a two-line explanation in Arabic on how to use the instrument. In between these two lines are four medallions in which it is indicated that the plate was made by order of Sultan Salim I \"the triumphant champion of justice and supreme ruler \\[khaqan\\] who is the son of the supreme ruler, king of the two lands and the two seas, and servant of the two sanctuaries, may God immortalise his rule\". All this information is registered in black *kufic* script on a white background, and is covered with a transparent glaze.","short_description":"The scientific diagram inscribed on this ceramic dish served an important function. A schematic arrangement of city names and trigonometric data help the user to establish the orientation of the Ka'ba in Mecca and thus the direction of prayer. It was especially useful when travelling.","type":"Ottoman ceramics, glazed","holder":"National Museum of Damascus","initial_owner":"Sultan Salim I (also Selim, r. AH 918–26 / AD 1512–20).","dates":"Hegira 918–26 / AD 1512–20.","location":"Damascus","dimensions":"Width 3.5 cm, diameter 18.5 cm.","method_for_datation":"The inscription on the plate indicates that it was made by order of Sultan Salim I, (r. 918–26 / 1512–20).","method_for_provenance":"The inscription on the plate indicates that it was made in Damascus.","provenance":"Damascus, Syria.","obtention":"Purchased in 1935.","bibliography":"Cluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994.  \nPorter, V., *Medieval Syrian Pottery*, Oxford, 1981.  \nSoustiel, J., and Kiefer, C., *La céramique islamique*, Fribourg, 1985, p.441.  \nWatson, O., *Ceramics from Islamic Lands*, London, 2004.","linkcatalogs":"IAM_TR_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Baghdad","ceramics","Constantinople","Damascus","determining qibla direction","earthenware","Jerusalem","Ka'ba","Kabul","Mecca","prayer","Prayers","qibla","Sayyid Thabit","Sultan Salim (Selim)","Tehran","transparent glaze"],"materials":["and a transparent glaze.","Earthenware with black and blue paint on a white base"]},"ac82d495-0ecf-5ced-bc7a-791a0ede9ca4":{"name":"Milas Prayer Rug","description":"This prayer rug was woven in the Milas region, one of the most important rug producing centres of Anatolia. It differs from typical Milas prayer rugs because it is without a *mihrab*. Rather, the design uses a central rectangle in place of the *mihrab*. The rug borders are decorated with rosettes, dragons and stylized clove strings arranged from outside to inside. The same motifs are repeated in the main ground.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 174cm, W: 104cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Muğla, Milas","obtention":"Acquisition unknown","bibliography":"Unpublished","author":"Mehmet Demir","copy_editor":"Lisa Kelman","keywords":["Milas Prayer Rug","West Anatolian"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"ad7466a2-5fe7-545f-9873-cd226f645d31":{"name":"Mosque lamp","description":"Among the many forms of art present and flourishing on the territory of Syria, glassmaking was of particular importance. Syrian artisans seem to have been masters of the art, practicing various techniques from the earliest of times, for much of the best Roman glass was made in this area. The early development of glassmaking in Syria is primarily attributed to the Phoenicians, who previously inhabited the coastal belt. The mastery of techniques has continued into the Muslim period, since blown, moulded, and cut glass were made for the Muslim patrons. An essential aspect of the complete practice was the one of enamelled glass – a technique familiar to us from Roman times, but one that truly flourished and completely evolved under the Islamic rulers. A particular characteristic of this fruitful period is the decoration of a very distinctive form of lamp, with a large bulging base and upper section and narrow waist in between. Earlier examples are usually assigned to the 13th century AD, but the majority belongs to the 14th century AD or maybe even later. *Kufic* or *naksh* script were frequently the central element of decoration, whereas in Egypt, there was presence of motifs with heraldic significance. This magnificent example is decorated with gold, blue, red and green enamel, which create floral and organic forms, as well as arabesques.","type":"Candle Holder","holder":"MAK – Museum of Applied Arts","dates":"1360– 1380 AD","location":"Vienna","dimensions":"Diameter: 22.5cm, Height: 35cm","provenance":"Syria, Egypt","obtention":"Donation","bibliography":"Mrazek, W., et al. (ed), *Kunst des Islam; 28. Mai bis 26. Oktober 1977*, Vienna: Schloss Halbturn, 1977: cat. 121, ill.  \nTalbot Rice, David, *Islamic Art*, London: Thames and Hudson, 1965.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-51852","author":"Mio Wakita-Elis","copy_editor":"Rachel Parish","materials":["Blown colourless glass","enamel painting","gold decoration"]},"ae331064-372e-59a2-9ad1-641a18b7d070":{"name":"Sanctuary and Altarpiece of the Transit of St. Bernard","description":"The Cistercian Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques (the first King of Portugal) in 1153. Having just conquered the Arabs, Afonso Henriques wanted to commemorate his victory, and foundation of the monastery was part of his strategy to consolidate his authority in the new kingdom. The Monastery is considered to be one of the best preserved medieval monastery complexes in Europe besides being a bastion of the Portuguese nationality.  \nSanctuary: as part of the New Sacristy, this Chapel was called the “Mirror of Heaven” by the eminent Portuguese art historian, Reinaldo dos Santos, due to its supreme beauty and spirituality. Building began in 1670 when Frei Constantino Sampaio was Abbot of the Monastery (1669–1672).  \nWith an octagonal plan, the interior is fully covered with gilded wood and is lit by a ceiling lantern. This light, filtered and diffused, enhances the theatrical atmosphere of the gilded and polychrome Baroque octagonal structure, which includes six horizontal niches filled by 89 reliquary sculptures.  \nAltarpiece of the Transit of St. Bernard: the sculptural ensemble in terracotta represents the Transit of St. Bernard. It was built when Frei Sebastião de Sottomayor was the Abbot of the Monastery (1675–1678). The ensemble can be divided into two groups: at the lower level is a group of free-standing sculptures and another of high-relief figures inserted at the back of the altar. St. Bernard is shown in agony at the centre of the scene, while close to his feet Cistercian monks mourn his death. Close to St. Bernard’s head, the kneeling General Abbot and a group of musician angles glorify his death. At the top, surrounded by two musician-angels and cherubs, the Virgin welcomes the soul of St. Bernard with opened arms. The life-size sculptures are built in overlapping horizontal blocks.","short_description":"The Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques in 1153. The monastery became powerful due to donations throughout the centuries and contains several treasures, namely the Baroque reliquary Sanctuary and the Altarpiece of the Transit of St. Bernard.","type":"Sculpture – Sanctuary and Altarpiece","holder":"Alcobaça Monastery","owner":"Alcobaça Monastery","initial_owner":"Alcobaça Monastery","location":"Alcobaça, Leiria","place_of_production":"Alcobaça","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Alcobaça Monastery","obtention":"In Situ","bibliography":"Moura, C., *O Limiar do Barroco*, Lisbon, 1986.  \nSerrão, V., *História da Arte - O Barroco*, Lisbon, 2003.  \nMoura, C., *A Escultura de Alcobaça e a imaginária monástico-conventual (1590–1700),* Lisbon, tese doutoramento, 2007.  \nA. V. Remígio, “The Monastery of Saint Mary of Alcobaça. The Conservation-Restoration of the Sanctuary Reliquaries”, available at HTTP:  \n[http://www.e-conservationline.com/content/view/800/258/#ing1-4](http://www.e-conservationline.com/content/view/800/258/#ing1-4) (26/10/2009).","workshop":"“Terracotta” workshop, Alcobaça","copyright":"Copyright images: Instituto de Gestão do Património Arquitectónico e Arquelógico,I.P/DIDA A.F.","author":"Cecília Gil","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Cistercian Order","Counter-Reformation","Our Lady of Assumption","sculpture","Terracotta"],"materials":["polychrome and gilded wood and terracotta. Altarpiece Transit of St. Bernard: terracotta","Sanctuary: chased"]},"ae7c39ba-6ec7-52c7-ab26-aa458671c2ad":{"name":"Chasuble (Mass vestment for the Catholic liturgy) of Ottoman silk fabric with European woven borders","short_description":"Bursa was an important hub of trade for Iranian silk and developed into a leading centre for the production of silk fabrics. As such, it did not only purvey to the Ottoman Court; silks from Bursa were coveted export goods for Europe, as is shown by this chasuble. At the same time, Italian silks were very much in demand in the Ottoman Empire. One consequence of this intensive exchange is seen in a reciprocal influencing of motifs, so that frequently technical details are the only characteristics that tell us where the silk fabric was woven, in Italy or in the Ottoman Empire.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"3rd quarter of the 16th century","location":"Vienna","dimensions":"H: 100.5cm, W: 65.5cm","provenance":"Ottoman Empire or Bursa","obtention":"Purchase","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98544","author":"Martina Dax","keywords":["floral motifs","liturgical vestment","Ottoman textile","trade"],"materials":["gold and silver lamella","Lampas broché","lancé","Linen","silk"]},"ae7c4ab2-69d3-5454-816e-13b25357dc86":{"name":"Multiple-niche prayer kilim (*saf*)","description":"The multiple-niche prayer carpets, called *saf* (from the Arabic word for “row”), are sometimes improperly referred to as “family” prayer rugs. They were used in mosques, their particular design allowing several people to pray one next to the other. Here, the uneven colour areas in the *mihrab* field, the somewhat irregular shape of the arches, and the stylised vegetal motifs are indicative of its tribal, probably Kurdish, provenance. Unlike most large Anatolian kilims, made of two narrow bands, this one is made of only one piece. The Arabic inscriptions and the fact that the carpet was dated make it all the more valuable.","type":"Prayer kilim","holder":"The National Museum of Art of Romania","dates":"Dated Hegira 1253 / AD 1837–1838","location":"Bucharest","dimensions":"H: 219cm, W: 323cm","method_for_datation":"Dated; stylistic analysis; dye analysis; presence of metal strip","provenance":"Turkey, eastern Anatolia, Malatya","obtention":"Purchased; formerly in the Dr Iosif N. Dona Collection","bibliography":"Dunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 13.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Kurdish","saf"],"materials":["kilim weave","metal strip","wool"]},"af522df8-2bb6-5764-b5cf-7a2ae9be0f31":{"name":"Kaaba Key","short_description":"Silver-inlaid inscriptions embellish this bronze key attached to a moon-shaped ring. Its unique profile safeguards the house of God in Islam.  \n  \nThe inscriptions bear religious and political messages, including Qur’anic verses and the name of Sultan Abd Al-Aziz, commissioner of this key in the 19th century.  \n  \nProphet Ibrahim and his son Ismail are believed to have raised the sanctuary’s foundations, carrying a sacred tradition of guardianship. Today, the Shayba family preserves the key in a bag made of silk, gold and silver. As authorized keykeepers entrusted by Prophet Muhammad (PBUH), twice a year, they unlock the Kaaba for purification with rosewater and holy water.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 44cm, Width: 12cm","place_of_production":"Turkey","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscription.","method_for_provenance":"The key was used to close the door of the Kaaba in Mecca, Saudi Arabia.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Abbas, H., \"3 The Prophet\\`s Farewell and Delegating Spiritual Guardianship\", in Hassan Abbas (ed), *The Prophet's Heir: The Life of Ali ibn Abi Talib*, New Haven: Yale University Press, 2021: 71–91.  \nHawting, G. R., \"The sacred offices of Mecca from jahiliyya to Islam\" *The Arabs and Arabia on the Eve of Islam*, New York: Routledge, 1999: 244–267.  \nPeters, F., \"Chapter III. Building the Holy Land\" in F. Peters, *Mecca: A Literary History of the Muslim Holy Land*, Princeton: Princeton University Press, 2017: 107–154.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Bani Shayba","Kaaba","Key","Mecca","Saudi Arabia"],"materials":["Bronze","inlaying","Silver"]},"aff8cde7-1f94-523b-b92a-5dd0a0feaca4":{"name":"*Hajj Day*","description":"Abdulhalim Radwi often evoked his hometown of Mecca, emphasising the importance of the Ka’ba as a source of universal energy and a religious symbol.  \nIn Hajj Day, the Ka’ba is surrounded by a central circle around which various elements of the composition revolve. The artist manipulates perspective so that near and far elements converge and intersect around the Ka’ba. Facial features are absent, and the artist has stripped the city of Mecca of all detail except for the main elements - the Ka’ba, the overlapping mountains and the pilgrims coming for the Hajj.  \n  \nIn contrast to his colourful scenes, Radwi removes the vibrant colours in this work, opting for a monochrome palette to emphasise the unity of the elements under this universal energy. In his series depicting Mecca, the artist emphasises the importance of Mecca as a place of peace, where there is no difference between people, who are all there for the same reason regardless of their cultures or social status.  \n  \nRadwi often uses Arabic words and letterforms in his artwork, including religious expressions such as Allah; *bismillah*, or 'in the name of God'; *and la illah ila Allah*, or 'there is no god but God'), as well as other Arabic expressions. This demonstrates Radwi's commitment to incorporating an Arab and Muslim identity into his work. In addition, his continued use of visual symbols such as crescents and other motifs underlines the importance of these symbols as signs of cultural heritage.","type":"Painting","holder":"MATHAF, Arab Museum of Modern Art","dates":"AH 1408 / AD 1987","location":"Doha","dimensions":"104.4cm x 104.4cm x 4cm","copy_editor":"Judy Harter","keywords":["day","hajj","Mecca","Zam Zam","Zamzam"],"materials":["cotton","Oil paint","Wood"]},"b1a4a767-03a6-5102-a4ba-95f407ea3166":{"name":"Cope of Metropolitan Neophytos of Nicomedia","short_description":"This is a rare example of an ecclesiastical vestment made of *seraser* silk, the most opulent type of Ottoman silk entirely covered with silver and gilt thread. The loom-width design contains Chinese cloud scroll bands surrounding a large rosette reminiscent of a solar disc. A document of 1629 in the monastery of Saint John the Forerunner in Serres records the presentation of a “seraser cope” by the Metropolitan Neophytos.","type":"Liturgical garment, silk and silver metallic thread","holder":"Benaki Museum","dates":"Hegira 1038 / AD before 1629","location":"Athens","dimensions":"Height 139 cm","provenance":"Bursa or Istanbul","keywords":["Chinese motifs","costume","liturgical vestment","Ottoman textile","Seraster","silk","textile"],"materials":["silk","silver and gilt metallic thread"]},"b219c708-5c5d-5d57-9001-066f44ad30a5":{"name":"Pen Case","short_description":"Intertwining geometric shapes, interlaced six-pointed stars and Qur’anic verses embellish the pipe-shaped pen cases. A pen or *qalam* is encased by the box called qalamdan which reveals another opening to fill with ink. In *kufic* calligraphy, the 35th verse from the Surat al-Nour stretches across the cylindrical body with the words “Allah is the light of the heavens and the earth”.  \n  \nOriginating from Ottoman Syria during the 19th century, the pen box represents a group of religious objects belonging to Mamluk Revival metalwork. Taking inspiration from the bronze hammered objects inlaid with silver and copper, the revival ware is most often cast into the desired shape. The interlaced hexagram and calligraphy style are recognizable traits of Mamluk art.  \n  \nThe art of writing the Qur’an reflects a significant form of worship, as the earthly materialization of God’s word. Writing tools, therefore, received exceptional attention, crafted from precious materials with Qur’anic verses as decorations. While the oldest qalamdan is dated 1148, Mamluk revival cases had a far-reaching influence in Europe and Asia.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 19cm, Width: 4cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art,* Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3 (2014): 382–398.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Mamluk Revival","metalwork","Ottoman","Pen case"],"materials":["Bronze","Engraving"]},"b2648886-b553-5399-8946-93cb4e8f1c49":{"name":"‘Transylvanian’ prayer rug","description":"The term “Transylvanian” rug is used to designate 17th- and 18th-century rugs preserved in large numbers in the Saxon churches of Transylvania, whose provenance, considered once to be Transylvanian, is, in fact, western Anatolian. Some of these rugs feature the *mihrab* design, typical of prayer rugs; in most cases though, the prayer niche becomes a purely decorative element devoid of its original meaning, a fashionable motif popular with carpet buyers outside the Islamic world. Here, the plain red field of the *mihrab* contrasts with the main border richly decorated with alternating rosettes and palmettes encircled by lancet-shaped leaves – a simplified version of the classical court rug border. The flower on the pointed top of the *mihrab* symmetrically divides the composition with highly stylised carnations and serrated leaves represented in the yellow and blue spandrels; as such, different coloured spandrels are rather unusual.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 17th century","location":"Bucharest","dimensions":"H: 160cm, W: 117cm; knot density ver. 28/dm; hor. 34/dm; 952/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 12.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 3.  \nIonescu, Stefano (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 201.  \nZigura, Alexandra, *Covoare turceşti din colecţia muzeului*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1966: 30–1.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"b29465cd-3c48-54c4-8f56-a91ebfdc4e87":{"name":"Mosque Lamp","short_description":"Floral and geometric patterns adorn this bronze lamp to be illuminated a mosque in Jerusalem. Since the emergence of the first mosques, lamps made of ceramic, glass and metal lit religious buildings modestly; however, metal lamps endured as the most popular in Palestine.  \n  \nIn the Palestinian territory, smiths crafted Christian and Muslim lamps in similar engraving styles and shapes from the Mamluk period, feeding their wicks with olive and other local oils. During Ramadan, the *muezzin* often suspended lamps in the minaret to light and blow out as an indication of fasting times.  \n  \nWith its large bell-shaped body, Arabic inscriptions in *thuluth* script, and the six-pointed star of Prophet Sulayman (Solomon) for good luck, the lamp represents a typical example of Mamluk metalware to cast light in devotional buildings in the Levant until today.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 97cm, Height: 157cm, Diameter: 70cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Palestine, Jerusalem","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, New York: Suny Press, 1983.  \nSardi, M., and Motsianos, I., \"Lighting in Muslim and Christian Religious Buildings\", in Costas Papadopoulos (ed), *The Oxford Handbook of Light in Archaeology*, Oxford: Oxford University Press, 2017.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["engraving","Mosque Lamp","Palestine"],"materials":["Bronze","Engraving"]},"b2ca91ca-c46b-5e08-b073-5f3ded54c993":{"name":"Monstrance of the Bemposta","alternate_name":"Monstrance of the Chapel of the Palace of Bemposta or Palace of the Queen","description":"This magnificent monstrance in gilded silver and gold with a triangular base, sits on three volutes ornamented with floral motifs, ribbons and cartouches. On the three inferior angles of the base there are cherubs and three figures that symbolise Faith, Hope and Charity. On the top corners there are three full-bodied angels conveying Eucharistic motifs, while six cherubs and seraphs, overlap, ascending along the stem.  \nOn the three faces of the base oval bas-reliefs represent themes from the Eucharist: The Supper at Emmaus and the giant bunch of grapes, Fruit from the Promised Land and Christ at Calvary.  \nThe monstrance' sunburst is encircled by clouds. It has a radiant splendor with irregular rays, covered with precious stones. The monstrance's surface is entirely adorned with precious stones, some of them large and of excellent quality, creating a spectacular decorative and chromatic effect.  \nThe theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metal and gemstones.  \nIt is likely the monstrance was commissioned by King Pedro III, husband of Queen Maria I. In Pedro III's Will of 1786 he foresees that his son, the future King João VI, should have the country house in Queluz, and urges him to care for the divine cult traditionally associated with the Bemposta Chapel, where he wished the precious monstrance to be kept.  \nAttribution of this piece is controversial. Traditionally, researchers attributed it to J. F. Ludovice, the goldsmith and architect of the Convent of Mafra. Their theories were based on an existing drawing of the monstrance at the Museum, which also came from the Bemposta Palace.","short_description":"A majestic monstrance in gilded silver with precious stones that creates a spectacular chromatic effect. The theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metals and gemstones.","type":"Metalwork","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"King Pedro III (1717–1786)","dates":"1740–1780","location":"Lisbon, Lisbon","dimensions":"H: 97cm; l 33 cm","place_of_production":"Lisbon","method_for_datation":"Vassalo e Silva (2000) proposed that Adão Gottlieb Pollet both designed and made the monstrance. This is based on a specific analysis of the application of the gemstones. Although initially the  monstrance was dated to 1740–1750 the date is now thought to be later, 1775–1780.","provenance":"Chapel of the Palace of Bemposta","obtention":"Given over to *Museu National de Arte Antiga* by the National Academy of Fine Arts in 1876","bibliography":"Couto, J., Gonçalves, A. M., OUTO, J., *A Ourivesaria em Portugal,* Lisbon, 1960.  \nSmith, R., The *Art of Portugal: 1500–1800,* London, 1960.  \nTeixeira, J. M., *Triomphe du Baroque,* Brussels, 1991.  \nOrey, L., *Cinco Séculos de Joalharia no Museu de Arte Antiga,* London–Lisbon, 1995.  \nVassallo e Silva, N., \"As Custódias Jóias de Setecentos\", *Oceanos*, No. 43, 2000.","workshop":"International Baroque","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Leonor d’Orey","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["Eucharist","liturgical objects","Monstrances","religious object"],"materials":["amethysts","chrysoberyls","diamonds","emeralds","garnets and neutral quartz","Gilded engraved and chased silver","Gold","rubies","sapphires","topazes"]},"b4e72974-c00c-5720-9454-206dc84e1405":{"name":"Pashmina Niche Rug","description":"The new carpet style in the time of Mughal ruler Shah Jahan (1628-1647) was the flower style, featuring the naturalistic depiction of flowering plants. The refined elegance of the decorations, the use of expensive silk and pashmina and the high knot count are characteristic of the luxury carpets of this period. The silk warp was frequently dyed in bands. The flower style lived on in the works of the post-Shah Jahan workshops.  \n  \nIn the field, the ivory-coloured *mihrab* (prayer niche) with lobed arch is adorned on both sides by a crimson half cypress growing from a finely delineated column base. From the apex of the *mihrab* hangs a trapezoidal lamp; in the centre below, a three-branched floral bush grows from the bottom of the *mihrab*. Faint glimmers of the colourful bands (ivory, yellow, crimson, blue and green) can be seen in the plain ivory surface. The crimson spandrel is adorned on both sides with symmetrical floral patterns – vines, leaves and poppy blossoms. As is typical of flower style rugs, the major border of the rug contains lotus flowers against a dark blue ground and is enclosed in ivory field minor borders.","type":"Carpet","holder":"Museum of Applied Arts","dates":"Third quarter of 17th century","location":"Budapest","dimensions":"Height: 151cm, Width: 104.5cm, Knot density: 5,893/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Manufacturing techniques and stylistic analysis","provenance":"Kashmir or Lahore, North India or Pakistan","obtention":"Purchased from Adolf Roger, an art dealer of Budapest, 1895","bibliography":"Batári, Ferenc, *Csomózott indiai, kelet turkesztáni, kínai, tibeti és európai szőnyegek: Kiállítás a Miskolci Galériában a Budapesti Iparművészeti Múzeum gyűjteményéből / Knotted Rugs from India, Eastern-Turkestan, China, Tibet and Europe: Exhibition in the Miskolc Gallery from the Collection of the Budapest Museum of Applied Arts*, Miskolc: Miskolci Galéria, 1980: no. 1 and figure.  \nCsányi, Károly (ed), *Magyar szőnyegkedvelők egyesületének régi keleti szőnyegkiállítása az Orsz. Magyar Iparművészeti Múzeumban \\[Early Oriental Carpet Exhibition of the Hungarian Carpet Collectors' Association in the National Hungarian Museum of Applied Arts\\]*, Budapest: Iparművészeti Múzeum, 1924: 33, no. 151.  \nGombos, Károly, *Régi keleti imaszőnyegek*, Szolnok: Damjanich János Múzeum, 1979: no. 96.  \nLayer, Károly (ed), *Régi perzsa szőnyegek kiállítása: leíró-lajstrom \\[Early Persian Carpets Exhibition. Descriptive List\\]*, Budapest: Iparművészeti Múzeum, 1936: no. 42 and figure.","workshop":"Imperial workshop","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Lara Strong","keywords":["cotton","mihrab","Mughal rug","Pashmina"],"materials":["3 shoots","alternates moderately depressed","asymmetrical (Persian or Senneh) knot","Open to the left","Pile: Pashmina wool","red","Warp: Ivory","Weft: Beige cotton","yellow and green silk in stripes"]},"b5e98c52-08ad-5e05-97c5-2071372ff0ed":{"name":"Phelonion, Mass vestment for the Orthodox liturgy","short_description":"An offset pattern of lancet ovals is structured against a red background. The ovals end in a stylised lily forming the transition to the next oval. The interior pattern of the lancet ovals consists of a scale-like network. The seams disturb the repeat pattern, revealing that the textile was reworked so that it could be shaped as part of this Mass vestment for the Orthodox liturgy.","type":"Liturgical garment of Ottoman silk, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"16th century","location":"Vienna","dimensions":"H: 137cm, W: 155cm","provenance":"Ottoman Empire, Istanbul or Bursa","obtention":"Purchase","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98435","author":"Martina Dax","keywords":["geometric patterns","liturgical vestment","Ottoman Silk"],"materials":["gold and silver lamella","Lampas broché","lancé","silk"]},"b5eeb317-b1a2-5710-8891-111d70b464e6":{"name":"Ewer for Zamzam water","description":"Pear-shaped ewer with strap handle and serpentine spout. Brass lid and stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. The body and neck engraved with floral pattern, with applied palmette bosses to each side with trefoil suspension loops (one is missing).","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"12th century Hegira / 18th century AD","location":"Kraków","dimensions":"Height:  32cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Purchased by the Industrial Museum in Kraków from Markus Schwarz in 1900; collection taken over by NMK in 1950","author":"Monika Paś","keywords":["Islam","tombak","Zamzam"],"materials":["decoration cast and engraved","Gilded copper (tombak)","piece cast"]},"b65922f4-01d3-5457-a9bc-98f6df701f87":{"name":"Gospel cover of Dorotheos Proios from Edirne","description":"The gospel comes from Adrianople, but a handwritten note on the second page notes that: \"…it was crafted and decorated here in Smyrna\". From around the mid-eighteenth century Smyrna was the second most important port of the Ottoman Empire, and an important part of its economic life was in the hands of Greeks. The “Frankish quarter” and the preponderance of large-scale, foreign trade gave o cosmopolitan air to Smyrniot society. There is strong western European influence on this impressive silver cover made for Dorotheos Proios. Scrolled cartouches, thronging garlands of roses and conch shells in high relief make it a triumph of Rococo art, at least after the fashion in which it was understood in the Ottoman Empire. Smyrna was an important centre of silver production, but the designs were in general circulation and compositions were put together to fit the circumstances.","type":"Metalwork","holder":"Benaki Museum","dates":"1816","location":"Athens","author":"Ballian 1992, 86-7, no.46"},"b705e8a3-17fc-5217-8640-d86017b77c66":{"name":"Zamzam Water Bottle","description":"This simple, circular Zamzam bottle has been constructed from copper-alloy sheet and decorated with hammered and incised decoration. A very narrow cylindrical neck gives access to the body of the vessel, and a chain secured to its shoulder allows it to be carried. Every pilgrim to the Holy City of Makkah will make a point of drinking and collecting water from the sacred well of Zamzam, located near the Ka’bah within the precinct of the Holy Mosque at Makkah al Mukarramah. Its never ceasing flow is considered a miracle, and its properties are believed to aid good health and wellbeing. To this day, pilgrims to Makkah make a point of taking as much Zamzam water as they can back with them, not least to distribute it to loved ones and treasured friends in order to allow them to partake in the water's beneficial properties.","type":"Metal Bottle","holder":"Sharjah Heritage Museum / Sharjah Museums Authority","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"b81f4192-674c-5d84-b11c-20c80e67d288":{"name":"Box","short_description":"This Syrian bronze box is inlaid with silver and copper wire, displaying geometric patterns, interlaced six-pointed stars and Arabic calligraphy. Four legs ending in stylized paws elevate the casket to create suitable storage for a Qur’an.  \n  \nThe ninety-nine beautiful names of God known as *al-Asma al-Husna* cloak the box in the *maghrebi* calligraphy style. The names of God add a protective layer to the Qur’an chest.  \n  \nThis particular copper-alloy container resembles the Mamluk metalware from Syria in the 13th to 16th centuries with prominent features including silver-inlaying, palmettes and sumptuous geometric patterns. This type of Mamluk Revival art became increasingly popular in Egypt, Syria and Europe during the 19th century, at a time when the Syrian economy witnessed enhanced dependence on foreign merchants. As Damascene revivalist metalwork appealed to Europeans with Orientalist attitudes, local craftsmen attempted to emulate the older pieces.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 33cm, Width: 29cm, Height: 4cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3(2014): 382–398.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Box","Inlaying","Mamluk Revival","metalwork","Ottoman","Syria"],"materials":["Bronze","inlaying","Silver"]},"ba8fded9-1679-518f-9ec9-6179d462f308":{"name":"Prayer rug","description":"The composition of the central field recalls the triple-arch design of certain Ottoman court rugs; only this time the lateral niches are merely suggested and the columns are made up of decorative floral bands. The column bases also feature floral patterns, and, instead of the lamp evoking Sura An-Nur (“The Light”), a flower garland is hanging from the apex of the centre niche. The main border of alternating palmettes and rosettes is reminiscent of classical carpet borders (16th–17th centuries). Compared to these, the layout of the present rug is lacking in accuracy, which accounts for the incomplete motifs in the bottom left corner. The rug is however remarkable for the balanced palette of warm and cool hues and its exquisite workmanship, qualities not to be found in later Kula carpets which will resort to a more subdued colour range and a rather coarse weave.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 190cm, W: 130cm; knot density ver. 43/dm; hor. 37/dm; 1,591/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, western Anatolia, Kula","obtention":"Purchased; formerly in the Dr Iosif N. Dona Collection","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 20.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 4.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","triple-arch design"],"materials":["knotted","symmetrical knot","wool"]},"bbc8f1e6-fdee-507b-9bb8-8b0201e8ff87":{"name":"Recycled prayer rug","short_description":"On this recycled Moroccan prayer rug, a prayer niche indicates the direction of prayer towards Mecca. A mosque lamp makes reference to the verse of light in the Qur'an: \"God is the light of heaven and of earth. His light [comes] as if from a niche, in which a lamp stands.\" (Sura 24, Verse 35). Two stylised hands indicate to those praying where their hands should come to rest. Uppermost is the invocation to God: \"Allahu akbar\" – \"God is the greatest\". The open hand symbolises the five fundamental obligations of Islam (confession of faith, prayer, charity, fasting, pilgrimage). At the same time, the hand provides protection against negative influences and evoke happiness and fertility.","type":"Textile; rug; religion","holder":"Weltmuseum Wien","dates":"Before 2010","location":"Vienna","dimensions":"L: 108cm, W: 54cm","method_for_datation":"Entry in the TMS digital collection database and archival documents, personal information from the collector.","method_for_provenance":"Entry in the general inventory book, personal information from the collector.","provenance":"Morocco","obtention":"Purchased from the collector, Gebhart Blazek, Graz, 2011.","bibliography":"Steinmann, Axel, \"Hand and Eye\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 106-109.","materials":["Synthetic fibres","wool"]},"bc55917f-d0f7-5bd8-a131-1a210f5df63d":{"name":"Mosque lamp for the mausoleum of Amir Aydakin al-‘Ala'i al-Bunduqdar","short_description":"Mamluk amirs adopted emblems, often connected to their ceremonial roles at court, which decorated the objects and buildings they commissioned. Here the two gold crossbows against a red shield indicate that the patron of this lamp held the high-ranking office of *bunduqdar* (keeper of the bow) at the Mamluk court. The inscription states that the lamp was ordered for the mausoleum of Aydakin al-‘Ala’i, who died in Cairo in 1285.","type":"Glass","holder":"The Metropolitan Museum of Art","dates":"Shortly after Hegira 686 / shortly after AD 1285","location":"New York","dimensions":"H: 26.4cm, Diameter of rim: 21cm","provenance":"Probably Cairo, Egypt","obtention":"Gift of J. Pierpont Morgan, 1917  \nFormer owner: Emile Gaillard, Paris (until d. 1904; sale, Hôtel Gaillard)  \nFormer owner: J. Pierpont Morgan, New York (1904–d. 1913; his estate 1913–17; gifted to MMA)","bibliography":"Carboni, Stefano, Whitehouse, David, Brill, Robert H. and Gudenrath, William, *Glass of the Sultans*, New Haven: Yale University Press, 2001: 228–30, no. 114, ill. 229 (colour).  \nDenny, Walter B., *How to Read Islamic Carpets*, New Haven/London: The Metropolitan Museum of Art, 2014: 47, ill. fig. 33 (colour).  \nDimand, Maurice S., *A Handbook of Mohammedan Decorative Arts*, New York: The Metropolitan Museum of Art, 1930: 189, 194, ill. fig. 118 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art: 1944. 240, ill. fig. 156 (b/w).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators,* New York: The Metropolitan Museum of Art, 2012: 226–27, ill. pl. 45 (colour).  \nCampbell, Thomas P. (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 2012: 130, ill. (colour).  \nEkhtiar, Maryam, Canby, Shelia 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: 4, 139, 160–61, no. 109, ill. 160 (colour).  \nEttinghausen, Richard, \"Islamic Art\", *Metropolitan Museum of Art Bulletin*, 33/1 (Spring 1975): ill 21 (colour).  \nJenkins-Madina, Marilyn, \"Islamic Glass: A Brief History\", *Metropolitan Museum of Art Bulletin*, 44/2 (Fall 1986): 40, ill. fig. 47 (colour).  \nMayer, Leo Aryeh, *Saracenic Heraldry: A Survey*, Oxford: Clarendon Press, 1933: 83–84.  \nde Montebello, Philippe and Howard, Kathleen (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 1992: 318, ill. fig. 17 (colour).  \nStrouse, Jean, \"J. Pierpont Morgan: Financier and Collector\", *The Metropolitan Museum of Art Bulletin*, 57/3 (2000): 63, ill. fig. 74 (colour).  \nNickel, Helmut, \"A Mamluk axe\", in Richard Ettinghausen (ed), *Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1972: 216, ill. fig. 5 (b/w).  \nSoucek, Priscilla (ed), *Content and Context of Visual Arts in the Islamic World : papers from a colloquium in memory of Richard Ettinghausen, Institute of Fine Arts, New York University. Monographs on the fine arts. Vol. 44*, University Park, PA: College Art Association of America, 1988: 225, 253, ill. fig. 20 (b/w).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 51–52, ill. fig. 36 (colour).","copyright":"The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917","keywords":["Arabic inscription","architectural element","blazon","Blown glass","Cairo","coat of arms","Egypt","Emblems","Enamel","gilding","glass","glass enamel","Heraldry","inscription","inscription band","lighting","Mamluk","medallion","Mosque","Mosque Lamp","prayer","religious object","symbol","Thuluth"],"materials":["applied handles","blown","brownish","enamelled and gilded","folded foot","glass"]},"bc7e3eae-5354-5ec9-bfb6-2bdb12fdb9ce":{"name":"Gördes Prayer rug","description":"Gördes, in the Manisa Province, Anatolia was an important rug producing town during the 17th and 18th centuries. The name “Gördes knot” was coined for the symmetrical knot technique after the fame and popularity of the region’s rugs. However, the “Gördes knot” technique is older than the town and wide‒spread geographically. This example is a prayer rug. The niche corners are decorated with two trees of life. The head band is composed of rose and rosebud motifs. Various flowers motifs are used on the borders as an expression of heavenly gardens.","type":"Prayer rug","holder":"Manisa Museum","dates":"17th century","location":"Manisa","dimensions":"L: 30cm, W: 50cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Gördes","obtention":"Transferred from the Istanbul Museum of Turkish and Islamic Arts","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 2, Katalog no: 129.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Gördes rug","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"bd7a3cd3-6bbf-5036-bebe-7fdc38ffd56d":{"name":"Monstrance","description":"The monstrance is by the Graz goldsmith, Hans Georg Pfisterer. The shaped oval base has enamel medallions showing scenes from the Passion of Christ and continues into a knob, shaped like a Baroque vase, from which rises the top part of the monstrance of the so-called sun type. Bands and foliate ornaments completely cover it intertwined with filigree and jewels. The opening of the ostensory has a six-sided moulded frame made up of wavy and angled sides and surrounded by airy filigree ornamentation of entwined scrolls and jewels that form flowers. Above the ostensory is a richly decorated canopy under which God the Father, holding the globe, hovers in clouds. Above the canopy is the dove of the Holy Ghost. At the foot of the frame, two adoring angels kneel on narrow decorated bases. The bottom edge of the monstrance has a lambrequin motif from which pearls hang.  \nBishop Juraj Branjug of Zagreb acquired the monstrance. He was one of Croatia’s most active bishops in 18th-century in the field of religious art building a new palace in Zagreb and renovating and building many churches. He had his own woodcarving workshop at Kaptol whose master craftsmen made altarpieces and pulpits adorned with the bishop’s arms for many churches. He bought and donated first-class liturgical objects to the cathedral.","short_description":"A so-called sun monstrance covered with filigree work, a series of bands and foliate ornaments, jewels and enamel medallions showing the Passion of Christ. Made by the Graz goldsmith, Georg Pfisterer, it was acquired by Bishop Juraj Branjug for Zagreb Cathedral.","type":"Liturgical object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1738","location":"Zagreb, North-West Croatia","dimensions":"H: 69 cm; base: 24 cm x 19 cm","place_of_production":"Graz","method_for_datation":"The monstrance has the hallmark of Graz, the year 1738, and the maker’s initials “G. P.” in an oval, which belongs to the Graz goldsmith, Georg Pfisterer.","obtention":"Acquired by the Bishop of Zagreb, Juraj Branjug (1723–1748), for Zagreb Cathedral.","bibliography":"Bach, I., *Inventar zagrebačke katedrale* (Inventory of Zagreb Cathedral), Zagreb, 1951.  \nLentić, I., *Predmeti od metala u riznici zagrebačke katedrale* (Metalwork in the Treasury of Zagreb Cathedral), Zagreb, 1983.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes","Enamel","filigree","precious gems","religious object","silver"],"materials":["filigree","gilded and embossed","jewels and enamel","Silver"]},"bde1bb31-4ed9-500e-8ed0-c80c51d8d0cd":{"name":"*Minbar*.","description":"This *minbar* is a mobile pulpit with eight steps supported by vertical walls ending with lateral arcatures linked by a ramp. Both the internal and external sides are decorated. The entire Andalusian decorative repertoire – vegetal, floral, geometric and epigraphic – has been employed. The sides and the back are framed with *kufic* inscriptions (Qur'anic text, pious formulas and three foundation texts). The characters are embossed, sculpted or inlaid. Marquetry and bone and ivory inlay have been used on the sides for chequered geometrical knotwork and the floral designs, in the shape of trees of life, crowned by arcatures that decorate the back and the risers. The variously shaped small polygonal wooden panels that fill the interstices of the geometrical knotwork are sculpted and carved with floral and vegetal motifs with an outstanding level of delicacy and precision that is reminiscent of and even surpasses the work on Umayyad ivory boxes. In addition to the sculptures and carving, the palette of colours and shades of the valuable woods make this liturgical object a masterpiece of the genre. One of the inscriptions says that 'Ali ibn Yusuf commissioned it from a workshop in Córdoba in AH 532 / AD 1137 for the Great Mosque of Marrakesh. The Almohad 'Abd al-Mu'min spared the *minbar* when he razed 'Ali's mosque in AH 542 / AD 1147. He put it in his mosque, the original Kutubiya and then transferred it to his second, current Kutubiya, where it was used until the 1950s.","short_description":"Made in Córdoba for the Great Mosque of 'Ali ibn Yusuf in Marrakesh, it was spared by the Abbasid 'Abd al-Mu'min and placed in his mosque, the Kutubiya. The meticulous, precise and subtle crafting of this item make it the only *minbar* to have survived to our times, a masterpiece of its type.","type":"Woodwork, minbar, wood","holder":"Badi Palace.","owner":"Kutubiya Mosque (*habus* or *waqf* – endowment).","initial_owner":"The Almoravid monarch ‘Ali ibn Yusuf commissioned it for his Great Mosque of Marrakesh.","dates":"Hegira 532 / AD 1137 (commenced).","location":"Marrakesh.","dimensions":"Height 386 cm, length 346 cm, width 87 cm.","method_for_datation":"The inscription engraved on the last upright on the left side reads: 'This *minbar* was made in Córdoba, God protect it, for the Great Mosque of the city of Marrakesh, God protect it, and its construction began with God's help on the first day of the month of Muharram in the year 532 (AD 1137), may God glorify the reward of its commissioner'. The inscription on the back arcature reads: 'May God help the prince \\[of the faithful, 'Ali ibn Yusuf\\] ibn Tashufin and his heir'.","method_for_provenance":"The place where it was made, (Córdoba) and its original location ('Ali ibn Yusuf's mosque) are mentioned in the inscription engraved on the back arcature: 'This *minbar* was made in the city of Córdoba, God protect it, for this great venerated mosque, may God help it to endure with the word of Islam. It was finished …' The name 'Aziz' engraved on the structure, discovered during restoration, could be that of a craftsman or foreman.","provenance":"Kutubiya Mosque.","obtention":"Removed from the Kutubiya Mosque for preservation in 1962 and restored. Since 2005 kept in a room in the Badi Palace.","bibliography":"Basset, H. et Terrasse, H., “Sanctuaires et forteresses almohades. V. La chaire de la Kotobîya”, *Hespéris* 6, Rabat, 1926, pp.168–207.  \nBloom, J. M., Toufiq, A., Carboni, S., Soultanian, J., Wilmering, A. M., Minor, M. D., Zawacki, A., Hbibi, M., *Le Minbar de la* *Mosquée Kutubiiyya*, Madrid, 1998.  \nDeverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nSauvaget,J., “'Sur le minbar de la Koutoubia de Marrackech”, *Hésperis* 36, Rabat, 1949.  \nTerrasse,H., “Minbars anciens dur Maroc”, *Mélanges d'histoire et d'archéologie de l'Occident musuman* 2 Algiers, 1957.","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","floral decoration","geometric decoration","liturgical object","Mosque interior decoration"],"materials":["acacia","assembled","box","carved","Different woods (cedar","inlaid and gilded).","ivory (sculpted","jujube)","natural bone painted green","openwork"]},"bf855ca5-82b9-5496-8eb9-62a39c53ba92":{"name":"Cope of signed Safavid silk fabric","short_description":"The cope, an important element in the array of Christian liturgical vestments, was fashioned out of precious Iran silk. At the time, the silk manufactories of the Safavid Empire were ranked among the highest-quality production centres in the world; their products were coveted export articles. This textile presumably found its way to Europe via the trade routes and was processed after its arrival. The fact that the silk is signed indicates the how highly it was valued by those taking part in its production.","type":"Vestment of Safawid Iranian silk, liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"2nd half of the 16th century","location":"Vienna","dimensions":"H: 151cm, W: 297cm","provenance":"Iran, Kashan","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97451","author":"Martina Dax","keywords":["Christian","Cope","floral motifs","geometric patterns","liturgical vestment","Manufacture","Safawid","silk","workshop"],"materials":["Braids","fringes","Lampas broché","lancé","metal threads","silk"]},"bfdbe8a5-e335-5014-a461-8cecc5b16445":{"name":"A complete cover for a Damascus *mahmal*, with the name of Sultan Mehmed IV","short_description":"The *mahmal* was a ceremonial palanquin that represented the authority of the Sultan over the Holy Places. The Mamluk sultan Baybars (r. 1260 – 1277) is reported to be the first to have sent a mahmal with the caravan of pilgrims from Cairo, and the custom was continued under Ottoman rule and almost without interruption until the early 20th century. This, the earliest of seven mahmal covers in the Khalili Collections, is an example of a second mahmal which left Damascus with the caravan of Syrian and Turkish pilgrims. The Egyptian and Syrian mahmals were occasionally joined by a third mahmal from the Yemen.  \n  \nThe embroidered Qur’anic verses are apposite: the text on the pyramid top is Qur’an, *sura* *al-Ahzab* (XXXIII), verse 56, which mentions the Prophet; the band around the lower part has al-Baqara (II) verse 127, which refers to Abrahim and Isma‘il raising the foundations of the House, that is, the Ka‘ba. At the very top, below the finial, is *sura* *al-Nahl* (XVI), verse 7: ‘And they carry your heavy loads to lands that you could not otherwise reach except with souls distressed’.","type":"Textile; *mahmal* cover; Damascus mahmal; ceremonial palanquin; wire embroidery; Mehmed IV","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Cover dated Hejira 1067 / AD 1656–7; finials are of a later date","location":"London","dimensions":"355 x 190 x 174 cm, as assembled","method_for_datation":"The *mahmal* cover is dated.","provenance":"Turkey, Istanbul","bibliography":"Behrens-Abouseif, D., “The mahmal legend and the pilgrimage of the ladies of the Mamluk court”, *Mamluk Studies Review*, 1 (1997): 87–96.  \nPorter, V., “The Mahmal Revisited”, in Porter, V., and Saif, L., (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 195–205.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","author":"Nahla Nassar","keywords":["banner","calligraphy","camel","Ceremonial object","cotton","Curtain","Damascus","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","Standard","textile","travel"],"materials":["Cover and finial banners of green silk","embroidered in silver and silver-gilt wire over cotton thread padding","finials of gilded copper alloy are a of a later date"]},"c13c410a-cc43-5e8b-8251-2f9bd6a4319e":{"name":"Kula Rug","description":"Kula, Manisa Province was an important rug producing centre. During the 18th and 19th centuries they supplied the demand of international rug companies. Most Kula rugs, including this example are prayer rugs. The main component of prayer rug decoration is the *mihrab* and can be described as a stylized arch surrounding the prayer area. This is a double *mihrab* Kula rug with band stairs on both sides. In double *mihrab* rugs there are two *mihrab*s, one at the bottom of the image and the other at the top. This Kula rug with a double *mihrab* has eight borders, four wide bands and four narrow bands. It is decorated with an image of flowers in a vase.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 200cm, W: 115cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Manisa, Kula","obtention":"Acquisition unknown","bibliography":"Unpublished","author":"Mehmet Demir","copy_editor":"Lisa Kelman","keywords":["kula Rug","Manisa","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"c147d8a2-97a3-5021-88ab-e73c8c00b9c1":{"name":"Traveller's Qur’an Scroll","short_description":"This parchment encapsulates the entire Qur’an. Tear-shaped leaf-patterns frame the holy book, which stretches across five showcases. The 114 chapters are written with horsehair with scripts illegible to the naked eye.  \n  \nDue to its shape and weight, Muslim travellers, in particular pilgrims, would carry this type of Qur’an, ensuring lighter luggage than traditional books. However, it is believed that Qur’an scrolls like this sample would function as a talisman or good-luck charm on long journeys rather than a book for reading.  \n  \nToday, smartphone applications make holy books accessible at your fingertips, while many global hotels provide religious texts for their guests.","type":"Book; Manuscript","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 890cm, Width: 4.5cm","method_for_datation":"The date and origin were derived from an examination of material and technique in a research comparison with similar scrolls.","method_for_provenance":"The date and origin were derived from an examination of material and technique in a research comparison with similar scrolls.","provenance":"India, Jaipur","obtention":"Purchase","bibliography":"Nünlist, T., \"Devotion and protection: Amuletic scrolls dating from the 14th century\", in Bethany J. Walker and Abdelkader Al Ghouz (eds), *Living with Nature and Things: Contributions to a New Social History of the Middle Islamic Periods*, Göttingen: V&R unipress, 2020: 475-533.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kashmir","Manuscripts","Quran"],"materials":["handwriting","Paper"]},"c148a3a5-ac87-5785-bf74-013a0b3503df":{"name":"Parts of the St. Mary and St. Ladislaus altarpieces from Zagreb Cathedral","alternate_name":"St. Mary and St. Ladislaus altarpieces","description":"The museum's altarpiece composition comprises parts of two altarpieces, that of St. Mary and St. Ladislaus. It has a central niche from the altarpiece of St. Mary – decorated with acanthus leaves, putti and bunches of fruit – within which the statue of Mary with the Child Jesus in her arms is standing on a half-moon entwined by a serpent. In front of the niche stand the statues of St. Ladislaus, the King, and St. Emeric, the Duke, which belonged to the altarpiece of Ladislaus.      \nThe composition, flanked by carved consoles attached to the wall, has the same ornamental decoration as seen in the central niche of the altarpiece of St. Mary; the consoles used to support painted altarpiece wings. Above them are the statues of the four evangelists, which were originally in the niches of the predella panel of the altarpiece of St. Ladislaus.  \nIn a contract of 1686, the sculptor from Ljubljana, Ivan Komersteiner, agreed to make the altarpiece of St. Mary for the apse of the north aisle of Zagreb Cathedral. In another contract of 1688, he agreed to make its pair, the altarpiece of St. Ladislaus, for the apse on the south aisle. Komersteiner was already a citizen of Zagreb with a workshop in Zagreb's Kaptol.    \nThe two altarpieces were identical in design: winged altarpieces with painted panels showing scenes from the Life of Mary on the altarpiece dedicated to her, with statues distributed on two levels and in the attic. Painted panels depicting scenes from the Life of St. Ladislaus decorated the altarpiece dedicated to him, with appropriate statues. While the wings from the altarpiece of St. Mary were destroyed those from the altarpiece of St. Ladislaus are kept in Zagreb City Museum.     \nSt. Ladislaus, the King of Hungary, was responsible for the foundation of the Zagreb Diocese.  \nKomersteiner was responsible for the statues and woodcarving. Ivan Eisenhort and Bernardo Bobić collaborated on the painting and gilding of the altarpieces, while Matijaž Erlman began the work on the architecture for the altarpiece of St. Mary.  \nThe arrival of the sculptor, Komersteiner, to Zagreb marked the final entrance of the Baroque in the sculpture of continental Croatia. He brought with him as a novelty the ornamental decorative motif of Baroque acanthus, so-called Italian leaves, and his statues anticipate a new style expressed in the mobility of the slender figures of saints in characteristic counterpoise, freeing them from dependence on altarpiece niches.      \nKomersteine's expression in his work has no direct analogies either in Croatia or in neighbouring territories, but the indirect influence of Italian art in his work is undeniable.  \nDuring renovations in 1882, both altarpieces were removed from Zagreb Cathedral.","short_description":"A “composite” altarpiece composition comprising parts from the Altarpieces of St. Mary and St. Ladislaus originally designed for the apses of the north and south aisles of Zagreb Cathedral.  \nDuring renovation of the cathedral in 1882, both altarpieces were removed and partially destroyed in the process. They were made by Ivan Komersteiner, a sculptor who worked first in Ljubljana and then in Zagreb. His arrival in Zagreb marked the final entrance of the Baroque to continental Croatia.","type":"Altarpiece(s)","holder":"Museum of Arts and Crafts","initial_owner":"Zagreb Cathedral","dates":"1686–1688; 1688–1690","location":"Zagreb, North-West Croatia","dimensions":"H: 220 cm; w: 214 cm; d:194 cm","place_of_production":"Zagreb","method_for_datation":"Contracts from 1686 and 1688 in Acta capituli antiqua fasc. 101","provenance":"From Zagreb Cathedral","obtention":"In 1921, the Commission for Education and Religion gave the order to transfer parts of the altarpieces to the Museum of Arts and Crafts to protect the cultural heritage.","bibliography":"Tkalčić, I., *Prvostolna crkva zagrebačka* (Zagreb Cathedral), Zagreb, 1885.  \nBaričević, D., *Kiparstvo manirizma i baroka. Sveti trag, devetsto godina umjetnosti Zagrebačke nadbiskupije 1094–1994*. Katalog izložbe (Mannerist and Baroque Sculpture. The Holy Trail, 900 Years of Art in the Zagreb Archdiocese 1094–1994), exhibition catalogue, Zagreb, 1994.","workshop":"Sculptural workshop of Ivan Komersteiner","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","carved wood","floral decoration","gilding","Madonna","sculpted wood","sculpture","vegetal decoration","workshop"],"materials":["Carved wood","polychrome and gilded"]},"c2097e9b-56b2-56db-8332-8b268a5e48e1":{"name":"Gördes double niche carpet","description":"The rug-weaving areas of Anatolia are conventionally divided into western, central and eastern regions. Western Anatolian centres such as Uşak, Gördes, Kula and their vicinity have a long tradition of carpet and rug production. Carpets from these centers were very popular in Europe. Ghiordes is an Anatolian town northwest of Uşak. Rugs in this area have been woven at least since the 18th century and perhaps long before.  \nThis type of rug is often called Kiz Gördes. *Kiz* is a Turkish word for a girl or a bride, so these types of rugs were intended as a gift from a bride to her husband on their wedding day. In the central field there is a double niche with central hooked diamond medallion on a red background. Spandrels are fields with diagonal rows of florets on a light blue background. Above and beneath the arches there are two oblong fields with cloud band shaped flowers. The central field is framed with three borders. The main border is decorated with large motifs of flowers and leaves. The inner border is decorated with geometrical motifs. The outer border is the leaf and blossom meander border.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 210cm, W: 115cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia","double niche","Ghiordes","medallion carpet","prayer rug"],"materials":["cotton","knotted carpet","symmetrical knots","wool"]},"c3101633-812c-5595-969c-ee2b57886090":{"name":"Mosque lamp.","description":"An enamelled glass and gilt mosque lamp with a wide funnel-shaped neck and a rounded rim. The lamp has a squat body, steeply sloping shoulder and a flattened base, and a tall pedestal foot with a pronounced pontil mark on the underside. Six trailed suspension loops are placed around the body at regular intervals. The lamp is decorated comprehensively with enamel decoration executed in red, blue and light-green, embellished with gilding. Around the neck is a wide band of *thuluth* script executed in blue enamel, surrounded by a floral border. An excerpt from the Qur’an (*Sura* 2; verse 256), the inscription is interrupted by decorative roundels rendered in gold, red and green, each of which contain a little cup in the centre. The lower neck and upper body are decorated with floral bands interrupted by roundels with individual floral motifs. On the main body, another inscription in *thuluth* script gives the titles of the official who commissioned the lamp: Zain al-Din Mubarak who, according to the blazon above, was cupbearer to the sultan, al-Malik al-Salih, who is also named in the inscription. There were two rulers with the same titulature, both of whom were the sons of Nasir Nasir al-Din Muhammad ibn Qalawun: the first, al-Malik al-Salih Isma’il (r. AH 742–5 / AD 1342–5); the second, al-Malik al-Salih Salih (r. AH 751–4 / AD 1351–4).","short_description":"Glass mosque lamps with enamelled decoration were commissioned in large numbers by the Mamluk elite in Egypt and Syria. Decorated with Qur’anic inscriptions and the titles of the patron, they were destined for the numerous mosques and *madrasas* endowed by the Mamluks throughout Cairo and the empire.","type":"Glasswork, enameled","holder":"National Museums of Scotland (NMS).","dates":"Hegira 742–54 / AD 1342–54.","location":"Edinburgh, Scotland","dimensions":"Height 38.10 cm, diameter 26.67 cm.","method_for_datation":"The appearance of the name of al-Malik al-Salih on this mosque lamp assigns the piece to the reign of either al-Malik al-Salih Isma’il (r. 742–5 / 1342–5) or to al-Malik al-Salih Salih (r. 751–4 / 1351–4).","method_for_provenance":"Mosque lamps of this type were made in large numbers in both Egypt and Syria during the 8th / 14th century.","provenance":"Syria.","obtention":"Purchased by NMS from the Major W. J. Myers Collection in 1900.","bibliography":"Carboni, S., and Whitehouse, D., *Glass of the Sultans*, New York, 2002 (for discussion on related mosques lamps and Mamluk glass).  \nEremin, K., and Al-Khamis, U., ‘Mamluk and Pseudo-Mamluk Glass in the National Museums of Scotland’, in *Annales du 15e Congrès de l’Association Internationale pour l’Histoire du Verre, New York, 2003.*","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["al-Malik al-Salih Isma’il","al-Malik al-Salih Salih","blazons","calligraphy","coat of arms","Emblems","enamelled glass","Mosque interior decoration","Mosque Lamp","Thuluth","Zayn al-din Mubarak"],"materials":["enamelled and gilded glass."]},"c37ef84c-4918-5c4a-89b2-3c585804a510":{"name":"*Bust of a Saint*","description":"The bust, on an original volute pedestal, arises out of a relatively narrow base widening into a compact chest. The bearded head is that of an old man, with a cloak thrown loosely over the right shoulder. The figure might be St. Hieronymus, one of the church fathers. The pedestal shows that the object was a reliquary.  \n*Bust of a Saint* demonstrates the artist's broad creativity seen not only his technical craft but also in his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn, but has an elegant, court-like nature manifest in the figure's S-shaped movement and the soft shaping of the volume.  \nLengelacher may have familiarised himself with bust-making in his native Bavaria, or during a stay in Vienna through Giovanni Giuliani, who provided the gallery pews in the Heiligenkreutz Monastery, Lower Austria, with a whole series of busts. Lengelacher probably met Giuliani while working on the decorations of the Belveder in Vienna.  \nIn 1719 Lengelacher settled in Mikulov, where as sculptor to Walter František of Dietrichstein, he created sculpted interior decorations for several south Moravian churches. Lengelacher's *Bust of a Saint* is part of a series of original decorations for altar tables in the Church of St. Michael, Dolní Věstonice, which Lengelacher embellished with stuccoes and carvings. The artist worked there from the 1720s in relation to one of his first major commissions, the Benedictine church in Rajhrad (1727–1734).","short_description":"*Bust of a Saint* demonstrates both the artist's skill as a sculptor and his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn but has an elegant, court-like nature. The reliquary bust is part of the original altar decorations in Dolní Věstonice.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Church of St. Michael in Dolní Věstonice","dates":"1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 27.2 cm","place_of_production":"Moravia","method_for_datation":"The authorship and dating of the sculpture have been determined by its provenance and confirmed by an analysis of the style.","provenance":"Private collection","obtention":"The bust and its counterpart were purchased in 1913 from a private vendor. It comes from the Church of St. Michael in Dolní Věstonice in South Moravia.","bibliography":"Miloš Stehlík, Moravské dílo Ignáce Lengelachera, in *30 let Krajského střediska památkové péče a ochrany přírody v Brně,* Brno, 1989, pp. 154–174.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 99.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 166, cat. 42.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bust","religious object","reliquary","sculpted wood","sculpture"],"materials":["silver-plated","Wood"]},"c4ba74ec-5d96-5dd1-9cc3-a2a1553b4630":{"name":"The Solovetsky Monastery","description":"Savvaty, a monk from the Kirilov Monastery, founded a small commune on the island of Solovki near the White Sea in 1392. He left the inhospitable island in 1435 and died later the same year. The next year, the monk Zosimas moved to Solovki and built the first monastic cell, which eventually became a splendid and wealthy monastery thanks to a lucrative salt trade and plentiful gifts. Zosimas remained the abbot until his death in 1478.  The monastery, with its numerous towers and thick, fortified walls, is depicted in the lower half of this icon, and Saints Zosimas and Savvaty are depicted above the monastery, flanked by two angels. This icon’s large scale and thematic content suggest that the image was produced at the Solovetsky Monastery.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1680","location":"Clinton, Massachusetts","dimensions":"Height: 144.8cm, Width: 106.7cm, Depth: 3.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"c5864634-4eda-5afc-9805-0634535b6407":{"name":"Religious coloured print: Protective hand with eye","short_description":"The raised hand with outspread fingers is universally understood by all people, regardless of language and culture: \"Stop!\" The protective hand and eye are inextricably associated with each other, in particular when it comes to defending against the evil eye, the envy of others. Material barricades, a symbolic eye or a repelling hand, should deflect danger and secure the continued existence of one's own family. A Turkish house blessing of the palm of a hand with an inscribed eye promises well-being and protection against the evil eye: \"*Allahın dediği olur*\"– \"God's will be done.\"","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1983","location":"Vienna","dimensions":"H: 35 cm, W: 50cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Turkey, Istanbul","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1983.\"","bibliography":"Steinmann, Axel, \"Hand and Eye\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 106-109.","materials":["Paper"]},"c5b5daa1-000f-54c3-95f9-2872725c902d":{"name":"Tile Bowl","description":"The bowl has a round and flaring rim. Its round body narrows towards the ring base. It is decorated with dark blue, green, red and yellow gilding on a white glazed ground. On the external part of the bowl, there are Surahs of al-Falaq and al-Ikhlas in medallions.  \nProduced in China for the Ottoman market.","type":"Ceramic","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","dates":"Hegira 12th century / AD 18th century","location":"Ankara","dimensions":"Diameter: 15cm","place_of_production":"China","copy_editor":"Alvaro Miranda","materials":["Terracotta tile"]},"c8a7c58e-d37a-5d59-9506-320c260a750e":{"name":"Saint Nicholas of Zaraisk with Various Scenes","description":"Saint Nicholas, a 4th-century bishop from modern-day Turkey, is one of the most venerated saints in Russia. He is known as a protector of the weak and poor. Stories of Saint Nicholas giving gifts to the needy and protecting children spread far and wide as people traveled or emigrated from Russia to other countries. In this icon, Saint Nicholas is shown full-length, giving a blessing with his right hand while holding the Bible with his left. He is flanked by images of the Mother of God and Christ. The images in the border depict important moments from his life.","type":"Icon","holder":"Museum of Russian Icons","dates":"1500s","location":"Clinton, Massachusetts","dimensions":"Height: 124.5cm, Width: 94cm, Depth: 5.2cm","provenance":"Russia","obtention":"From the private collection of Dr. Andreas Pittas. Purchased by Gordon Lankton from the Temple Gallery, London, in 2011. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"c8be00b1-659b-5774-a1a2-0210b4202f95":{"name":"Prayer carpet","description":"A Transylvanian- type prayer rug with a pattern of three arches and double columns.","type":"Prayer rug","holder":"Benaki Museum","dates":"17th-18th century","location":"Athens","dimensions":"203 m x 138 cm","method_for_datation":"Rugs of this type are depicted in at least a hundred paintings by 16th and 17th-century European painters","method_for_provenance":"This label was given in the early 20th century to a group of some 450 rugs found in Transylvanian churches, but it was soon extended to cover other prayer rugs sharing the same stylistic, technical and chromatic features, which were probably made in western Asia Minor.","provenance":"Western Anatolia","obtention":"Purchased in Alexandria in 1924","bibliography":"Published in *Benaki Museum - A Guide to the Museum of Islamic Art*, Athens, 2006 (fig. 212, p. 157).","author":"Mina Moraitou","keywords":["geometric floral motifs","mihrab","prayer niche","prayer rug","Transylvanian type"],"materials":["wool"]},"c9f822c3-3474-5596-90db-ee77387c77fd":{"name":"*Cintamani* carpet","description":"The *cintamani* carpet is one of the most impressive objects of the National Museum in Kraków collections and not just for its artistic features, but because of its huge dimensions (10m x 4m) as well. The central field is decorated with *cintamani* motifs: two golden wavy stripes combined with three white balls. In the background are small dark-blue multi-leaf medallions ornamented with “leaf” and “shield” palmettes grouped around the rosette motif. Medallions as well as *cintamani* motifs are arranged in net-like patterns – such a composition makes an impression of harmony. In the main border are white shields with bouquets of roses; among them are delicate, sinuous tendrils with palmettes interwoven with cloudbounds. Colouristically, the composition is balanced: the red ground contrasting with the white, yellow, blue and green pattern.  \nCairo was already a well-known carpet-weaving centre in the 15th century during the Mamluk dynasty. In 1517, the Ottomans captured the city and the style of the carpets woven there changed. The influence of the Turkish Tabriz and the Anatolian workshops became visible. This *cintamani* carpet, probably made in the second half of the 16th century, combines the graceful floral motifs of Persian-style carpets with a *cintamani* pattern characteristic of Ottoman Turkey. The *Cintamani* symbol originates from the Buddhist tradition. Adopted by the Timurids, it was known as the “Badge of Timur”. In the Ottoman Empire the *cintamani* motif was widely used in the decoration of everyday objects, i.e. garments, carpets, ceramics, symbolising the power derived from the pattern of the leopard- and tiger skins worn by rulers. The high artistic and technical quality of this carpet allows us to presume that it could have been made in one of the sultan’s court workshops.  \nThis *cintamani* carpet comes from the Corpus Christi church in Kraków. It was certainly used for the decoration of the church, probably on the floor. Oriental art was very popular in Poland during the 16th and 17th centuries, and textiles served to decorate both secular and sacral interiors.","type":"Carpet","holder":"National Museum in Kraków","dates":"End of the 16th century","location":"Kraków","dimensions":"H: 1,000cm, W: 406cm; knot density 2,744/dm2","method_for_datation":"Stylistic features, as well as the technique of execution (the asymmetrical, so-called “Persian” knot) allow us to suggest Cairo as the possible place of production","provenance":"Egypt, Cairo","obtention":"Obtained from the Corpus Christi church in 1912","bibliography":"Bennet, Ian (ed.), *Rugs and Carpets of the World*, London: Greenwich Editions 2004: 112‒21. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 28‒31, 145‒6, cat. 30.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 78‒9.  \nDimand, Maurice S., and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: Metropolitan Museum of Art, 1973: 192, 204– 5. (Analogy)  \nEttinghausen, Richard, “Islamic Carpets: The Joseph V. McMullan Collection”, *The Metropolitan Museum of Art Bulletin* (June 1970), 28.10: cat. 7. (Analogy)","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Cairo","chintamani","cintamani","Ottoman"],"materials":["asymmetrically knotted pile (Persian knot)","pile)","weft","Wool (warp"]},"cba9697e-4726-5cc0-9a64-80be790a931d":{"name":"Fragment of an interior Kiswa Cover for the Ka'ba in Makkah","description":"For four hundred years, the Ottomans sent money and gifts to Makkah and Medina with the Surre procession. The gifts included covers for the Ka’ba, made in Cairo and Istanbul, which were replaced every year. Old covers were returned to the palace in Istanbul, distributed to the faithful or sometimes reused.Textiles like this one were made in Istanbul and Bursa from the 10th century H/ 16th century to the early 14th century H/ 20th century. Woven in red and beige silk, they were intended for draping either the inner walls of the Ka’bah in Makkah or those of the Tomb of the Prophet in Madina. Their zig-zag design echoes that of the main kiswa but the religious inscriptions vary according to the textiles’ intended use. Here, the combination of texts with their emphasis on the Prophet suggests that this fragment was part of a hanging intended for the Prophet’s tomb chamber, which also houses the cenotaphs of his first two successors, the caliphs Abu Bakr and Umar ibn al Khattab.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Hegira late 12th – early 13th century / AD late 18th – early 19th century","location":"Sharjah","provenance":"Turkey, Istanbul","author":"Ulrike Al-Khamis"},"cbadcbe0-3272-59a1-a3b3-967703ee5993":{"name":"Alms Vessel","short_description":"Known as the Prophet’s *mudd* vessel, this bronze pot would collect and measure the alms given as charity by the people of Medina in Saudi Arabia. The cylindrical jar features the *basmala* or Muslim invocation and Qur’anic verses in *thuluth* and *naskh* script.  \n  \nCommissioned by the Naqib al-Ashraf, Mohamed Jamal Allah, the pot represents a replica of the original *mudd* vessel employed by Prophet Muhammad (PBUH) to gather and distribute charity money. Inhabitants of Saudi Arabia would quantify money using the Abbasid Islamic economic measure called *mudd*.  \n  \nWith *zakat* (charity) as one of the pillars of Islam, wealthy Muslims are obligated to donate alms. Muslims base the amount of *zakat* on a surplus of wealth, rather than one’s income, while a minimum amount prevents the application of this tax. This minimum amount called *nisab* akin to the modern-day minimum wage determines who should give and receive charity. *Zakat* meaning \"purity\" or \"purification\" enacts a reciprocal gift-giving exchange, where the recipient and charity-giver accept blessings from God.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Diameter: 12cm, Height: 11cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","provenance":"Kingdom of Saudi Arabia, Medina","obtention":"Purchase","bibliography":"Aljabr, H., \"Weights and measures in the Hijaz during the Abbasid period 132-334H/749-945 A.D: An overview\", *Journal of Islamic Accounting and Business Research*, 11 : 7 (2020): 1417–1425.  \nKochuyt, T., \"God, Gifts and Poor People: On Charity in Islam\", *Social Compass*, 56 : 1 (2009): 98–116.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Alms","Medina","metalwork","Prophet Muhammed","Saudi Arabia"],"materials":["Bronze","Engraving"]},"cbb6bbe3-72b1-5d00-b8a3-fc74f38248d4":{"name":"Sacramento Monstrance","alternate_name":"*Anjo Custódia* do Sacramento","description":"An exceptional example of Baroque workmanship during the period of King João V, the Sacramento Monstrance – also called the *Anjo Custódia “*Angel Monstrance” – assumes the form of an Atlantis angel, a figure that is sometimes incorporated into the lower part of gilded wooden altarpieces. In this particular case the Atlantis angel appears free; instead of the usual representation as a pillar sustaining a globe the angel holds a radiant sun. Theatrical tension is undoubtedly achieved with the decoration of the piece itself, but the monstrance would have been surrounded by the gilded wood of the sacred space of the high altar and the aim would have been to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty.  \nSymbol of the Church Triumphant, the monstrance is a splendid composition of contrasting effects: dynamic lines and imposing shape – the result of which sees the elegant sculptural angel in polychrome and gilded wood – and the resplendence of silver, colour and glinting of both the enamel and glass.  \nThe kneeling angel holds a spherical, smooth and polished monstrance enveloped in a corona of silver rays. Surrounding the *luna* – the space where the host is kept and exhibited – are Eucharistic symbols enhanced by brightly coloured enamel work, and mounted over a circular base with eight ornamental silver-gilt cherubs. Vegetal motifs and coloured glass form flowers to complete the decoration. The monstrance presents a municipal contrast between the silver from Lisbon (L), in use since 1690, and the incomplete hallmark of an unidentified goldsmith from Lisbon, whose initials were LRP, and who was active between the end of the 17th century and the first half of the 18th century.","short_description":"Holding the solar sphere made out of silver – glowing with the true Word of God – the Atlantes angel is supposed to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty. This piece was probably the highlight of the gilded wood high altar at Sacramento Convent in Lisbon.","type":"Metalwork","holder":"Machado de Castro National Museum","owner":"Museu Nacional Machado de Castro, Coimbra","initial_owner":"Santíssimo Sacramento Convent, Lisbon","dates":"First half of the 18th century","location":"Coimbra, Coimbra","dimensions":"H: 222 cm ; w.: 162 cm","place_of_production":"Lisbon","method_for_datation":"This goldsmith’s hallmark first appeared in the early part of the decade of 1690 and continued to appear throughout the first decades of the 18th century. The technical and stylistic affinities of both the figure of the Atlantis angel and the polychrome allow the monstrance to be placed within the Baroque style during the reign of João V (1707–1750).","provenance":"Santíssimo Sacramento Convent, Lisbon","obtention":"The monstrance came originally from the Santíssimo Sacramento Convent in Alcântara, Lisbon. Founded in 1612, the convent belonged to the female branch of the Dominican order and was closed after the death of the last nun in 1897. The monstrance was transferred to Coimbra in 1914 where it became part of the gold and silverware collection of the National Museum of Machado de Castro.","bibliography":"Gonçalves, A. N., *Catálogo do Museu Machado de Castro*, Coimbra, 1940, p. 50, cat. 272.  \nAlmeida, F. M. de, *Inventário de Marcas de Pratas Portuguesas e Brasileiras. Século XV a 1887*, Lisbon, 1993, p. 78 (L-17A) and p. 149 (L-402A).  \nTeixeira, J., de Monterroso, “Custódia do Sacramento” in The Age of the Baroque in Portugal, (ed. J. A. Levenson), New Haven–London, 1993, pp. 286–288.  \nAlves, F., Ferrão, P., *Alfaias de culto, símbolos de prestígio*, Lisbon, 2005, p. 84.","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Fernanda Alves","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["Atlantes angel","goldsmiths","luna","monstrance","religious object"],"materials":["enamel and glass","Monstrance: chiselled silver with relief","sculpture: gilded and polychrome oak."]},"cbc34421-cbf1-565d-b4bd-d91bdc792930":{"name":"Rosette shaped part of the *minbar* of the Mosque of Ibn Tulun","description":"The mosque of Ibn Tulun was built in Cairo in the 9th century AD, and was restored and renovated during the reign of the Mamluk Sultan Hosam al-Din Lajin in 1296. One of the most important items of the equipment of a mosque is the *minbar* – originally a raised seat – used as a pulpit, but having also a symbolic meaning as the \"Throne of Muhammad\". The *minbar* was decorated with stone or wood inlays.  \n  \nThe *minbar* of the mosque of Ibn Tulun was one of the most precious. Its wooden decoration was exhibited at the World Trade Exhibition of 1867 in Paris as one of Egypt’s most significant craft works. After that, important pieces of the *minbar* reached numerous European collections.","type":"Woodwork","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1296; exhibited at Paris World Trade Exhibition in 1867","location":"Vienna","provenance":"Egypt, Cairo","copy_editor":"Daniel de la Vega"},"cd8363f9-fa9a-5f8b-942e-3c9d931124ec":{"name":"Saint Paraskeva","description":"Saint Paraskeva was born to Christian parents during the reign of Emperor Hadrian. She was given the name Paraskeva (Greek for “Friday”) since Friday was the day of Christ’s crucifixion as well as the day of her birth. She was arrested during the reign of Emperor Antoninus Pius for preaching Christianity. He offered her great wealth and even proposed marriage if she renounced her faith, but she refused. The enraged emperor placed her in boiling oil, and when she did not show any pain, demanded to know whether she had used magic to cool the oil. She responded by throwing the hot liquid at the emperor, instantly blinding him. He asked Paraskeva for help and she healed him with water from a nearby stream. Antoninus Pius set her free, converted to Christianity and stopped persecuting Christians. The inscription on the scroll in this icon reads as follows:  \n  \n\\[H\\]ighly praised is thy name – of Father and Son and Holy Spirit, my Lord God – now and forever. For thou forgave me and did not reject my humility nor my prayer; and thy being pleased by me is incomprehensible.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 118cm, Width: 76cm, Depth: 6.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"cd9c5acc-6762-581c-8259-b6b3a0d9e694":{"name":"Pair of Torchères","alternate_name":"Torch holders","description":"These two grandiose torchères were ordered for the Chapel of Saint John the Baptist to be installed in São Roque church in Lisbon. With a triangular base, in gilt bronze, they form a pyramid held by titans. Above, a cornice developing into a dome is finished with Rocaille-inspired shells and a D. João V shield on each of the three surfaces of the torch holders. In niches below the dome, forming an oratory, the Doctors of the church are seated: St Jerome, St. Thomas Aquinas, Sr. Ambrose and St. Bonaventure, St. Augustine and St. Leo the Great. The hybrid ornamentation develops upwards in fluid volutes – wing, acroterion, cymatium – flowers in the shape of garlands, phytomorphic elements – rope, laurel and acanthus – and zoomorphic elements, as well as a variety of *putti* inspired by the Roman Baroque.  \nThey were conceived and produced by Giuseppe Gagliardi with the cooperation of the metalworker Fellice Schiffone, the carpenter Lucano Celladini, Agostino Ancidoni another metalworker, and Lorenzo Morelli a silversmith and founder. Following the death of Giuseppe Gagliardi minor finishing and the lamination were concluded by his son, Leonardo Gagliardi, who like his father was a master silversmith.","short_description":"A splendid pair of torch holders in gilt bronze and chiselled silver, they form part of a royal commission for the Chapel of St. John the Baptist. Designed and produced by Giuseppe Gagliardi, the metalworkers Fellice Schiffone and Agostino Ancidoni collaborated with him on the project. Lucano Celladini was the carpenter and Luciano Morelli was the silversmith and founder.","type":"Metalwork","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","initial_owner":"Chapel of Saint John the Baptist, Church of São Roque","dates":"1749","location":"Lisbon, Lisbon","dimensions":"Each one H: 285 cm, weight: 380 kg","place_of_production":"Rome","method_for_datation":"All the objects in the Chapel of St. John the Baptist were made in Rome by Italian artists between 1743 and 1749.","provenance":"Chapel of Saint John the Baptist, Church of São Roque","obtention":"Following the expulsion of the Society of Jesus by Pombal in 1759, the Church of São Roque and all of its chattels were handed over to the Santa Casa da Misericórdia de Lisboa in 1768, which continues to own the artistic heritage of the former Jesuit order until the present day.","bibliography":"Rodrigues, M. J. M., *A Capela de São João Baptista e as suas colecções / The Chapel of Saint John the Baptist and its Collections*, Lisbon, 1989.  \nTeixeira, J., “Tocheiro” *O Triunfo do Barroco/ The Age of Baroque* London–New Haven, 1993.  \nViterbo, F., M. de Sousa, Almeida, R. V. De, *A Capella de S. João Baptista Erecta na Egreja de S. Roque. Fundação da Companhia de Jesus e Hoje Pertencente à Santa Casa da Misericordia*, Lisbon, 1997 (1A ed. 1900).  \nVale, T. L. M., *Da Igreja Combatente à Igreja Triunfante. Espaço e Imagem Religiosa do Concílio de Trento ao Barroco Pleno*, separata de Brotéria, Vol. 157, Lisbon, 2003.","workshop":"International Baroque","copyright":"Copyright images: Santa Casa da Misericordia de Lisboa.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Chapel of St. John the Baptist","Church of São Roque","religious furnishing","Roman Baroque"],"materials":["Gilded silver on gilded bronze base"]},"cdb915c1-3659-5399-a392-93205b57fd30":{"name":"Carpet","description":"Following the 1834 abolition of Portuguese religious institutions, most of their portable heritage was transferred to the Portuguese State. The incorporation of textiles, including carpets, into State property is particularly relevant to the history and the creation of national museums and collections such as the National Museum of Ancient Art. This carpet, which has been in the NMAA’s collection since 1888, comes from the former convent of Estrela for which it had been commissioned by Princess Maria I (r.1777‒1816) after the birth of her son.  \nAlthough building began in 1779, well after the date of this carpet’s production, its incorporation in the convent can be attributed to two reasons: as an offering from the Royal Portuguese House, owner of an impressive collection of Oriental carpets, to encourage offers from other donors, or even a transfer from another religious institution.  \nThe lack of documentation makes it difficult to ascertain its original function. These carpets were much appreciated and used as important decorative furnishings both in sacred and profane interiors, where they were meant to define spaces. One such example of physical delimitation lay in the use of carpets to cover the stairway and higher elevated daises that became an Iberian tradition within the female universe and lasted well into the 19th century.  \nThis carpet has undergone several restorative interventions, with its original size having been approximately a metre larger than at present; of almost eight-metres in length, this carpet shows a very balanced design and colour. It presents the classical ornamental motifs characteristic of this category, along with the field filled with “vine scrolls” alternating with palmettes and S-shape cloud scrolls (*tchi*). It also exhibits the characteristic contrast of colours between the field and the border (red/blue), both filled with palmettes and chinar leaves.","type":"Textile; carpet","holder":"National Museum of Ancient Art","dates":"17th century","location":"Lisbon","dimensions":"H: 796cm, W: 375cm; knot density c. 3,190/dm2","method_for_datation":"Technical information provided by Jessica Hallet and Steven Cohen","method_for_provenance":"Stylistic analysis and material dating","provenance":"Iran","obtention":"Transferred from the Convent of Estrela, Lisbon, Portugal, in 1888","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco (eds), *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["17th century","carpet","Iran","Portugal"],"materials":["2Z (4Z)","Asymmetric knot","Cotton and wool","knot","knotted","Open to the left"]},"cdc27ae7-3a64-5545-a795-1006d1e99c9e":{"name":"Gördes Prayer Rug","description":"This rug is an outstanding example of a Gördes prayer rug. The knot technique is not well suited for such detailed decorations. Nevertheless, complex stylized floral motifs are skilfully woven on the *mihrab* corners and borders expressing heavenly gardens. In contrast, the *mihrab* area is decorated simply.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"18th century","location":"Istanbul","dimensions":"L: 127cm, W: 185cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Gördes, Manisa","obtention":"From the Edirne Sultan Selim Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*, Istanbul: Eren Yayınları, 1987: 153‒155.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 5, Katalog no: 510.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Gördes prayer rug","Manisa","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"d04a23e2-0c3a-5d55-be53-ebac7989ba2d":{"name":"Gördes prayer rug","description":"This prayer rug was made in Gördes, one of the best-known carpet production centres in Anatolia. Rugs from Gördes were very much appreciated in the West as well, because of their high quality and splendid, vivid colours. The rug preserved in the National Museum in Kraków is a fine example.  \nAt the centre of the Kraków rug, a bright-red *mihrab* indicates the direction of the Kaʽba in Mecca. A horseshoe arch is supported by the two delicate columns constructed from diamond shapes. Elegantly shaped ewers with flowers rising from them serve as the bases of columns. The vessels are another religious reference to recall the ablutions preceding prayers. In the capitals another significant motif from Islamic art is recognisable in the *cintamani*, meaning power and happiness.  \nThe ornamental and colouristic composition of the carpet is balanced. The most striking feature is the plain-red niche under turquoise-blue spandrels, which is filled with a scrolling ivory vine with contrasting red buds. The cross-panel above the *mihrab* is decorated with small palmettes much differentiated in colour (ivory, yellow, blue and red), against a dark-indigo background. The border is also highly decorative. The central, wide, dark-indigo border is filled with a rhythmical composition of large roses and palmettes, surrounded by smaller roses and carnations on leafy stems. The central border is flanked by the thinner ivory borders decorated with tendrils with flowers.  \nSimilar rugs are preserved in Austrian collections, the Wawel Royal Castle Kulczycki Collection and in the Ballard Collection of the Metropolitan Museum of Art, New York.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 170cm, W: 114cm; knot density 1,295/dm2","method_for_datation":"The floral ornaments that decorate this rug are rather realistic and elaborate, with a soft, fluent line; the presumption is that it dates from the 17th century","method_for_provenance":"By stylistic analysis","provenance":"Anatolia, Gördes","obtention":"Donated by Erazm Barącz in 1928","bibliography":"*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat. 14. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 58‒9, 157, cat. 17.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 62‒3.  \nDimand, Maurice, S., and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: Metropolitan Museum of Art, 1973: 206. (Analogy)  \nPiwocka, Magdalena (ed.), *Kobierce i tkaniny wschodnie z kolekcji Włodzimierza i Jerzego Kulczyckic. Katalog wystawy lipiec – wrzesień 2006* (Oriental carpets and textiles from the collections of Włodzimierz and Jerzy Kulczycki. Catalogue of the exhibition July–September 2006), Kraków: Wawel Royal Castle/Sate Collection, 2006: 42, cat. 5. (Analogy)","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","chintamani","cintamani","ewer","Ghiordes","Gördes","mihrab","Ottoman"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"d0932db7-f1ba-5774-8b6f-19506abedc69":{"name":"Ramadan lamp","short_description":"During Ramadan, night becomes day. The silhouettes of the mosques shine with neon light. All of Cairo is lit up. The ninth month of the Islamic moon calendar is a festival of lights. It is the time of fasting and of religious reflection, of commemorating that at this time the Qur'an was sent down to man. From sunrise to sunset, believers are called upon to refrain from eating, drinking, smoking, and sexual activity. At sunset, the breaking of the fast is celebrated within the family circle with a lavish celebratory meal. Up until the final mealtime before sunrise, every house, mosque, and café is decorated with garish lamps. Afterwards, fasting begins again until evening. Individual objects which were once made of metal from tin cans and coloured glass have meanwhile been replaced by cheap plastic competitors \"made in China.\"","type":"Religion; ceramic","holder":"Weltmuseum Wien","dates":"1978-1981","location":"Vienna","dimensions":"H: 35cm, W: 38cm, Diameter: 28cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo and Vienna, 1982.\"","bibliography":"Steinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","materials":["Aluminium sheet","glass"]},"d0bee2a2-2f3b-5679-b3ad-433e3664ca0a":{"name":"Prayer rug.","description":"A prayer rug that is typical of those produced in Ladik, a village near the city of Konya in central Anatolia. The rug has a red, central niche surrounded by three decorated frames. In the centre of the niche is an abstract tree-of-life motif springing from a stylised water-vessel. Above the vessel there is a rectangle with illegible text; above the tip of the niche there are a crescent and another rectangle with the date according to the hegira calendar, '1217' (1802) woven sideways. Made by the women in the village on a domestic handloom, the design for this type of prayer rug is inspired by the columned, court prayer rugs of the AH 10th–11th / AD 16th–17th centuries. The women also reared the sheep, sheered the wool, spun it and dyed it. Ladik lay on the main pilgrimage route from north to south, and these rugs were made to supplement the villagers' income, and were, subsequently, presented to mosques and shrines in the area and beyond as pious offerings. One such rug appears in a 17th-century European painting, a still life by Nicolaes van Gelder, dated 1664.","short_description":"This prayer rug is an example of those produced in the village of Ladik near Konya in Anatolia. Made by the women in the village, on a domestic handloom, the rugs were sold to pilgrims who passed through on their way to Mecca. They in turn donated them to mosques and shrines on their return.","type":"Wool, knotted, carpet","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 1217 / AD 1802.","location":"Glasgow, Scotland","dimensions":"Length 200.6 cm, width 111.7 cm.","method_for_datation":"Woven into the rug is the date according to the hegira calendar, '1217' (1802) positioned in a rectangle above the tip of the crescent on top of the niche.","method_for_provenance":"Artistic analysis and comparison with other prayer rugs made in Ladik.","provenance":"Ladik, Anatolia, Turkey.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Bailey, J.,'Ladik Prayer Rugs', *Halı*,no. 28, October–December 1985, London, pp.18–25.  \n  \nBlack, D., *World Rugs and Carpets: A Comprehensive Guide to the Design, Provenance and Buying of Carpets*, Feltham, 1985.","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["carpet","Commerce","floral decoration","pilgrimage","religious objects"],"materials":["weft and pile)","Wool (warp","woven on a handloom."]},"d0d2ab0e-7d90-5e08-89b9-cfab8bae0d85":{"name":"Section from the *kiswa* of the Ka‘ba","short_description":"The pattern consists of zigzag bands alternately enclosing the *shahada* (‘There is no god but God, Muhammad is the Messenger of God’) and the invocation ‘O! God, May his Majesty be exalted’, the latter in mirrored script. It is possible that the calligraphy was designed by the master calligrapher, ‘Abdallah Zuhdi, who was known as *katib al-haramayn* (‘the calligrapher of the two holy sanctuaries’).  \nEgypt had been supplying the *kiswa* of the Ka‘ba on a yearly basis, and almost without interruption, since Fatimid times. Since the early 1970s, however, the *kiswa* has been woven in a special workshop in Mecca.","type":"Textile; woven textile; *kiswa*; lampas; silk","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Late 19th or early 20th century","location":"London","dimensions":"158 x 89cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"Egypt, Cairo","bibliography":"Porter, V. (ed.), *Hajj. Journey to the Heart of Islam*, London: British Museum, 2013: 258.  \nTezcan, H., “Ka‘ba covers from the Topkapı Palace collection and their inscriptions”, in Suleman, F. (ed.), *Word of God, Art of Man. The Qur’an and its Creative Expressions*, Oxford, 2010: 227–38.  \nVernoit, S., *Occidentalism. Islamic Art in the 19th Century*, London: The Nasser D. Khalili Collection of Islamic Art, vol. 23, 1997: cat.8, pp.26–7.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["silk lampas","with satin ground and tabby pattern"]},"d0d6c9d5-6ebd-5af5-9fa7-3367e09d88aa":{"name":"Curtain for the door of the Ka‘ba, with the name of Sultan Ahmed I","short_description":"In her study of the Ka‘ba door curtains in the Topkapı Sarayı, Hülya Tezcan has identified four main styles. The earliest is that of a curtain bearing the name of Sultan Süleyman the Magnificent and the date AH 950 / AD 1543–4. The second style, to which this curtain belongs, apepars to have been popular for a long period, as known examples date from the late 16th to the late 18th century.  \n  \nCharacteristic features of this style include the five arches at the top, as well as the zigzag panels and the reciprocal ogival cartouches at the bottom. The commisioning order and date are in the two panels immediately above the latter. This curtain was commisioned and presented to the Ka‘ba by Sultan Ahmed I.","type":"Textile; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*; *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1015 / AD 1606","location":"London","dimensions":"499 x 271cm","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["beige and green silk appliqués","Black silk","relief-embroidered in silver and silver-gilt wire over card and cotton thread padding","with red"]},"d199debb-1836-5a98-80c3-90ef128b824b":{"name":"Glass Mosque Lamp","description":"This mosque lamp may have been made in 19th century Hebron, a century-old Palestinian centre for glass manufacture that managed to survive despite the increasing influx of cheap, mass-produced goods from Europe. While its shape continues a style already popular in Mamluk times, its etched and gilt decoration relates closely to other neo-Mamluk artefacts produced for European tourists at the time.","type":"Glass Mosque Lamp","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Palestine, possibly Hebron","author":"Ulrike Al-Khamis"},"d27da85e-f180-5ec8-90d7-7fdfc02299ee":{"name":"Kırşehir Multiple‒niche prayer rug","description":"This is a rug from Kırşehir Province, an important rug producing centre famous for its prayer rugs. This type of prayer rug ‒ locally called *saf*‒ has multiple niches that are side by side allowing three or more people to communally pray. There are examples of *saf* carpets as early as the 15th century. They were produced all around the Muslim world, but they were never in high production so they remain very rare.","type":"Multiple‒niche prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 113cm, W: 169cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Kırşehir","obtention":"Donation","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 4, Katalog no: 339.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Kırşehir","Middle Anatolia","saf Prayer Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"d2a1fca5-7efb-5323-927c-0aaad478f6c1":{"name":"Transylvanian prayer rug","description":"Turkish rugs arrived in Transylvania through trade. Almost all types of small-format Turkish classical rugs can be found in this region. The most numerous are the so-called “Transylvanian” group – prayer rugs with an undecorated field are widely dispersed throughout Transylvania. The term Transylvanian prayer rug is mostly used by Romanian authors such as Stefano Ionescu, Mircea Dunca, Andrei Kertesz and Alexandra Zigura, since it avoids specific reference to any weaving centre.  \nThe Transylvanian prayer rug from the Museum of Arts and Crafts is one of the oldest rugs in the museum collection. In the central field of the carpet there is an undecorated red *mihrab* (prayer niche) field. Delicate floral ornaments appear at the edge of the upper part of the *mihrab*. Spandrels are decorated with flowering-stems on ivory ground. The main border is in Ottoman style with rosettes and pine cones on yellow ground. Minor borders are vegetal on blue and red ground.","type":"Prayer rug","holder":"Museum of Arts and Crafts","dates":"Second half 17th century","location":"Zagreb","dimensions":"H: 150cm, W: 118cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","bibliography":"Ivoš, Jelena, “Zbirka tekstila”, u Anđelka Galić *et al*. (eds), *Skriveno blago Muzeja za umjetnost i obrt, Zagreb*, Zagreb: Muzej za umjetnost i obrt, 2005: 208-233.  \nIvoš, Jelena, “The Textiles Collection”, u Anđelka Galić *et al*. (eds), *Hidden Treasure of the Museum of Arts and Craft, Zagreb*, Zagreb: Muzej za umjetnost i obrt, 2005: 208-233.","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["prayer rug","Uşak","Ushak"],"materials":["knotted carpet","symmetrical knots","wool"]},"d2e14578-6d14-5f7d-85be-43b1df94ecf2":{"name":"Mary with child","description":"The Madonna, originally from Zurich and reminiscent of antique statues in posture and clothing, was imported from Northern Italy. It is an example of the reinterpretation of a sacred sculpture after the Reformation. It was used to represent the Haus Zum grossen Weissen Fräulein (house of the large white maiden) at Obere Zäune 12 in Zurich. The collection of stone sculptures in the Swiss National Museum is modest. Whereas sculptures south of the Alps were mainly carved from stone, wood was the preferred material north of the Alps.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1500","location":"Zurich","dimensions":"H: 110cm","method_for_datation":"Stylistic analysis","provenance":"Northern Italy","obtention":"Given into property 1891 as part of the «Morgengabe»","keywords":["Haus zum grossen weissen Fräulein","Madonna with child","marble","Northern Italy","Obere Zäune","sculpture","Zurich"],"materials":["Carved marble"]},"d39f33c7-ab99-570d-9745-2ca9481fd5e0":{"name":"Font.","description":"Font with eight lobes. The inside is hollowed out, with the rim moulded on the top and on the outside. It has a hole at the bottom. The base is truncated, with a base or foot missing. The exterior moulding has a decoration of small engraved geometric patterns (lozenges, squares and circles). The upper rim has an Arabic inscription in *kufic* script running all the way round, in which it is possible to read the expression ‘al-Mulk’, repeated in a chain.","short_description":"The evidence for the prolonged presence of a Muslim community in Lisbon is supported by this octagonal ablutions font sculpted from local *pedra lioz* (lias) limestone. It was found during restoration work in Lisbon’s Moorish quarter, to whose mosque it belonged.","holder":"City Museum.","dates":"Hegira 8th–9th centuries / AD 14th–15th centuries.","location":"Lisbon.","dimensions":"Total height 11.4 cm, diameter 22.3 cm.","method_for_datation":"External, historical dating. The mosque in the Moorish quarter, to which it is supposed to have belonged, was dismantled in the early 16th century, in the reign of Dom Manuel I of Portugal.","method_for_provenance":"Found during urban regeneration work, re-used in the masonry of one the walls of the building on no. 67 Rua João do Outeiro (Moorish quarter, Lisbon). The building probably dated originally from the 16th century.","provenance":"Lisbon.","obtention":"Donated to the Museum.","bibliography":"*Lisboa Subterrânea*, exhibition catalogue, Lisbon, 1994.","linkcatalogs":"IAM_PT_PT_001","author":"Rodrigo Banha da Silva","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["al-mulk","Font","kufic script","lias stone"],"materials":["Lias stone."]},"d5063c4c-2fb6-5145-80ab-45cf9cbda6d3":{"name":"Section from the *kiswa* of the Prophet’s tomb","short_description":"This section from a *kiswa* of the Prophet’s tomb belongs to a small group of fragments in which the finely calligraphed *thuluth* inscriptions are woven in silver-wrapped silk thread on a deep raspberry-pink ground. Selin Ipek has suggested that, given the amount of silver used in its weaving, the *kiswa* from which they come must have been a special commission.  \n  \nThe vertical repeat consists of four wide zigzag bands alternating with four narrower ones; there are two horizontal repeats per loom width. The first wide band at the top of the textile has a supplication to God for blessings and peace upon Prophet. In the narrow band below that is *sura al-Ikhlas* (CXII), followed by the *shahada* in the wide band. Next is *sura al-Ahzab* (XXXIII), verse 56. The third wide band has *Allahu wala siwahu* (‘God and there is none equal to Him’), with a small flower under each of the words, Allah. Inscribed in the last narrow band in the repeat is *sura al-Qasas* (XXVIII), end of verse 88.","type":"Textile; *kiswa* of the Prophet’s tomb; silk; lampas; silver thread","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 18th century","location":"London","dimensions":"188 x 62cm","method_for_datation":"Provenance and date based on a study by Selin Ipek.","provenance":"Turkey, Istanbul","obtention":"Acquired Sotheby’s, London, sale of 22 April 2015, lot 47.","bibliography":"Ipek, S., “Ottoman Ravza-i Mutahhara Covers Sent from Istanbul to Medina with the Surre Processions”, *Muqarnas*, vol. 23 (2006): 289–316, especially p.305 and figure 23.","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Silk lampas with silver thread"]},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"Censer","short_description":"The Chinese burner rests on three legs with Arabic calligraphy, reading the Muslim declaration of faith called *shahada*. During the Qing dynasty, this bowl would cradle incense to scent the air of a Chinese mosque.  \n  \nAlthough many regional Muslims could not read Arabic, the calligraphy endured as a decorative element. Because there are no Chinese characters to express the concept of a single God, Arabic words offer an effective medium to convey religious messages. As seen on the seal on the bowl’s bottom, artists utilized Chinese calligraphy to remark the ownership or production. The seal at the bottom of this censer reads \"Ming Dynasty, Manufactured by Wu Bang Zuo, of Public Works in the 5th year of the Xuande Emperor.\" While the inscription alludes to the production in 1430, numerous incense burners have been produced with the apocryphal mark.  \n  \nToday, the Muslim-Chinese minority seeks to preserve their heritage including rare objects such as the Qing-metalwork, which have been lost or destroyed over time.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 18.5cm, Width: 13cm","method_for_datation":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","method_for_provenance":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","provenance":"China","obtention":"Purchase","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021).  \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019.  \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012.  \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["China","Incense burner","metalwork","Qing"],"materials":["Bronze","Engraving"]},"d709dc46-d56e-5b96-833d-47202bfed1b4":{"name":"Prayer rug","description":"A lamp stands out against the indigo field of the prayer niche (*mihrab*) shown on this high-pile rug. Featuring a foliated scroll pattern, the olive-green spandrel is supported by two columns. Carnations decorate the upper level of the niche. A series of rosettes and palmettes interspersed with arabesques covers the ivory ground of the main border. This rug, which has 4,200 symmetrical knots per square decimetre, was made in Turkey during the first quarter of the 20th century. Positioned facing Mecca, the rug ensures the purity of the place of worship and creates a separate space for praying. Long ago, Muslims kneeled down and prostrated themselves on palm-frond mats or sheepskins. The field of a prayer rug usually shows a stylized representation of a *mihrab*, a niche made in the wall of a mosque indicating the direction of Mecca, towards which the faithful turn to pray.","type":"Prayer rug","holder":"Montreal Museum of Fine Arts","dates":"Late 19th or early 20th century","location":"Montreal, Quebec","dimensions":"173.5cm x 121cm; knot density 4,200 dm2","method_for_datation":"Stylistic and comparative analyses","provenance":"Turkey","obtention":"Gift of Mrs Charles F. Martin  \nGift of Mrs Charles F. Martin, Montreal, Quebec, in 1944, but retained until her death in 1956","bibliography":"Iten-Maritz, J., *Turkish Carpets*, New York and Tokyo: Kodansha, 1977: 82‒5.  \nIttig, Annette, *Rêves tissés: tapis d’orient de la collection du Musée des beaux-arts de Montréal / Woven Dreams: Oriental Carpets from the Collection of the Montreal Museum of Fine Arts*, Montreal: Montreal Museum of Fine Arts, 1994: 38‒39.  \nNeff, I. C., and C. V. Maggs, *Dictionary of Oriental Rugs*, Capetown: Ad Donker, 1977: 55‒6.","author":"Shirin Shafiee","copy_editor":"Mandi Gomez","keywords":["Islamic textile","Ottoman textile","prayer rug"],"materials":["cotton","symmetrical knot","wool"]},"d75b8026-c7bc-5c73-aacc-00b073b4d618":{"name":"Double niche ‘Transylvanian’ rug","description":"The term “Transylvanian” rug designates 17th- and 18th-century rugs preserved in Transylvanian Saxon churches, which, once considered being of Transylvanian origin, were in fact made in western Anatolia. Some have a *mihrab* design, typical of prayer rugs, while others feature two opposing arches. Here, the red ground of this double niche is decorated with stylised floral motifs connected by geometric scrolls. A mosque lamp is featured at one end of the central field. Scalloped edge cartouches on ivory-white ground decorate the main border. At an early stage, the bright colours of this surprisingly well-preserved rug raised doubts about its authenticity. Still, a few other carpets from Transylvanian churches display a similarly vivid colour range; at the same time, over the past 100 years (ever since it was sent to Moscow in 1916) the rug has only been exhibited once, in 1994, which explains its excellent state of conservation.","type":"Carpet","holder":"The National Museum of Art of Romania","dates":"17th century","location":"Bucharest","dimensions":"H: 175cm, W: 124cm; knot density ver. 35/dm; hor. 37/dm; 1,295/dm2","method_for_datation":"Stylistic analysis; comparison with carpets from Transylvanian churches; dye analysis","provenance":"Western Anatolia","obtention":"Partial return of the Romanian treasure sent to Russia for safekeeping during the First World War","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 7.  \nIonescu, Stefano, “Second-Period Single- and Double-Niche ‘Transylvanian’ Rugs”, *Carpet Collector*, 1 (Hamburg, 2016): 73–4.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"d7af68b8-a735-58da-b119-51e16cb51bde":{"name":"Gilt copper candlestick","short_description":"This candlestick was possibly made for a religious context, judging by its curious inscription all along the vertical facets of the neck and around its base. While Arabic in appearance, it merely repeats individual letters and letter sequences. Such pseudo-inscriptions are not uncommon in Islamic metalwork, and some may have mystical significance.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira late 9th - 10th century / AD late 15th - 16th century","location":"Sharjah","provenance":"Ottoman Turkey","keywords":["calligraphy","pseudo inscriptions"]},"d8518639-1ed2-5598-8b01-7b8bd53b00f0":{"name":"The *Annunciation*","description":"Initially composed of four panels, this piece was originally of a different size. Recent tests have proved that its lower section has been cut on both sides. Prior to this recent modification, the work underwent further changes. The Virgin Mary is represented in the second condition of the Angelic Colloquium of the Mystery of the Annunciation, by Friar Roberto Caracciolo de Lecce (1425‒1495). That is to say, this is the moment of *cogitatio* or reflection, in which the Virgin considers the Angel’s words and demonstrates her prudence.  \nSimilar to other paintings alluding to this theme, the work bears witness to symbolism characteristic of representations of the Annunciation: the book that lays opened before Mary; the vase with lilies; the Angel’s sceptre; the bed, topped by its canopy and with its prominent front curtains, upon which the knots are formed; the column between the two characters, and the mat on which Mary is found standing.  \nIn recent years, the study of textiles through paintings, in its manifold categories, has proved to be very useful. Aside from documental sources and extant objects, paintings provide important visual evidence concerning an object’s trade and usage throughout time. In this particular painting, representing a Portuguese domestic interior, the Virgin Mary stands on a mat. Following the Islamic presence in the Iberian Peninsula, which stretched well into the 16th century, floors were commonly covered with mats, mainly in the summer, when they replaced carpets.  \nAlthough this mat could be of Portuguese manufacture (Lisbon, Oporto or the Algarve) it has been associated with the mats woven with palm fibre and decorated with geometric patterns from sub-Saharan Africa, particularly those from the Congo (and Benin and Niger).","type":"Painting","holder":"Museum of Portuguese Decorative Arts – Ricardo do Espírito Santo Silva Foundation","dates":"16th century","location":"Lisbon","dimensions":"L: 118cm, W: 103.5cm","method_for_datation":"Authorship was attributed to the Lourinhã Master (active between 1500 and 1540) by Luís Reis Santos in his work dedicated to this artist and published in 1963. This attribution has been rejected in more recent studies, thus it is classified here as the work of a follower of the master.","method_for_provenance":"Stylistic analysis","provenance":"Portugal, Lourinhã","obtention":"This was one of Ricardo do Espírito Santo Silva's first pieces towards his collection of primitive artworks; donated by Ricardo do Espírito Santo Silva in 1953.","bibliography":"Saldanha, Nuno, *Tesouros das Imagens, colecção Museu-Escola de Artes Decorativas Portuguesas – Pintura*, Lisbon: FRESS, 1996.  \nPaulino, Francisco Faria (ed.), *África: nas vésperas do mundo moderno*, Lisbon: CNCDP, 1992.","workshop":"School of the Lourinhã Master","author":"Maria João Ferreira","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["16th century","Portuguese painting","School of the Lourinhã Master","the Annunciation"],"materials":["Oil on oak panel"]},"d97e8889-9ee3-5eb8-9ea9-a6732fa73dbd":{"name":"The Mother of God Smolenskaya","description":"This Mother of God icon is known as a *Hodegetria* icon (Greek for “one who shows the way”). It is recognizable by the solemn expression of the Mother of God and the frontal position of the Christ Child delivering a blessing. The Christ Child sits on his mother’s left knee and holds a tightly rolled scroll. A copy of the original *Hodegetria* icon was brought to the Assumption Cathedral in Smolensk from Byzantium in the 12th century. In the 15th century, it was transferred to Moscow before being returned to Smolensk. The icon has a silver *repoussé basma* (hammered metal ornamentation) nailed to its surface, as well as a Kremlin School *cloisonné* raised halo dating back to the 17th century.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1500","location":"Clinton, Massachusetts","dimensions":"Height: 46.8cm, Width: 35.6cm, Depth: 6.3cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2001. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood with silver basma","enamel"]},"d9a8677b-3869-5fcc-91d3-50b6d8a59c46":{"name":"Mosque lamp","short_description":"Mosque lamp with a cursive inscription reading: “This was made for our Lord the Sultan al-Malik al-Kujuk, may God protect him with his Grace and illuminate his mausoleum”. This lamp was made for the tomb of the Mamluk sultan al-Ashraf Ala` ad-Din Kujuk, ibn al-Nasir, ibn Qalawun, who reigned as a child for six months in AH 746 (AD 1341-42). In September 1345 he was murdered by his younger brother Sha`ban and his mausoleum was erected in Cairo in 1346-1347.","type":"Lamp, glass","holder":"Benaki Museum","dates":"Hegira c.746 / AD c.1346","location":"Athens","dimensions":"Height 32.5 cm","provenance":"Egypt","keywords":["Al-Ashraf Ala` ad-Din Kujuk","funerary object","glass","Lamp","tomb"],"materials":["Glass with gilded and enamel decoration"]},"dd51c631-efa7-5621-9c17-104499a84fde":{"name":"Textile fragment from a dalmatic of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg","short_description":"This fragment came into the MAK textile collection through a purchase of textiles negotiated by the Aachen Canon Franz Bock in 1865. Beforehand, it was part of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg. The longitudinal, variously wide stripes detectable on the fragment, its interior structuring with rectangular fields and different patterning of the latter, lend credence to a provenance from Central Asia.","type":"Central Asian textile fragment; Liturgical garment","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Mid-14th century","location":"Vienna","dimensions":"H: 25cm, W: 29cm","provenance":"Central Asia","obtention":"Purchase","bibliography":"Bock, Franz, *Katalog der ehemaligen Bock'schen Sammlung von Webereien und Stickereien des Mittelalters und der Renaissance*, (Jetzt Eigenthum des k. k. Oesterreichischen Museums für Kunst und Industrie), Vienna: Gerold, 1865.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-90141","author":"Martina Dax","keywords":["Central Asia","geometric patterns","liturgical vestment","silk","Textile fragments"],"materials":["gilt membrane strip","silk"]},"dd7c1d21-573b-5dd3-8f6f-94141d1320e3":{"name":"Safi ibn Vali’s Anis al-Hujjaj (‘Pilgrims’ Companion’)","short_description":"Written during the year-long pilgrimage undertaken by the author, Safi ibn Vali, in 1676–77, the Anis al-Hujjaj (‘Pilgrims’ Companion’) gives advice to prospective pilgrims on every aspect of the journey: which ships to choose, how to stay healthy, the places to visit, the rituals to be observed and the people one is likely to encounter. Safi ibn Vali’s own pilgrimage (he commenced his journey on 12 Rajab 1087/ 20 September 1676) was made possible through the financial help of Zib al-Nisa, a daughter of the Mughal emperor Awrangzeb, for whom he had written a commentary on the Qur’an.  \n  \nThis manuscript belongs to a long-established tradition of guides to the Holy Places (see MSS 1038), although the illustrations here differ in that they combine the diagrammatic views normally found in such guides with vivid and colourful scenes of the pilgrims and their caravans. The illustrations are simple in their conception yet their attention to detail is acute. They provide a cogent picture of camp life of pilgrims in the late 17th century.  \n  \nThe illustrations:  \n  \nView of the port of Surat and the ships carrying pilgrims (folio 2b). Surat, on the Western coast of India, north of Bombay, was one of the main points of departure to Arabia. The view is oriented to the south.  \nThe pilgrims’ ships crossing the Sea of Oman (folio 3b). The two larger ships carry pilgrims; one, on the right, appears to be casting (or raising) anchor. The smaller vessels may be fishing boats.  \nThe mish‘ar al-haram and the ritual of collecting pebbles (folio 10a). The painting shows the pilgrims in the region of Muzdalifa, in a state of ihram (ritual purity), collecting pebbles.  \nThe pilgrims in the town of Mina, being shaved, making sacrifices and casting pebbles at the Devil (folio 10b). This day corresponds to ‘Id al-Adha on 10 dhu’l-Hijjah, the feast commemorating the Sacrifice of Abraham. By this stage, the pilgrims, who are in a full state of ihram indicated by their white garments, have already completed their initial circumambulation of the Ka‘bah (the welcome tawaf); the ritual of running between the hills of Safa and Marwa (sa‘iyy) recalling Hagar’s desperate search for water for her son Isma‘il; the day of prayer at ‘Arafat – a most holy time when every pilgrim stands alone with God; and the gathering of pebbles at Muzdalifa in preparation for the stoning of the Devil at Mina. This recalls yet another chapter in the Abrahamic narrative in which Isma‘il stones the Devil seven times (the ritual is illustrated in the upper right-hand corner of the painting). After this a sacrifice is made. The pilgrims are released from most of the restrictions imposed by the state of ihram; men shave their heads and beards; women have their hair clipped. Pilgrims can now wear their normal clothes and leave for Mecca, where they perform another essential rite, a further circumambulation of the Ka‘bah known as the tawaf al-ifadah, which takes place on the same day.  \nThe birthplaces of the Prophet Muhammad; Fatimah; Abu Bak al-Siddiq; as well as the Madrasah of Sultan Sulayman, and a Bektashi lodge (folio 11b). These are shrines to visit in the vicinity of Mecca, which are not part of the hajj rituals.  \nPlan of the Masjid al-Haram in Mecca with the Ka‘bah (folio 12a).  \nThe camp of North African caravan of pilgrims (folio 15a).  \nThe camp of Egyptian caravan of pilgrims (folio 15b).  \nThe camp of the Syrian caravan of pilgrims (folio 16a). Unlike the pilgrims from North Africa and Egypt, the Syrian pilgrims are richly dressed and carry swords and gold daggers. Ahmad Pasha, the Syrian Amir al-Hajj, is identified by a caption (top left).  \nThe camp of the desert Arabs and the people of Najd (folio 16b).  \nThe camp of the caravans of the Indian (top) and Iranian pilgrims (folio 17a).  \nOfficials, scribes and secretaries (folio 17b). This is a small illustration, which is not captioned.  \nSharif Barakat, hakim haramayn sharifayn (‘Governor of the two Holy Sanctuaries’), riding to meet the envoy of Sultan Mehmed \\[IV\\], the Emperor of Rum (folio 18a).  \n‘Abdi Pasha, the Amir al-Hajj of the Egyptian caravan, on his way from Mecca to Medina (folio 18b).  \nThe port of Mucha, in the Yemen (folio 21a). The illustration shows the pilgrims’ ships departing from the port as well as Sayyid Husayn, the Governor of Mucha, riding his horse (bottom right).  \nThe port of Jeddah (folio 22b). This view is very similar to that of Mucha (folio 21a) in that it combines views of the city and the pilgrims’ ships with one of the Governor of the city, Sunjuq.  \nMan attacked by a lion (folio 21b); Man saved from the jaws of a lion (folio 23a); A feast (folio 23b). The three small-scale paintings are illustrations to a parable about a very poor woman taking pity on some beggars passing by and feeding them; her act of generosity was rewarded when a stranger saved her son from being eaten by a lion. The feast is probably in celebration of the son’s safe return to his mother.  \nScript:  \n  \nPersian text copied in nasta‘liq; with 23 lines to the page.","type":"Treatise / Compendium","holder":"Nasser D. Khalili Collection of Islamic Art, London","owner":"Nasser D. Khalili Collection of Islamic Art","initial_owner":"Princess Zeb un-Nisa (AH 1047-1113 / AD 1638–1702)","dates":"*circa* 1677–80 AD","location":"London","dimensions":"23 folios, with 11 full-page and 9 half-page illustrations. 33 x 23.2cm (page); 27.4 x 14.7cm (text panels, and full-page illustrations)","place_of_production":"India","method_for_datation":"The text states the dates of travel and compilation as AH 1087 / AD 1676–7.","provenance":"India, possibly Gujarat","bibliography":"Khan, Q.M., *The Pilgrim’s Companion: The Khalili Anis al-Hujjaj*, London: Kulturalis, 2025.  \n  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames and Hudson, 2010: cat. 332–41, pp. 284–7.  \n  \nYork Leach, L., *Paintings from India, The Nasser D. Khalili Collection of Islamic Art, volume VIII; London: The Nour Foundation, 1998: cat. 34, pp. 124-9.*","author":"Qaisra Khan","keywords":["Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","Muhammad","Mukha","pilgrimage","prayer","Prophet Manuscript","Religion","ship","travel"],"materials":["gold and opaque watercolour on paper","Ink","modern leather binding"]},"df2d65a4-48bc-5ed0-b535-bf708ffef329":{"name":"Set of Two-Sided Mineia Icons","description":"The *mineia* icons record important dates in the calendar year of the Orthodox church. Feast days and saints are arranged by date and labeled. The icons are usually painted in miniature, and a typical day can commemorate up to ten feasts and saints. This two-sided *mineia* was once part of a set of 12 with each tablet featuring one month. The Museum of Russian Icons has ten icons from the original set.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1660","location":"Clinton, Massachusetts","dimensions":"Height: 21cm, Width: 18.4cm","provenance":"Russia","obtention":"Collection of the late artist Petros Sasaki, who purchased the tablets in Finland in the 1960s to early 1970s. Sold by Christie's Auction in June 2008 to a private collection, USA. Sold by Macdougall's Auction in 2009 to a private collection, USA.  \nPurchased by Gordon Lankton from Chelsea Auction (private sale) in 2014. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"dfeaa5f1-63bf-55dd-a784-98bce952f149":{"name":"Minbar.","description":"A wooden *minbar*; a double door (surmounted by a *muqarnas* frieze with traces of painted floral decoration) opens to a staircase of seven steps, at the top of which is a small landing topped by an onion-shaped dome. Almost all the exterior surfaces of the minbar are decorated with geometric patterns using wood inlaid with ivory plaques like a mosaic. Some of these patterns are quite bold, such as the 16-pointed stars and polygons on the triangular side panels, while others are more dense and complex, such as the pattern on the twin doors of the entryway. The *minbar* bears several inscriptions on carved wood or ivory panels. Some are Qur'anic verses; for example, 33:56 and 16:90 (respectively) are found above the front and back of the *minbar* doors. Other inscriptions praise Sultan Qaytbay and wish him a long reign.  \n  \nThis *minbar* would have been used in one of the many mosques that Qaytbay either had built or renovated during his sultanate, although it is not known which one. This is one of the last Mamluk minbars to use ivory, as economic conditions made it a prohibitively expensive material in the final years of the dynasty.","short_description":"A wooden *minbar* (pulpit) with extensive all-over decoration including geometric patterns formed of inlaid ivory. This was probably used in one of the many mosques founded or renovated by Sultan Qaytbay, who presided over a period of great economic and artistic revival in the Mamluk lands.","type":"Woodwork","holder":"Victoria and Albert Museum.","dates":"Around hegira 872–901 / AD 1468–96.","location":"London, England","dimensions":"Height 708 cm, width 113 cm, depth 304 cm","method_for_datation":"Inscriptions on the *minbar* name Qaytbay as Sultan and imply that he is still alive ('may God extend his rule'). Thus the *minbar* is dated to his regnal dates, AH 872–901 / AD 1468–96.","method_for_provenance":"How was provenance for object established: Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1869 from the collection of Dr Meymar.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, DC, 1981, pp.195–6.  \n  \nPhilips, T., *Africa: The Art of a Continent: 100 Works of Power and Beauty*, New York, 1996, cat. no. 7.67.  \n  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East*, London, 2004, pp.100–101.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","geometric decoration","inscription","Mosque interior decoration","religious object"],"materials":["Wood inlaid with ivory and bone."]},"e07117dd-950e-5f5f-9ae1-7e9e6b78feb2":{"name":"Monstrance of the Golden Sun of Moravia","alternate_name":"*Schrattenbach’s Monstrance; The Monstrance of Olomouc*","description":"This vessel, used for carrying the Host – the embodiment of Christ's flesh – the presentation of which constitutes the spiritual climax of a mass, is one of the most precious specimens of the goldsmith's craft in Moravia. An oval incised base supports a vase-like *nodus* bearing a sunburst with an aperture lined with a cartouche, accentuated by a crest motif. The typically Baroque, intricately undulating ornamentation with faggoting encircles a case with a lunette, a crescent for holding the Host.  \nThe sun as the source of life, light and Divine truth lent its name to a whole group of “solar” monstrances contrasting with medieval monstrances which were spire-shaped with Gothic pinnacles.  \nThe decoration features certain older elements originally associated with objects now lost. The most interesting of them is an enamel label set into the back of the monstrance leg. It depicts St. Wenceslas on a Gothic throne – the emblem of the Olomouc Chapter – with the coats-of-arms of Emperor Ferdinand III (1637–1662), brother of Leopold I Vilém of Habsburg, Bishop of Olomouc and Archduke of Austria. The Gothic-style throne in the chapter emblem, supplemented with Dietrichstein wine-maker knives, possibly represents the actual “throne of St. Wenceslas” in the Olomouc cathedral, commissioned by Bishop František of Dietrichstein.  \nThe origin of the monstrance was once associated with Cardinal Wolfgang Hanibal of Schrattenbach, Bishop of Olomouc, who bequeathed a significant amount of money for its creation. In fact, the monstrance was commissioned by the Olomouc Chapter, headed by Dean Kašpar Florentin of Glandorf and Canon Jiří Jindrich Mayer of Mayerswald, who also commissioned a missal decorated with wrought silver (1733). In recognition of its high artistic value, the monstrance remained Chapter property even after an imperial decree issued after the Napoleonic wars ordered that all objects with precious stones be transferred to Vienna.","short_description":"This vessel, for carrying the Host, the embodiment of Christ's flesh, is one of only a few gold monstrances in Europe. The typically baroque, intricately undulating ornamentation encircles a case with a lunette, the crescent for holding the Host. The sunburst symbolises the source of life, light and Divine truth.","type":"Applied arts","holder":"Museum of Art, Archdiocesan Museum","owner":"Archbishopric of Olomouc","initial_owner":"Bishopric of Olomouc","dates":"1748–1750","location":"Olomouc, Moravia","dimensions":"H: 72 cm","place_of_production":"Brno","method_for_datation":"Marked with hallmarks, it is the only known work by a Brno goldsmith demonstrating close contacts between Brno and Olomouc, the two main centres of Moravia. Although goldsmiths of the same name were also active in Augsburg and Linz, their family ties have not yet been proven.","provenance":"Cathedral of St. Wenceslas, Olomouc","obtention":"Following extensive restoration, the monstrance, from the treasury of the Cathedral of St. Wenceslas Olomouc, is exhibited at the Archdiocesan Museum, Olomouc.","bibliography":"Miloš Stehlík, in Ivo Krsek –­­ Zdeněk Kudělka (ed) –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 595, cat. 298.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque* *1670*–­­*1790,* Paris–­­Rennes–­­Brno, 2002, p. 259.  \nDana Stehlíková, *Encyklopedie českého zlatnictví, stříbrnictví a klenotnictví*, Prague, 2003, pp. 530.  \nSimona Jemelková –­­ Helena Zápalková (eds), *Monstrance Zlaté slunce Moravy / Restaurování 2005*, Olomouc, 2007.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bishop","Enamel","Gothic","Host","pinnacle","religious object"],"materials":["emeralds","Gold","precious gems (diamonds","rubies) and enamel"]},"e1cf8f81-916a-549e-812c-671899736546":{"name":"Prayer rug","description":"The prayer niche is merely suggested here by two diagonals that do not meet. The field of the niche features two hands and above them, a floral motif, which is repeated all over the purple ground of the spandrels. The spandrels and the three narrow borders with a rich decoration of *boteh*s or tiny flowers connected by scrolls are in sharp contrast to the large beige *mihrab* field. Popular belief associates the hand motif with the hand of Fatima, daughter of the Prophet Muhammad, and as such, it is often used to decorate talismans. Sometimes, the hand motif also appears on prayer rugs, mostly on Caucasian and Baluch rugs.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 19th century","location":"Bucharest","dimensions":"H: 123cm, W: 104cm; knot density ver. 33/dm; hor. 42/dm; 1,386/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Iran, Farahan","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 8.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["boteh","hand motif"],"materials":["asymmetrical wool knot","Cotton warp and weft","knotted"]},"e2301ec1-c5b6-5d83-a402-0bf32d43fab0":{"name":"Section from the belt of the Ka‘ba","short_description":"The *hizam* (‘belt’) is an inscribed band that encircles the upper part of the Ka‘ba. During the Ottoman period, it was made up of eight sections – two on each wall – and this section would have been on the south side. It is embroidered with *sura al-‘Imran* (III), verses 95–97. The text refers to ‘the religion of Abraham’; ‘the first house of worship that was in Mecca’; and ‘the Station of Abraham’.  \nThe *kiswa* and its various components had been supplied yearly, and with very few exceptions, since Fatimid times. An incident at Mina during the Hajj of 1926 led to a break in the relation between Egypt and Saudi Arabia. As the season of Hajj approached the following year, and with no *kiswa* arriving from Egypt, King ‘Abd al-‘Aziz al-Saud ordered one to be made in haste at Dar al-Kiswa in Mecca. Due to the shortness of time, the *hizam*, of which this is a section, had to be machine-embroidered.","type":"Textile; Ka‘ba belt; *hizam*; *kiswa*; gold thread embroidery; silver thread embroidery; machine embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Hejira 1345 / AD 1927","location":"London","dimensions":"590 x 90cm","method_for_datation":"Provenance and date are based on historical records.","provenance":"Saudi Arabia, Mecca","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005): 336–9.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Black silk with pale green silk appliqués","machine-embroidered in gold and silver thread and strips of flattened gold and silver wire","over cotton thread padding"]},"e2a17074-8d98-5cbe-9a65-83b0164d6179":{"name":"Lamp","short_description":"This mosque lamp is one of the oldest extant metal lamps in the Islamic world. Older lamps of silver and gold existed, but they were melted down long ago. A glass bowl held the wick and oil.  \nThe lamp’s decoration consists of an openwork, scale-like pattern surrounding a text from the Koran written in monumental *Kufi* calligraphy decorated with foliage.","type":"Lamp, metalwork","holder":"The David Collection","dates":"Hegira 4th century / AD 10th century","location":"Copenhagen","provenance":"Iraq or Iran","keywords":["brass","kufic","Lamp","Mosque interior decoration"],"materials":["Openwork sheet brass"]},"e2e87d5b-1f57-5af5-9864-f84516f62cdb":{"name":"The *Annunciation*","description":"The beginning of the second quarter of the 16th century marks the emergence of the representation of “Lotto” knotted carpets in Portuguese painting. These carpets, their name derived from the Venetian artist Lorenzo Lotto, who represented them in his paintings, are characterised by their geometrical, angular aesthetics lined up in a repetitive scheme. The Lotto carpets of Turkish origin probably reached the high-end Portuguese market through the Venetian export trade.  \nThe presence of these carpets in Portuguese interiors is mostly evidenced through representations in paintings, in particular those of the court painter Gregório Lopes (active 1513‒† 1550). In this representation of the *Annunciation*, the Virgin Mary stands on a Turkish carpet with a yellow, meandering arabesque pattern on a red field and a pseudo-*kufic* border. It’s relevance in the painting is reinforced by the artist, for he captures the very moment when the Archangel, as if suspended in time, places one foot on the carpet, and thus enters the sacred domain of the Virgin Mother. As such, the carpet is used as a device in the painter’s masterful depiction to mark the passage from one space to another, as though through a gateway.  \nInterestingly, the opposing end of the same carpet is represented in another of Gregorio Lopes’s paintings, the *Presentation of the Head of Saint John the Baptist*, of around 1539 to 1541, a painting encompassing a ceremonial banquet in an aristocratic setting. In the *Annunciation* the artist takes the contrary approach, emptying the space of the splendour of the banquet, and replacing pageantry with a bare, peaceful interior befitting of the unfolding scene.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1540‒1545","location":"Lisbon","dimensions":"H: 135.5cm, W: 113.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred, an original altarpiece-painting from the church of the Monastery of Santos-o-Novo, Lisbon, Portugal, in 1911","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["Annunciation","Gregório Lopes","Lotto carpet","painting","Portugal"],"materials":["Oil on oak panel"]},"e36d1815-45d9-51df-ac24-e2a59050461b":{"name":"Mosque lamp.","description":"A large glass mosque lamp with a flaring mouth, flattened lower section, and low folded foot. Six glass rings are attached for suspension chains. The lamp is decorated with gilding and enamelling which forms a design in several registers. The top section of the neck features a large inscription in bold blue letters. The inscription, which is divided into three sections by circular medallions praising the sultan, includes the beginning of the famous Light Verse from the Qur'an (24: 35): 'God is the Light of the heavens and the earth. The likeness of His Light is as a wick-holder wherein is a light …'. This verse was a popular inclusion on lighting implements such as mosque lamps. The lower part of the neck has a band of sketchy decoration in red, punctuated by small blue medallions. The main part of the lamp's body features a dramatic network of fine interlacing patterns outlined in red against a blue background with floral elements. The interlacing is left clear, so that when the lamp was lit the patterns would have glowed. The bottom section of the lamp, the area above the foot, repeats the circular medallions from the neck.","short_description":"A mosque lamp of typical Mamluk shape, decorated with a bold inscription around the neck and a complex interlace pattern on the body. The interlace pattern is in outline, so when the lamp was lit – supposedly in the mosque of Sultan Hasan in Cairo – the interlacing bands would have glowed.","type":"Glasswork, enameled, gilded","holder":"Victoria and Albert Museum.","initial_owner":"Thought to have been made for the mosque and *madrasa* of Sultan Hasan (r. 748–52 / 1347–51 and 755–62 / 1354–61).","dates":"Probably between hegira 757 / AD 1356 and AH 762 / AD 1361.","location":"London, England","dimensions":"Height 35.6 cm, width 30.7 cm.","method_for_datation":"The lamp is said to have come from the mosque and *madrasa* of Sultan Hasan, which was built between 757 / 1356 and 762 / 1361.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Possibly Cairo.","obtention":"Purchased by the Museum in 1900.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East*, London, 2004, p.28 and plate 14.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["Gilded and enamelled glass."]},"e3b0645a-dca5-537b-86d7-5a168c647274":{"name":"Mineia, February","description":"The *mineia* icons record important dates in the calendar year of the Orthodox church. Feast days and saints are arranged by date and labeled. The icons are usually painted in miniature, and a typical day can commemorate up to ten feasts and saints. This February icon was once part of a set of 12 *mineia*, with each panel featuring one month in the church calendar.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1569","location":"Clinton, Massachusetts","dimensions":"Height: 57.2cm, Width: 44.5cm, Depth: 5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from the Temple Gallery, London, in 2007. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"e6710518-4898-5028-a985-a35bd74bd8a8":{"name":"Konya prayer rug with pelt","description":"Rugs with animal skins are a specialised category within Turkish carpet weaving. The earliest examples are seen in Anatolia from the 17th century. This rug has three borders. The first and third borders are identical. A sequential hooked “s” motif on white ground fills the interior. The main border is in the form of a band, with blue *Rumi* on red ground arranged in two winding rows. The branches of these *Rumi* are enriched with tiny palmettes. The animal pelt is stretched in a way to form the prayer niche of this rug with a red main ground. A ram’s horn motif on the top part of the spotted pelt design is on white ground that resembles red and brown panther spots. The same motif is found on the bottom short edge of the prayer rug.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"17th century","location":"Istanbul","dimensions":"L: 140cm, W: 170cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"Acquisition unknown","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007: s.23, Kat.no.1. Erdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102. Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99. Şahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"e6e39016-a178-5040-afd2-919c26cefc8e":{"name":"Fertek‒Niğde Prayer Rug","description":"There are several towns around the Niğde Province including Taşpınar, Maden, Yahyalı, Yeşilhisar, Karapinar, Karaman, Bor and Fertek which were important rug production centres. Niğde was the regional market place, and rugs produced in these towns became known as “Niğde rugs”. This is an excellent example of a Fertek rug. It is distinguished from other Niğde rugs by simple but nice looking floral motifs. The head band of the prayer rug is decorated with stylised tulips. Eight point star motifs appear on the niche corners.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 110cm, W: 161cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Niğde","obtention":"From the  Awqaf Storehouse","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007,s. 116, Kat. No: 94.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 3, Katalog no: 298.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Middle Anatolia","Niğde prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"e750697b-0787-548a-a9e2-a530da438063":{"name":"Mosque lamps","short_description":"From 1356 to 1363, Sultan an-Nasir al-Hasan commissioned a mosque to be erected in Cairo. He decorated it most luxuriously with mosque lamps made of enamelled glass. The most magnificent of them were produced in the workshops of Aleppo and Damascus. In the mosque, they are suspended on fine bronze chains from the ceiling, reminiscent of the star-spangled heavens. They decorate the space more than they illuminate it. In accordance with the religious surroundings, their ornamentation is modest: some elegant arabesques, the initial lines of the famous verses of light from the Qur'an and a dedication to the renowned benefactor. Together with his crest, the mosque lamps announce his generosity and his wealth. In 1855, it is believed that two of these precious mosque lamps were brought out of Egypt by the Austrian archduke Ferdinand Max, the future Emperor of Mexico; he decorated one of the splendid halls of his pleasure palace near Trieste with them.","type":"Architecture; religion","holder":"Weltmuseum Wien","dates":"Ca. 1360","location":"Vienna","dimensions":"H: 39.5cm and 37cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo; Bahri-Mamluk","obtention":"Miramar Collection of Archduke Ferdinand Max, brother of Emperor Franz Joseph I, which was officially incorporated in 1878 into the Imperial Collection in Vienna.","bibliography":"Steinmann, Axel, \"Moscheeampel\" \\[description\\], in Wilfried Seipel (ed), *Der Turmbau zu Babel. Ursprung und Vielfalt von Sprache und Schrift, Band IIIB: Schrift, exhibtition catalogue*, Graz: Schloß Eggenberg, 2003: cat. no. 3.3.37, 191-194.  \nSteinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","materials":["enamel","glass","Gold"]},"e77d0bf1-58c8-5972-8f5a-b708fbd506b7":{"name":"The Mother of God Umilenie","description":"The *Umilenie* (tenderness) Mother of God icons display touching images that depict the Virgin caressing her Child. The distinctive feature of this icon type is that the Christ Child has his face pressed against her cheek and one arm around her neck. Finely executed and balanced in line, color and composition, this icon, the earliest in the Museum of Russian Icons collection, is a particularly beautiful example of this motif.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1425","location":"Clinton, Massachusetts","dimensions":"Height: 22.9cm, Width: 19.1cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2000. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"e79d0da8-0e74-53d4-8df3-5ad805dd038d":{"name":"High Choir, Organs","description":"The dioceses of Braga and its archbishops was very important within the Catholic Church since the early Middle Ages, before the foundation of the Kingdom of Portugal, as well as throughout the Portuguese history namely in the Baroque period.  \nIn the North of Portugal during the 18th century there was an active workshop that provided important clients in accordance with the splendour and dignity of the court and religious life. Facing the need to replace the old choir stalls from the 16th century, Braga Cathedral commissioned Marceliano de Araújo and Miguel Francisco da Silva to design the monumental High Choir, the choir stalls and the gilded, carved wood organ cases in 1737.  \nThe whole set of the choir stalls made of carved and gilded wood includes two rows of seats, the cathedra for the Archbishop and in the centre a remarkable choir stand with the same decorative programme. Due to the major role of music within the Baroque Roman Catholic liturgy, Simão Fontanes was commissioned to build the mechanics of two impressive Baroque organs (1737-1738) with thousands of copper pipes, which are encased in magnificent cases made by Braga's woodcarver Marceliano de Araújo.  \nThe ceiling painting also belonging to this phase of the cathedral redecoration was executed by Manuel Furtado de Mendonça.  \nThe organs of the Braga Cathedral, commonly included within the category of the Iberian organs, are installed in two balconies over the central nave. The abundance of sculpture ornaments distributed from the base of the building to the top of the Cathedral allows us to include this artwork as one of the finest examples of the Baroque woodcarving in Portugal.","short_description":"The choir is located at the west end of the nave and includes two encased organs and choir stalls. They are an example of the work produced in the 18th century by the Northern Portuguese workshop to supply important clients in accordance with the dignity of the court and religious life.","type":"Ecclesiastical furniture and sculpture","holder":"Braga Cathedral","owner":"Braga Cathedral","initial_owner":"Braga Cathedral","dates":"1730-1739","location":"Braga, Braga","place_of_production":"Braga","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Braga Cathedral","obtention":"In situ","bibliography":"Ferreira, J. A., *Fastos Episcopais da Igreja Primacial de Braga (séc. III - séc. XX)*, III, Braga, 1932.  \nSmith, C. R., *A Talha em Portugal*, Lisboa, 1963.  \nSmith, C. R., *Marceliano de Araújo – Escultor Bracarense*, Porto, 1970.  \nAlves, N. M. F., \"A actividade de pintores e douradores em Braga nos séculos XVII e XVIII\", in *Actas do IX Centenário da Dedicação da Sé de Braga*, vol. II/2, Braga, 1990.  \nDoderer, G., *Os Órgãos da Sé Catedral de Braga*, Lisboa, 1992.","workshop":"Porto and northern region workshop","author":"Fernanda Barbosa","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["carved","gilding","musical instruments","organ","organ cases","wood"],"materials":["carved and gilded with gold leaf","Wood"]},"e8943284-2319-51c2-91bf-636b5313c45d":{"name":"‘Transylvanian’ prayer rug","description":"The term “Siebenbürger” or “Transylvanian” rug recurs frequently in Oriental carpet literature. It is used to designate 17th- and 18th-century rugs preserved in large numbers in the Saxon churches of Transylvania, whose provenance has not been yet definitively established. Certain experts have indicated Transylvania as a possible source, whereas according to more research that is more recent they were produced in western Anatolia. Many “Transylvanian” rugs feature the *mihrab* design, typical of prayer rugs; in most cases though, the niche becomes a purely decorative element devoid of its original meaning, a fashionable motif popular with carpet buyers outside the Islamic world. This rug is a fine example of exquisite craftsmanship. The white field of the *mihrab* is decorated with floral motifs intertwined with geometric scrolls; a mosque lamp is hanging from the apex. Above the red spandrels decorated with similar geometric scrolls, a narrow rectangular panel features alternating tulips and cypress trees. Polygonal cartouches alternating with octagons fill the main border.","type":"Prayer rug","holder":"The National Museum of Art of Romania; The Art Collections Museum","dates":"Early 17th century","location":"Bucharest","dimensions":"H: 176cm W: 112cm; knot density ver. 45/dm; hor. 41/dm; 1,845/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Donated as part of the Beatrice and Hrandt Avakian Collection","bibliography":"Dunca, Mircea, *Covoare turceşti secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 6.  \nFranses, Michael, *In Praise of God. Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakip Sabanci Museum, 2007: cat. 18.  \nIonescu, Stefano (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 201.","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"e9c5dea2-d0d2-56ce-8e1a-0301e49ff152":{"name":"Niche carpet","description":"This carpet is among the most famous in the Berlin collection. As early as 1871 it was acquired by Wilhelm von Bode for the painter Heinrich von Angeli, but it was not until 1905 that Bode was able to buy it from his heirs and donate it to the Museum. Von Angeli and some of his colleagues depicted this carpet several times. The charm of this carpet lies in its depth of colour, its high, dense pile and the impressive sheen of the wool. On a dark blue ground, two red-ground spandrels are separated in the form of niches by a strong white line. Unusually, the spandrels blend into each other at their tops. The lower half of the niche field is filled with a light blue cloud band, in whose arc a large blossom forms a fixed point. This cloud band is reminiscent of delimitations in the so-called keyhole or Bellini carpets. Their often angular arch forms are associated with fountains, which were needed for the ritual cleansing before prayer. Because of the Persian appearance of the blossoms, the origin of the cloud band from East Asian cultures, and the use of depressed warps, this carpet has occasionally been ascribed to Persia. However, not only the colour palette and the reference to the keyhole motif, but also the use of a symmetrical knot, speak in favour of a location in Turkey.","type":"Carpet","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"AD early 16th century","location":"Berlin","dimensions":"L: 177, W: 122","method_for_datation":"The carpet has been radio carbon dated. The carpet has been dated on stylistic analysis of its pattern, due to its colours and knot-technique","method_for_provenance":"The carpet has been located on stylistic analysis of its pattern, due to its colours and knot-technique","provenance":"Anatolia","obtention":"Bought by Wilhem von Bode in 1871 for the painter Heinrich von Angeli; 1905 gifted by Wilhelm von Bode","bibliography":"Beselin, Anna, *Geknüpfte Kunst. Teppiche des Museums für Islamische Kunst*, Berlin: Minerva, 2011. Bode, Wilhelm von, *Vorderasiatische Knüpfteppiche aus älterer Zeit*, 2nd edition, with contributions by E. Kühnel, Leipzig o.a., 1914.","author":"Anna Beselin","keywords":["carpet","Cloudband","Niche Carpet","painting","Prayer Capet","Wilhelm von Bode"],"materials":["knotted pile carpet","symmetrical knot","wool"]},"e9f4c38d-048f-5665-96a4-f4e9444dc22f":{"name":"Prayer rug with a row of niches.","description":"This is one of three 'row' carpets of an early date in the collection of the Museum of Turkish and Islamic Arts which have survived from the 9th / 15th century to the present day. The composition has been organised into *mihrab* niches which provide a distinct space for worshippers in the mosque to pray in well-defined rows. It has survived as a fragment; the original dimensions of the complete rug are not known. The ground is white (cream). Within the sections outlined by dark-blue borders are five *mihrab* niches, two of them green and three dark-blue. The influence of the monumental *kufic* borders of AH 7th- / AD 13th-century Konya rugs of the Anatolian Seljuq period can be seen in the design of the rug's *mihrab*s. Each of the *mihrab* niches are crowned with a stylised ram's-head motif, while their corners have corner-pieces with dark-blue chequer patterns and red 'stalactites' hanging off them. In each *mihrab* there are three mosque-lamp motifs, one in the centre and two at the sides, hanging downwards. Four of the *mihrab* niches have diamond-motifs in their lower section, ornamented with motifs like arrowheads pointing in four directions. In contrast, the central niche has a diamond-motif in its lower section which is plain, as if the element of symmetry is meant to show the centre of the prayer rug.  \n  \nThe pattern reminiscent of a double ram's-head in blue on a red ground, while it makes up the main border, is at the same time used to separate the rows from each other.  \n  \nThe motifs on the narrow yellow-ground border which surrounds the main border resemble a chain of plaited yellow and blue rosettes. The geometric motifs carry on Seljuq tradition, especially their arrowhead-like corners which resemble *kufic* script. These, as well as the mosque-lamp and eight-pointed star motifs, prepare the way for the transition to Ottoman prayer rugs.","short_description":"The earliest Ottoman prayer rugs with multiple niches are dated to the AH 9th / AD 15th century. They were produced for use in the mosque to help the congregation to pray in straight lines. The prayer rugs (*seccade*) of this period with their geometric compositions and *kufic* borders are a transition to classical Ottoman prayer rugs.","type":"Wool, knotted, carpet","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 9th century / AD 15th century.","location":"Sultanahmet, Istanbul","dimensions":"430 cm x 133 cm.","method_for_datation":"Chemical analysis carried out on the original dyes used for this rug, together with analysis of the motifs and composition, point to a date of production in the 9th / 15th century.","method_for_provenance":"Rug-making is not widespread in the Eskişehir-Sivrihisar region. Moreover, in this period Konya was the most important centre for rug production, and since this example continues the Seljuq tradition, it is thought that it was woven in the Konya region.","provenance":"Central Anatolia (possibly Konya), Turkey.","obtention":"The rug was transferred from the Sheikh Baba Yusuf Mosque in 1911 as a result of a countrywide initiative to collect up artworks in order to prevent theft and plunder. The aforementioned mosque was built in 903 / 1498 in Sivrihisar, one of the first large sites settled by the Turcomans (Türkmen). Sheikh Baba Yusuf (d. 918 / 1512) was a religious scholar descended from Haci Bayram Veli (753–834 / 1352–1430), founder of the Bayramiyya branch of Sufism.","bibliography":"Aslanapa, O., *Türk Halı Sanatının Bin Yılı*, Istanbul, 1987, p.163, Pl. 115.  \n  \nÖlçer, N., *et al, Turkish Carpets of the 13th-18th Centuries*, Istanbul 1996, pp.158–9.  \n  \nÖlçer, N., *et al, Museum of Turkish and Islamic Art,* Istanbul, 2002, p.168.","linkcatalogs":"IAM_TR_EN_001","author":"Gönül Tekeli","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Gördes","prayer rug","rug","Sheikh Yusuf Baba","Sivrihisar"],"materials":["Wool on wool","woven with the Turkish double knot also known as the Gördes knot."]},"eb9313ce-3a64-5d73-bea2-13a7a7012be8":{"name":"Magic cup","description":"The bowl is lined with inscriptions inside and out – verses from the Koran, the most beautiful names of God, religious and talismanic expressions – alternating with magic squares. On the outer perimeter, images of the zodiac and planets engraved inside medallions were scrupulously obscured at a later date with floral motifs, no doubt in order to avoid the association of the Koranic text with representations of living creatures.  \nConsuming drinks or food in such cups, thus closely connecting religion, medicine, and astrology, permitted one to resist the effects of poisons, fevers, and other physical ailments. *The Thousand and One Nights* invoked a divinatory purpose too.","type":"Metalwork","holder":"Museum of the Arab World Institute","initial_owner":"Marcel Destombes","dates":"Hegira 11th - 1st quarter of 14th century / AD 17th and 19th century","location":"Paris","dimensions":"Height: 8.5cm, Diameter: 22.7cm","provenance":"India","obtention":"Bequest of Marcel Destombes.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 295.  \n  \nRoux, J-P., *Arts de l'Islam: des origines à 1700*, Paris: Musée national de l'Orangerie, 1971: 112.  \n  \nWelch, A., *Calligraphy in the arts of the Muslim world*, Austin: University of Texas Press, 1979: 186-187, Fig. 80.","translator":"Judy Harter","materials":["Cast and chiseled brass"]},"ebe4dfb5-2c91-5b48-9947-a44e4359f085":{"name":"Daghestan Prayer Rug","description":"A 19th century Caucasian prayer rug with a knotted pile. Its directional design consists of a single-plane lattice design crowned by an angled arch with a pointed summit, laid out on an ivory-coloured background and framed by a wide red and blue border.  \n  \nThe lattice design of the centre field contains diamond-shaped compartments, each of which holds a single multi-coloured flower. The horizontally arranged rows of multi-coloured flowers contain repeats of three flowers, symmetrically distributed. The flower repeat arrangement is staggered across the succeeding rows, creating a diagonal uniformity of colour and shape distribution. Below the right edge of the prayer niche arch, and to the right side of the centre-field, near the edge of the border, is a figure of a quadruped, possibly a dog, rendered in pink and yellow with black outlines. This little animal, with its long curled up tale and long stretched back ears, has been inserted in place of a flower.  \n  \nThe border of the carpet consists of a dark green/blue background overlaid with a red scroll of Arabesque design – a version of the Caucasian border scrolls inspired by Arabic *kufic* script.  \n  \nSuch carpets are made for use in performing the daily prayers in Islamic culture. The arch end of the carpet indicates the side upon which the worshiper lays his forehead in prostration.","type":"Prayer rug","holder":"Glasgow Museums - The Burrell Collection","dates":"19th century","location":"Glasgow, Scotland","dimensions":"H: 1397mm, W: 1080mm","method_for_datation":"Manufacturing techniques and stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Daghestan, northern Caucasus","obtention":"Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944","workshop":"Daghestan workshop","author":"Noorah Al-Gailani","keywords":["animal","floral motif","geometric decoration","prayer niche","prayer rug","vegetal lattice"],"materials":["wool pile","Wool warp and weft"]},"ed13e6c9-1b55-5025-a832-f8d710bb6ff1":{"name":"The Mother of God Smolenskaya with Oklad","description":"This is a *Hodegetria* (Greek for “one who shows the way”) Mother of God icon, recognizable by the solemn expression of the Mother of God and the frontal position of the Christ Child delivering a blessing. The Christ Child sits on his Mother’s left knee and holds a tightly rolled scroll. The original icon was brought from Byzantium in the 12th century and kept in the Assumption Cathedral in the city of Smolensk. In the 15th century, the icon was transferred to Moscow before being returned to Smolensk.  \nThis icon has four additional figures, two on each border: a guardian angel and Venerable Basil the Confessor on the left, and Saint John the Baptist and Saint Anne the Prophet on the right. The *oklad* (covering) is solid silver under mercury gilding with no apparent hallmark. The *oklad* has a large nimbus containing sculpted angels with openings for their faces and hands, as well as many gems and a raised floral and fruit design. An inscription on the bottom border reads as follows:  \n  \nAt the Alenskiy-Skete in the area of Kerzhenets, the Schemamonk Filaret the icon painter, had painted this icon for the Schemamonk Iosif. At the year 7250 \\[1740\\] this icon was given to the treasury of the Schemanun Irinarkha. The Abbess, the nun Anafoliya donated this icon in the year 7376 \\[1868\\], at the third day of February to the Archbishop Antonij of Moscow and Vladimir.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1700","location":"Clinton, Massachusetts","dimensions":"Height: 56.5cm, Width: 48cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2011. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"ed9865de-73ac-57f6-ade6-ad41f83cd57d":{"name":"Section from a chasuble with ogival medallions","short_description":"The fabric is of very high-quality weave, and is datable on the basis of its technique and design to the early years of the classical era of Ottoman silk lampas (*kemha*) in the 1550s, when the designers and weavers, encouraged by state patronage at the very highest level, were establishing themselves in competition with Italian silk weavers. The tiny scale of the stylized blossoms, the precision of their drawing and their symmetrical arrangement are all indications of a fairly early date.  \nFabrics of this sort, exported to western and central Europe, were frequently fashioned into ecclesiastical vestments, the chasuble being the most common genre to incorporate both Ottoman *kemha* and Ottoman velvet.  \nThe two halves of the other side of this chasuble are in the Textile Museum, Washington, DC, inv. no.1.51; and the Metropolitan Museum of Art, New York, inv. no.08.109.24.","type":"Textile; chasuble; silk; lampas; *kemha*","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD second half of the 16th century","location":"London","dimensions":"139 x 74cm (max)","method_for_datation":"Date and provenance are based on stylistic and technical grounds.","provenance":"Turkey, probably Istanbul","bibliography":"Denny, W., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[In preparation / forthcoming\\]  \nMigeon, G., *La Collection Kelekian. Étoffes & Tapis d'orient et Venise*, Paris 1908, pl.36.  \nRogers, J.M., *Empire of the Sultans. Ottoman Art from the Collection of Nasser D. Khalili* (exhibition catalogue), Alexandria, Virginia and London, 2002: no.155, pp.220–21.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.381, p.254.","keywords":["kemha","Lampas weave","Ottoman textile","silk","textile","Turkey"],"materials":["Silk lampas (kemha)"]},"ee03a75d-9b6a-5031-8a38-a31dc82d9b98":{"name":"Mosque lamp.","description":"A mosque lamp of typical size and shape for Mamluk lamps, with flaring neck, wide body and high foot. Thick glass loops are attached for the suspension cords. The body is decorated with a large inscription which reads, 'This is what was made a *waqf* by the servant yearning for God the Exalted, hoping for the pardon of his generous Lord, Qijlis, \\[officer\\] of al-Malik al-Nasir'. The neck carries a verse from the Qur'an (9:18) and three medallions with the Mamluk blazon indicating the owner's rank, in this case a sword telling us that Qijlis was *amir silah* (arms-bearer) to the sultan. The lamp is said to have come from a monastery in Seidnaya, a village near Damascus.","short_description":"A mosque lamp of typical Mamluk form, with bold inscriptions and three medallions with the patron’s blazon, a sword. The patron was one Amir Qijlis, arms-bearer to the sultan, who commissioned this lamp as a pious donation to an unknown mosque.","type":"Glasswork, enameled, gilded","holder":"Victoria and Albert Museum.","initial_owner":"Sayf al-Din Qijlis al-Nasiri, an officer of the Mamluk Sultan al-Nasir Muhammad between AH 716–31 / AD 1317–31.","dates":"Between hegira 716–31 / AD 1317–31.","location":"London, England","dimensions":"Height 28.9 cm, width 25.4 cm.","method_for_datation":"The inscription mentions Sayf al-Din Qijlis al-Nasiri, who was promoted to *amir silah* of Sultan al-Nasir Muhammad in 716 / 1317 and died in 731 / 1331.","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1875.","bibliography":"Lamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1930, p.439.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","coat of arms","inscription","Mosque interior decoration","religious object","waqf"],"materials":["Enamelled glass with gilding."]},"f0e2d598-8e69-5768-bd25-d9db967e1292":{"name":"Painting Entitled ‘al-Rihlah al-Hijaziyyah/ Sacred Pilgrimage Journey’","description":"According to a plaque below the images, the painting depicts the pilgrimage of ‘Abbas Hilmi II, the Khedive of Egypt, which he performed in 1909. His portrait is on the left; on the right is that of Mehmed V Rashad, the contemporary Ottoman sultan. To the left and right of the Ka‘bah, which occupies the centre of the painting, are depictions of the Mosque of the Prophet in Medina and the Dome of the Rock in Jerusalem. Many of the remaining images are based on photographs of the hajj published in the July 1953 issue of National Geographic.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1953","location":"London","dimensions":"Height: 181 cm; Width;278 cm","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-painting-entitled-al-rihlah-al-hijaziyyah-sacred-pilgrimage-journey-mss1190/","keywords":["Egypt","hajj","Mecca","Ottoman","pilgrimage"],"materials":["Oil on canvas","some titles in découpage"]},"f0fbf3fe-1168-5514-90da-4ae1a4c94a50":{"name":"Brocade.","description":"The aesthetics of this fabric is based on a repetitive design of large medallions and a well-balanced use of only three colours. Finely drawn silver arabesques fill the centre of each medallion, surrounded by a narrow poly-lobed frame of red silk. It follows a row of circles alternately coloured red and silver. A zigzag encloses this inner pattern. Red contoured trefoils and leaves on a golden background form the outer border. A detail which also proves the skill of the designer is the small silver point emphasising the middle of each trefoil.  \nThis brocade is part of a larger piece formerly used as an antependium (altar frontal). Many of the ecclesiastical textiles made in Sweden include fabrics imported from Persia and Turkey.","short_description":"Brocade with a repetitive design of large medallions. The design shows a well-balanced use of colours: silver for the arabesques which fill the centre of each medallion and red for the surrounding poly-lobed frames. This brocade is part of a larger piece formerly used as an antependium (altar frontal).","type":"Textile, Silk, gold, metal thread","holder":"Museum of National Antiquities.","owner":"Hjortsberga Church, Blekinge, Sweden.","initial_owner":"Hjortsberga Church, Blekinge, Sweden.","dates":"Hegira 9th–10th centuries / AD 15th–16th centuries.","location":"Stockholm","dimensions":"Height 174 cm, width 94 cm.","method_for_datation":"Dated by A. Geijer (see Bibliography).","method_for_provenance":"Provenance established by A. Geijer (see Bibliography).","provenance":"Turkey.","obtention":"Deposit by Hjortsberga Church.","bibliography":"Ådahl, K. (ed.), *Sverige och den Islamiska Världen*, Värnamo, 2002, pp.178–81.  \nGeijer, A., *Oriental Textiles in Sweden*, Copenhagen, 1951, p.50, cat. no. 48, plate 24.  \n*Islam, Konst och Kultur. Islam, Art and Culture*, Exhibition catalogue, Stockholm, 1985, 209, cat. no. 9.","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","floral ornament","textile"],"materials":["brocade.","gold and silver threads","silk"]},"f24666e2-290a-58d6-a9b0-9e1cd2a72ccc":{"name":"The Masjid Al Haram Mosque in Mecca","description":"View of the Masjid Al Haram Mosque and the Kabba from an elevated position.","type":"Photograph","holder":"IWM","owner":"IWM","dates":"1908","location":"London","dimensions":"Height: 18 cm; Width: 22,5 cm","place_of_production":"Saudi Arabia","obtention":"Donation as part of the T E Lawrence Collection.","author":"Alan Wakefield","keywords":["ottoman empire","Religion","Saudi Arabia"],"materials":["Black and White photographic print"]},"f3f71340-4ba9-56b9-bb2e-aa39656b9630":{"name":"The *Annunciation*","description":"Aside from the *Annunciation*, the *Mass of St Gregory* is one of the most common and important painting subjects in which representations of carpets can be found. Into one of the crucial moments of Christian iconography, artists transposed aspects of the typical Portuguese feminine interior spaces of the 16th century, with the marked presence of the female dais (*estrado*). Its use appears associated with the context of Islamic presence in the Iberian Peninsula during the Middle Ages.  \nIn this painting, the Virgin Mary appears kneeling on a mat: this, along with other similar representations bear witness to the past presence in Portugal of these types of small carpets that are non-existent in collections today. Such is the case of these “mats”, used during the summer as an alternative to the dense knotted carpets of the winter months, as well as of the tapestries, which alternated in the summer period with the *guadamecis*.  \nThe artist’s decision to include a mat, rather than an Oriental carpet, may be down to the painting being commissioned for a convent of the Order of Saint Claire, where the strict rules called for austerity. This appears in opposition to Gregório Lopes’s painting intended for a wealthy clientele.  \nIn addition, it all goes to prove the absorption and influence of African artistic production in Portuguese contemporary life and art since the 15th century, when mats, but also other objects such as saltcellars and ivory spoons, began to be imported to Portugal from Benin.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1515","location":"Lisbon","dimensions":"H: 160.5cm, W: 29.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the Convent da Madre de Deus (Order of Saint Claire), Lisbon, Portugal, in 1912","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.  \nCarvalho, José Alberto Seabra, “Madre de Deus Altarpiece”, in Alexandra Curvelo (ed.), *Casa Perfeitíssima 1509‒2009: Celebrating 500 years of the Foundation of the Convent of Madre de Deus*, Lisbon: Ministério da Cultura/IMC/Museu Nacional do Azulejo, 2009.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Jorge Afonso","painting","Portugal","the Annunciation"],"materials":["Oil on oak panel"]},"f445365e-28d3-5b5f-869c-11cd87fe18f8":{"name":"The *Circumcision*","description":"We are witnessing the representation of one of the most important episodes of Jesus’ childhood, in which, according to Jewish law, the Child gains its identity.  \nThe scene has been re-created in the interior of a Renaissance-style temple where the Holy Family and several figures cluster around the table where a priest is about to carry out the circumcision.  \nCovering the altar there is a white towel, in turn, this covers a carpet, of which only the border, filled with “vine scrolls”, palmettes and foliage, is visible. This variant in the use of carpets in a painting makes this a very interesting document.  \nAlongside its use as a floor-cover in paintings, when its symbolism is associated with dignity and spatial boundaries, carpets were used widely as a cover for altars in churches as well as in civil settings as furniture covers, as several Portuguese inventories attest.  \nIn the *Circumcision*, a so-called knotted “Holbein” carpet can be seen. It is put to the same use here as the carpet represented by Hans Holbein, the Younger (1497/8‒1543), in his famous portrait *The Ambassadors*, which thereafter gave this specific compositional structure the name “Holbein”.","type":"Painting","holder":"National Museum of Ancient Art","dates":"c. 1550","location":"Lisbon","dimensions":"H: 213.5cm, W: 169cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the convent absolved in 1834","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["Annunciation","carpet","Holbein","painting","Portugal"],"materials":["Oil on oak panel"]},"f4987d48-6c52-594a-a15b-12a3fe0431f8":{"name":"Mosque lamp","short_description":"This mosque lamp belongs to a well-established group of glass lamps probably made for the Mamluk Sultan (al-Nasir Nasir al-Din) Hasan (AH 734-763/ AD 1334-1361). An unusual feature of this lamp is the panel of stylised pseudo-Kufic script alternating with *thuluth* inscriptions and reads: “What was made for his Excellency, the Elevated, the Servant of the Lord, the Great Amir, the Possessor”; around the body and its underside are six repeating inscriptions of \"The Learned\"","type":"Glass","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century","location":"Doha","dimensions":"Height: 27.5 cm, diameter: 24 cm","provenance":"Egypt, Cairo","obtention":"Christie’s London, Private Sale, 1997; sold to Qatar Museums","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \nCarboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003.","author":"Tara Desjardins","keywords":["calligraphy","Egypt","glass","Lamp","Mamluk","Mosque"],"materials":["Applying","blown-glass","enamel","enameling","gilding","glass","Gold"]},"f4bcacb1-5ea8-5c29-af93-fd4527263356":{"name":"Spherical component of a mosque lamp","short_description":"Spherical component of a mosque lamp decorated with rosettes, cloud scrolls and arabesques. Stylistically, it is related to an inscribed mosque lamp that bears the signature of the artist Musli al-Din and the date 1549. It is quite possible that both items are works of the same artist, created on the occasion of the restoration of the Dome of the Rock at Jerusalem by Süleyman the Magnificent.","type":"Ottoman ceramic, fritware with polychrome underglaze decoration","holder":"Benaki Museum","dates":"Hegira 10th century / AD mid-16th century","location":"Athens","dimensions":"23 cm","provenance":"Turkey","keywords":["Mosque interior decoration","Mosque Lamp","Ottoman arabesque decoration"],"materials":["Frit ware with polychrome underglaze decoration"]},"f4ea69e8-9de2-5382-aca9-484c574fcf53":{"name":"Konya Prayer Rug","description":"This rug is known as the “prayer rug with a high estrade”.It was woven specifically for the midday religious service in mosques on Fridays. The Kaʽba and its surrounding  buildings are portrayed. Kaʽba  motifs and foot marks at the bottom side indicate the direction of the prayer, as one must turn his/her face to the Kaʽba during prayer. There are hanging candle motifs symbolizing the holy (eternal) lights of the prophet along the right and left side of the Kaʽba motifs. The floral decoration on the borders are typical for its origin and date.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"16th century","location":"Istanbul","dimensions":"L: 113cm, W: 146cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the  Konya Sultan Aladdin  Mausoleum","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007, s.23, Kat.no.1. Erdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Middle Anatolia","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"f50bd176-bda6-5419-b0f2-72d317a0f0f5":{"name":"Prayer rug","description":"At the centre of this prayer rug there is a *mihrab*, which indicates the *qibla* ‒ the direction of the Kaʽba in Mecca. The Kraków example is especially attractive because of its vivid colours: a warm-red niche, closed with an arch of bizarre shape, contrasts with yellow borders. Inside the white spandrels is a black arabesque ornament. In the cross-panel there are rosettes inscribed in lozenges. The most striking feature is a wide border with a pattern of rhythmically turned rosettes and pomegranate motifs. Such a border reflects the style of Ottoman court rugs attributed to Bursa. Similar rugs can be found in many churches in Transylvania.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"18th century","location":"Kraków","dimensions":"H: 183cm, W: 119cm; knot density 960/dm2","method_for_datation":"Geometrisation of the motifs as well as simplification of the design dates this rug to as late as the 18th century","method_for_provenance":"Stylistic analysis","provenance":"Anatolia, Gördes","obtention":"Donated by Erazm Barącz in 1928","bibliography":"*Amor Polunus czyli miłość Polaków* (Amor Polonus or Polish love), exhib. cat., Warsaw: Wilanow Pałace Museum, 2010: 320.  \n*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat. 11‒12. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 62‒3, 158‒9, cat. 20.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 33, cat. t, p.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collections of the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2007: 158‒9. (Analogy)","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Ghiordes","Gördes","mihrab","Ottoman","prayer rug"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"f50ec732-f02a-5c81-8530-9953b2cc241a":{"name":"Prayer Box with Cover","short_description":"This silver prayer box encompasses rich engravings suspended from a neck chain. In Iranian, Omani and Yemeni tradition, these types of necklaces treasure a secret wish.  \n  \nRolled paper amulets would fulfil wishes, alleviate pain and defend against the evil eye. It remains uncertain whether people wear the prayers on their chest to be read or locked away forever.  \n  \nBy holding or handling the box, a person enacts the power of the amulet for themselves, a loved one, or even against someone as a curse. Like engraved charms in modern jewellery, magical signs may cast a mystical aura, with Islamic phrases often written in reverse.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"FBQ.HH.10604.1 Length: 5.2cm, Width: 4.5cm, Height: 12.4cm, Diameter: 4.6cm  \nFBQ.HH.10604.2 Length: 5cm, Width: 4.4cm, Height: 5.7cm, Diameter: 4.5cm","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and pattern.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and pattern.","provenance":"Yemen","obtention":"Purchase","bibliography":"Al-Saleh, Y., \"Amulets and Talismans from the Islamic World\", in *Heilbrunn Timeline of Art History*, New York: The Metropolitan Museum of Art, 2000.  \nAl-Saleh, Y. F., *\"Licit Magic\": The Touch And Sight Of Islamic Talismanic Scrolls,* Doctoral dissertation, Harvard: Harvard University, 2014.  \nPorter, V., Saif, L. and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\" in F.B. Flood and G. Necipoğlu (eds), *A Companion to Islamic Art and Architecture*, Hoboken: Wiley Blackwell, 2017.  \nQamar, A. H., \"The concept of the ‘Evil’ and the ‘Evil Eye’ in the Islam and Islamic faith-healing traditions\", *Journal of Islamic Thought and Civilization*, 3 : 2 (2013): 44–53.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Amulet","dua","Iran","Oman","prayer box","Talisman","Yemen"],"materials":["Engraving","Silver"]},"f52af067-edfe-5f5e-95b7-9a131fd3f4f1":{"name":"Kula prayer rug","description":"This prayer rug was probably made in Kula. It is decorated with a terracotta-red *mihrab* closed with a stepped arch, the spandrels of which are light blue. The bordure, which consists of 23 thin stripes, is divided into three colouristic areas of green and yellow, ivory and dark-brown, and red and blue. Every space of the carpet is filled with minute motifs: four-petal rosettes in the niche, upside down tulips in the spandrels, and flowers on leafy stalks in the bordure. The big red, yellow and ivory carnations in the cross-panels beneath and above the niche, contrast with the other flora. The colouristic and ornamental composition gives an impression of delicacy and lightness.  \nCarpets made in Kula were strongly influenced by the Gördes production, but the multi-striped borders can be more often found in Kula rugs. In addition, the choice of minute floral motifs is very characteristic of this production centre. It is worth noting just how differentiated the floral motifs used to decorate the carpet are, especially in terms of the colour scheme.  \nPrayer rugs were very popular among the 17th- and 18th-century nobility in Poland. Taste for Oriental art was one of the characteristic features of Polish culture at the time, and prayer rugs were widely used for interior decoration.  \nThe Kula rug was obtained by the very famous Polish collector Feliks Jasieński ‒ called Manggha (1861–1929) ‒ and formed part of his extensive and precious collection. Part of this collection was donated to the National Museum in Kraków in 1929, according to Jasieński’s last will and testament.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 180cm, W: 130cm; knot density 1,085/dm2","method_for_provenance":"The ornament is typical of Kula rugs","provenance":"Anatolia, Kula","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 86‒7, 167, cat. 33.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 219–22.","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Kula","prayer rug"],"materials":["pile)","symmetrically knotted pile (Turkish knot)","weft","Wool (warp"]},"f5ef250e-6f10-578b-9290-9c8967a2f518":{"name":"*Conversion of St. Paul* Altarpiece","description":"A Rococo type of *reredos* (retable) with ornamental pilasters instead of columns, and a wealth of Rococo ornamentation in compact form. At the centre is the *Conversion of St. Paul*, flanked by two female saints without attributes. Two angels kneel at the corners of the cornice. The central, upper section of the altarpiece holds the coat of arms of the Halper-Sigetski family.  \nInitially, the altarpiece stood in St. Mark's Church in Zagreb, near the triumphal arch. Like most altarpieces in the church, this one was commissioned by a particular guild, the boot-makers' guild. Its production was part funded by a donation from Anna Gerlichich in 1760, as an inscription on the altarpiece details.  \nThe altarpiece is by an accomplished master, showing a high level of design and technical skill. The influence of Vid Königer (one of the greatest Styrian sculptors of the second half of the 18th century) is apparent, seen in the female saints in particular.  \nDuring restoration of St Mark's at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","short_description":"A richly carved Rococo altarpiece: two saints stand either side of twisted pilasters and two angels decorate the attic, while the central scene of the *Conversion of St Paul* is in high relief.  \nCommissioned for St Mark's Church by the boot-makers' guild in 1760, it was part-funded by a donation from Anna Gerlichich, as an inscription on the altarpiece details.  \nDuring restoration of the church at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","type":"Altarpiece","holder":"Croatian History Museum","initial_owner":"Church of St. Mark, Zagreb","dates":"1760","location":"Zagreb, North-West Croatia","dimensions":"H: 226 cm; w: 258 cm; depth 70 cm","place_of_production":"Zagreb","method_for_datation":"By stylistic analysis and research.  \nDuring restoration and conservation work an older painted layer was discovered under the coat of arms revealing letters next to the frame and the year: \"S. D. M. ANNA SAN(C) NATA DE GERLICHISCH 1760\". Anna Gerličić, whose name appears on the coat of arms, probably sponsored some of the work for this altarpiece, such as the gilding.","provenance":"Boot-Makers’ Guild altarpiece, Church of St. Mark, Zagreb","obtention":"During restoration of St. Mark’s Church by architects Schmidt and Bollé (1876–1882), in 1880, the altarpiece was moved to the chapel of the former Patačić Manor in Zajezda. It is probable that the coat of arms of the Halper-Sigetski family was applied to the altarpiece while at Zajezda Manor in Hrvatsko zagorje, from where it was transferred to Zagreb.","bibliography":"Baričević, D., “Barokno kiparstvo u isusovačkim crkvama u Hrvatskoj” (Baroque Sculpture in Jesuit Churches in Croatia), *Zbornik Isusovci u Hrvata* (The Jesuits in Croatia, Collection), Vienna, 1992.  \nBaričević, D., *Barokna skulptura na Gradecu, Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Grad Zagreb, 1992.  \nŠercer, M., *Stari zagrebački obrti* (Old Zagreb Crafts), Zagreb, 1991.  \nPavičić, S., *Religious Sculpture in the Croatian History Museum,* catalogue of the museum collections CHM, XXXVIII, HPM, Zagreb, 2003.","author":"Snježana Pavičić","translator":"Snježana Pavičić","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","Christian themes","gilding","guild","polychrome decoration","religious object","reredos","retable","sculpture","Theatrical architecture","wood carving"],"materials":["Carved wood","gilded and marmorised","polychrome"]},"f7ed68df-d80f-52d6-89b8-e4a57d8f8085":{"name":"Triple-arch prayer rug","description":"Triple-arch rugs, sometimes also described as six-column rugs, were very popular in Transylvania – there are several interesting examples preserved in the collections at the Budapest Museum of Applied Arts and the Brukenthal National Museum in Sibiu, and in a number of Austrian collections as well. It is very probable that in this case the niche doesn’t represent the *mihrab*, but derives from mosque architecture.  \nThe red niche at the centre of the rug is divided into three pointed arches supported by six columns, on bases in the form of polygonal turrets, with the so-called “precious stones” decoration. The large carnation flower is suspended from the pick of the central arch, and much smaller flowers hang from the lower arches. The dark-blue spandrels are decorated with a mainly yellow ornament of rosettes, and lanceolate leaves flanking them. The main, wide border, filled with an ornament of hexagonal cartouches enclosing lozenges with carnations rising from them, is placed between two narrower borders with flower ornament. The main colours of the carpet are red, yellow and dark-blue, with details in white, red and blue.  \nSome characteristic features distinguish the Kraków carpet from other examples of this type: the ornaments are rather simplified, and a clear, precise outline is almost lost especially in the spandrels; the paired central columns rise from the bases as one column, which is quite an unusual solution. Worthy of note also are the delicate, small flowers rising from the central part of the columns. The left arch has a bizarre shape, which is probably the result of an error made by the maker.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"17th century","location":"Kraków","dimensions":"H: 180cm, W: 130cm; knot density 1,184/dm2","method_for_datation":"The composition of the rug and also its stylistic features prove that it belongs to the group of triple-arch carpets traditionally connected with the Anatolia workshop of the 17th century","method_for_provenance":"Both composition and technique suggest that it could have been made in Ladik, Anatolia","provenance":"Anatolia, Ladik (?)","obtention":"Donated by Erazm Barącz in 1922","bibliography":"*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat 9.  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: National Museum in Kraków, 1983: 78‒9, cat. 30.  \nIonescu, Stefano (ed.), *Kobierce anatolijskie z kolekcji Muzeum Narodowego Brukenthala w Sibiu / Anatolian Carpets From the Collection of the Brukenthal National Museum in Sibiu* (Romanian ed.), Gdańsk: National Museum of Gdańsk, 2013: 181–5. (Analogy)  \n*Katalog wystawy kobierców mahometańskich, ceramiki azjatyckiej i europejskiej* (Catalogue of the exhibition of Mahometan carpets, Asian and European pottery), Kraków: National Museum in Kraków, 1934: cat. 7.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collections of the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2007: 136–56. (Analogy)","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["dark-blue","floral decoration","floral motifs","mihrab","niche","Ottoman carpet","palmette","prayer rug","wool"],"materials":["pile)","symmetrically knotted pile","weft","Wool (warp"]},"f9783bd6-7a5b-5ca2-8a70-781a2af32872":{"name":"Cross chain","description":"A cross of silver on a silver chain known with the folkloric name “heal of gazelle”, worn by Christian women. Silver was the most common jewellery; only rich people used gold. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated religious composition of Jordan in the late 19th and early 20th centuries. It also demonstrates personal attire, fashion, local costumes and rites.","type":"Ornament; jewellery","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"fa052673-5ed9-5255-bc4c-8cacacef21c2":{"name":"Kaaba *Kiswah* (Covering)","short_description":"Prior to Islam, regional tribes competed to cloak the Kaaba, a religious sanctuary. Every year on the ninth day of the Pilgrimage month, a new *Kiswah* (covering) reveals the Kaaba’s new face in a ceremony while concealing the building’s appearance. Sewn by Egyptian craftsman in 1910, this fragment of the *Kiswah* to the Kaaba in Saudi Arabia represents the curtain covering an architectural door adorned with calligraphy. A generous 220 kilograms of gold and silver embroider the 670 kilograms of black-dyed silk. The year-long manufacture, considered a religious duty, requires precision and laborious processes to create a fitted garment that can withstand the hot sun. Egyptian rural production centres produced the *Kiswah* for centuries. Today, modern media helps witness the production and ritual replacement worldwide with livestream coverage.","type":"Religious relic","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1910","location":"Shahaniya","dimensions":"Length: 582cm, Width: 290cm","place_of_production":"Egypt","method_for_datation":"The date and commissioner are embroidered onto the Kiwa.","method_for_provenance":"The Kiswa covers the Kaaba in Mecca, Saudi Arabia.","provenance":"Mecca, Kingdom of Saudi Arabia","obtention":"Gift","bibliography":"Alashari, D. M., Hamzah, A. R., and Marni, N., \"The Aesthetics and Greatness of the Kiswah of the Kaaba in the Saudi Era\", *Umran-International Journal of Islamic and Civilizational Studies*, 8 : 1 (2021).  \nAlhazmi, N. H., *Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa*, Doctoral dissertation, Ohio University, 2021.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kaaba","Kiswa","Mecca","Saudi Arabia"],"materials":["cotton","embroidery","Gold","silk","Silver"]},"fabf4535-e263-529b-9b2c-f09555375400":{"name":"Mosque Lamp","short_description":"Glass mosque lamps such as this splendid example were made in abundance during the Mamluk period in Egypt and Syria. Free blown, enamelled and gilded, these lamps contained oil and were suspended from the ceiling of mosques, madrasas and palace complexes, illuminating the buildings with their beautifully executed decoration, including Qur’anic verses, proverbs, sultanate titles, or geometric and floral patterns. This particular lamp, with a rounded body and long sloping curved shoulder with a flared, conical mouth and trumpeted foot, has six applied loop handles around its body from which it would have hung. The lamp’s body and mouth are both decorated entirely with blue floral medallions outlined with white strapwork, set against loosely drawn red floral motifs. This example, although comparatively small in height, relates to a known set of other mosque lamps attributed to the reign of the Mamluk Sultan Hasan (AH r. 747-762 / AD 1347-1361). These lamps were most probably made for the madrasa of Sultan Hasan in Cairo, which was completed in 763-764 AH / 1362-1363 AD. Like many other examples, this lamp remained in its original structure until the thirteenth and fourteenth centuries AH / nineteenth century AD, when many were sold and entered into museum collections worldwide.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height:28.5cm, Diameter (at the widest point): 19cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 48-51, Figure/Plate 7.  \nLamm, Carl Johan, *Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten*, Berlin: Reimer Verlag, 1929-1930.  \nJodidio, Philip, *Museum of Islamic Art, Doha Qatar*, London: Prestel Verlag, 2008: 128-129, Figure/Plate 15.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008: 137, Figure/Plate 55.","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"fafb3812-1969-5e3a-b9d0-22446066efee":{"name":"Chest for a Portable Altar","alternate_name":"*Arca-Altar portátil*","description":"Portable altars in the form of chests were an element of religious furniture, epitomising Portuguese maritime travel to different parts of the world.  \nThis type of furniture developed from the 16th century onwards as Portuguese maritime voyages, in particular to India and China, increased.  \nThese voyages often involved both regular and secular clergymen embarking on missionary activities, aristocratic families, the backbone of the administration in the Portuguese empire, or those who set out for diverse corners of the world in the quest for new commercial markets.  \nThe need to reduce the volume and weight of the cargo transported on these voyages resulted in the construction of furniture that was light and easy to handle and store.  \nThis piece of furniture is built of wood and covered with black-painted leather. It is adorned with engraved plant motifs and a pattern made out of tacks. On the outside it is fairly plain. The exuberance of the piece is revealed after it is opened and assembled. The internal lining in red silk is further embellished by gold trimming. The fittings that frame the lid were inspired by incised motifs, a decorative mode that flourished during the period.  \nThe liturgical implements (chalice, crucifix, pyx, cruet, paten and bell), all of which were necessary to celebrate mass, were stored in a drawer below the altar table, in customised, made-to-measure indentations.  \nMany masses were celebrated aboard the carracks on altars such as this one, as well as on land, at sites that did not have suitable facilities for religious worship.  \nMass could only be celebrated on altars that contained an altar-stone – a stone that had been blessed – upon which was placed the chalice and the host. In this altar, the altar-stone is found in a concave indentation within the table.  \nDuring voyages, priests were obliged to celebrate mass every Sunday and on holy days. A particular feature of masses celebrated on board ship was that they did not have the consecration and consequently did not have communion. They were thus called “dry masses”.  \nIn his work, *As* *Cartas Ânuas da China: 1636, 1643 a 1649,* a compilation of letters from China written to the Jesuit General in Rome annually, the Jesuit priest António de Gouveia described the presence of altars in the houses of Portuguese settlers. He relates that it was a common practice to “assemble the altar” in the largest room so that mass could be held.","short_description":"A chest containing a portable altar, it was designed to be transported long distance on Portuguese maritime voyages to enable those on board to celebrate Mass both while on board the ship and, on arrival, in foreign lands.","type":"Ship's Furniture","holder":"Macau Scientific and Cultural Centre Museum","owner":"Macau Scientific and Cultural Centre Museum","dates":"17th–18th centuries","location":"Lisbon, Lisbon","dimensions":"Open: h: 227 cm; w: 175 cm; depth: 96 cm. Closed: h: 44 cm; w: 93 cm; depth: 54 cm","place_of_production":"Portugal","method_for_datation":"Stylistic analysis","obtention":"Acquisition","bibliography":"Rego, A., da Silva, *Documentos para* *a História das Missões do Padroado Português do Oriente: Índia,* Lisbon, Fundação Oriente, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, 1991.  \n*Fons Vitae,* Pavilhão da Santa Sé na Expo 98, Lisbon, 1998, p. 183.  \nGouveia, A., de, *Cartas Ânuas da China: 1636, 1643 a 1649*, Lisbon, 1998, pp. 126, 163, 252, 254.  \n*Cartas Ânuas do Colégio de Macau 1594–1627,* edited by João Paulo Oliveira e Costa, Fundação Macau, 1999.  \n*Guia do Museu do Centro Científico e Cultural de Macau*, Lisbon, 1999.","author":"Maria Manuela d'Oliveira Martins","translator":"Roopanjali Roy","translation_copy_editor":"Mandi Gomez","keywords":["religious furnishing","travel"],"materials":["gold trimming","leather","Oil on canvas","silk","tacks","Wood"]},"fbd001b0-41f7-592f-b717-94dbb55470d2":{"name":"Curtain for the door of the Ka‘ba, with the name of Sultan Abdülmecid ['Abd al-Majid] I","short_description":"The curtain for the door of the Ka‘ba – known also as *sitara*, *burda* or *burqu‘* – was by far the most elaborate part of the *kiswa* and was replaced annually. Since Mamluk times, they were made in Egypt, and left Cairo with the *kiswa* accompanied by the caravan of pilgrims amidst great pomp and circumstance.  \n  \nThe design of this curtain is typical of those made at the Dar al-Kiswa in Cairo during the 19th century, and it continued to be used until the early 20th century. Curtains of this type were usually made in four sections which were embroidered and then sewn together, the heavy wire embroidery almost completely obscuring the seams. The silk fabric was backed with heavy canvas which helped support the weight of the wire, which on a heavily embroidered example like this, can weigh anything up to 60 kilograms. With its heavy use of embroidery, this curtain could have easily taken 20 or more embroiderers two months to complete.","type":"Textile; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*, *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1263 / AD 1846–7","location":"London","dimensions":"550 x 275cm","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Black silk","heavily relief-embroidered in silver and silver-gilt wire over card and cotton thread padding","with red and gold-coloured silk appliqués"]},"fc210313-c572-52b3-ab9c-6ec080f0812a":{"name":"Oil lamp.","description":"A glass lamp composed of three sections: base, body and the neck, and completely covered with vegetal decoration beautifully and skilfully executed. It is painted with a variety of colours, with enamel and with profuse gilding. In addition it is adorned with written inscriptions and the blazon of the endower. The neck of the lamp is wide and narrows as it moves in closer to the body, thus taking the form of a conic glass. The neck is adorned with both vegetal motifs that fill the surface, and with an inscription band in Mamluk *thuluth* script. The inscription, 8 cm high, rendered in dark-blue, includes part of a verse from the Qur'an, “al-Tauba” (“the Repentance” 9: 18): “The Mosques of Allah shall be visited and maintained by such as believe in Allah and the Last Day”.The verse is intercepted by three circular medallions with a red circle at the centre, within which is a gilded goblet, the blazon of Amir Tankaz al-Nasiri. A decorative band is located between the body of the lamp and its neck formed from eight consecutive lotus flowers. The body is decorated with a relatively large gilded inscription band, against a dark-blue background, it reads: “This has been ordered by the Sublime, our lord, the *amir*, al-Saifi Tankaz supporter of the honourable and protected Mamluks in al-Sham \\[Syria\\]”. The inscription is interrupted by six suspension loops that are used to attach the chains for hanging the lamp. There is decorative band below that containing the inscription this is adorned with vegetal motifs. The lower area of the body, before transferring to the base, contains six medallions, three of which contain blazons and the remaining three of which are filled with vegetal motifs. The base of the lamp is 4 cm high; it is wider at the bottom than the top. The base is adorned with three bands filled with gilded vegetal decoration.","short_description":"The glass lamp is completely covered with intricate and skilful vegetal decoration and is painted in a variety of colours, with enamel and gilding. The body bears a gilded inscription and the blazon of its endower, Amir Tankiz al-Nasiri, against a dark-blue background. The lamp has a number of decorative medallions.","type":"Oil lamp, glass","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Amir Tankaz al-Nasiri who occupied the position of a representative of the Sultanate in al-Sham (Great Syria) region in AH 712–40 / AD 1312–40. This was during the rule of the Mamluk sultan, al-Nasir Muhammad bin Qalawun (who ruled three times: AH 693–4, 698–708 and 709–41 / AD 1294–5, 1299–1309 and 1309–40).","dates":"Hegira 712–40 / AD 1312–40.","location":"Jerusalem","dimensions":"Height 33 cm, diameter (of mouth) 18 cm.","method_for_datation":"The lamp was dated based on the written inscriptions on it, which mention the name of its owner, Amir Tankaz al-Nasiri.","method_for_provenance":"Lamps, similar to that exhibited here, were renowned during the Mamluk period. They were typically produced in either Cairo or Damascus, so it is likely that this piece was made in Damascus in view of the fact that Amir Tankaz was a deputy there.","provenance":"Probably Damascus or Cairo.","obtention":"The lamp was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) to the Islamic Museum in Jerusalem in 1967.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif,* Jerusalem, 1998.","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["epigraphic decoration","gilded glass","Lamp","Mosque interior decoration","Painted glass","Thuluth","vegetal decoration"],"materials":["enamelled and gilded glass.","painted"]},"fd7ea3bd-87be-5e84-a68b-74d44c3f3fc9":{"name":"Tomb","alternate_name":"Christ's Tomb","description":"The tomb, which is made of gilded silver shaped like a reliquary, holds a casket within which a figurine of Christ lies. Resting upon a trilateral base and supported on the backs of three ivory dragons, the tomb is decorated with embossed and chased foliate and *rocaille* ornaments and jewels. Enamel tablets hold within them scenes from the Life of Christ. From the base, a halo rises surrounded by a border of double rays. Attached to the base are allegorical figures of Faith, Hope and Love, flanked by St. Peter and St. Paul, and above them the figures of the Fathers of the Church Saints Augustine, Ambrose, Jerome and Gregory. The centre of the sunburst halo holds an enamelled painting of the Virgin and Child in a jewelled frame. It is decorated with foliate and *rocaille* ornaments, supported by two gilded angels. Above the frame is a splendid jewelled crown with a pendant pearl, flanked by two small ivory angels.  \nMade in Augsburg and bought for the treasury with money bequeathed by Cardinal Juraj Haulik (the first Archbishop of Zagreb enthroned in 1853) a great patron of the arts and patriot whose ideas reflected the Enlightenment spirit.","short_description":"A gilded silver tomb shaped like a reliquary, which holds a casket within which a figurine of Christ lies. It rests upon a trilateral base supported on the backs of three ivory dragons. The tomb is decorated with embossed and chased foliate and *rocaille* ornaments and jewels. Enamelled tablets hold within them scenes from the Life of Christ.","type":"Symbolic devotional object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1739–1740","location":"Zagreb, North-West Croatia","dimensions":"H: 38.7 cm; w: 23 cm: base h: 13.7 cm; w: 31 cm; d: 35.5 cm","place_of_production":"Augsburg","method_for_datation":"The tomb has the hallmark of Augsburg from 1739–1741 and the master’s initials “GDW” in a heart-shaped shield.","provenance":"Augsburg","obtention":"Funded by a bequest of Zagreb Archbishop and Cardinal, Juraj Haulik.","bibliography":"Bach, I., *Inventar zagrebačke katedrale* (Inventory of Zagreb Cathedral), Zagreb, 1951.  \nLentić, I., *Predmeti od metala u riznici zagrebačke katedale* (Metalwork in the Treasury of Zagreb Cathedral), Zagreb, 1983.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes","Devotional object","devotional painting","Enamel","Enlightenment","funerary object","imaginary animal","ivory","patronage","precious gems","religious object","silver","tomb","zoomorphic imagery"],"materials":["enamel","Gilded silver","ivory","jewels"]},"fe134b50-319c-5411-b2af-fb5d9bcfd6cf":{"name":"Ladik Prayer Rug","description":"Ladik town of Konya Province was one of the most important rug producing centres of Anatolia. From the 17th to the 19th centuries many kind of carpets including large ground rugs, hall rugs, floor mats and cushions were produced in Ladik. Prayer rugs from the region are the most famous group. The distinctive feature of a Ladik prayer rug is a *mihrab* with a triple niche and stylized columns. Ladik prayer rugs are popular in Transylvania. Rugs were exported to the region and this type became known as a “Transylvanian rug”.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"18th century","location":"Istanbul","dimensions":"L: 115cm, W: 172cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"Transferred from Ankara Ethnography Museum","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 4, Katalog no: 409.","author":"Deniz Kanberoğlu","copy_editor":"Lisa Kelman","keywords":["Konya","Ladik Prayer Rug","Middle Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"febb9b50-5023-54dc-aba9-74d232d247aa":{"name":"*Mihrab* from the Damsaköy Taşkınpaşa Mosque.","description":"The *mihrab* is made of walnut. The geometric and vegetal motifs and inscriptions which make up its decoration are executed with deep carving with round surfaces, double-level carving and bevelling. The *mihrab* exhibits outstanding craftsmanship. Its niche is framed by two wide borders. The outermost border from floor level up to 68 cm is decorated with a vegetal composition featuring palmettes and *rumi* (split-palmette) leaves. The second border is covered up to about 100 cm with a geometric network. Both borders continue at these respective heights with inscription bands containing verses from the Qur'an (10:255, 59:20–23, 46:31).  \n  \nThe *mihrab*'s lobed niche is framed with thin borders of various widths comprised of vegetal decoration featuring palmette and *rumi* (split-palmette) motifs. The form of the niche hood, as well as the fact that its interior is empty, suggests that this part is a restoration. The niche interior itself, which is semi-circular in profile, is decorated with an intricate vegetal composition.  \n  \nThe spandrels of the *mihrab* niche have round medallions containing inscription bands. The frames of the medallions feature deeply carved vegetal motifs which give the impression of having been executed in openwork. The right medallion has the word 'Allah' in the centre, surrounded by a verse from the Qur'an (59:22); the left medallion has the word 'Muhammad' surrounded by part of verse 59:23.  \n  \nThe large rectangular panel on the upper section of the *mihrab* contains a geometric network made up of 12-pointed stars. The *mihrab* has no pediment crowning it.  \n  \nAlthough buildings outside Anatolia and from various historical periods feature wooden *mihrab*s, such as the Azhar Mosque (AH 360–62 / AD 970–2) and Sayyida Nafisa Mosque (AH 532–3 / AD 1138–45) in Cairo, the Iskodar Mosque in West Turkistan (5th–6th / 11th–12th century), and the Halawiyya Madrasa in Aleppo (end of the 6th / 12th to beginning of the 7th / 13th century), the *mihrab* of the Damsaköy Taşkınpaşa Mosque is the only one in Anatolia made of wood. For this reason it is of special importance.","short_description":"The only example of of a wood-built *mihrab* in Anatolia, this *mihrab* is an exceptional work of art displaying excellent craftsmanship and rich geometric, floral and calligraphic decoration.","type":"Woodwork","holder":"Ankara Ethnographic Museum.","dates":"Hegira 654–842 / AD 1256–1438.","location":"Ulus, Ankara","dimensions":"Height 350 cm, width 203 cm.","method_for_datation":"The Damsaköy Taşkınpaşa Mosque has no foundation inscription. However, the tombs found in the courtyard there have inscriptions dating to the 8th / 14th century, so it is accepted that the mosque was probably built in the mid-14th century. In addition, in the 8th / 14th century it was common for geometric and vegetal compositions to be used together with inscriptions, especially in tile-mosaic and stucco *mihrab*s. This decorative programme was used on the wooden *mihrab* of the Damsaköy Taşkınpaşa Mosque.","method_for_provenance":"Although the exact place of production for this *mihrab* is unknown, both its stylistic characteristics and the motifs used on it point to a local (Anatolian) provenance.","provenance":"Anatolia.","obtention":"The wooden *mihrab* that once belonged to the Taşkınpaşa Mosque in Damsaköy was transferred, along with the *minbar*, to Ankara Ethnographic Museum on 23 October 1940.","bibliography":"Bakırer, Ö., *Onüç ve Ondördüncü Yüzyıllarda Anadolu Mihrapları*, Ankara, 1976.  \n  \nBakırer, Ö., “Ürgüp'ün Damsa Köyü'ndeki Taşkın Paşa Camii'nin Ahşap Mihrabı”, *Türk Tarih Kurumu Belleteni* 139 (1971), pp.367–82.  \n  \nÖney G., “Anadolu Selçuklu ve Beylikler Devri Ahşap Teknikleri”, *Sanat Tarihi Yıllığı* III (1969–1970), Istanbul, pp.135–71.","author":"Sevinç Gök Gürhan","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Bevelled style","carving","geometric decoration","inscription","mihrab","Mosque interior decoration","Qaramanids","vegetal decoration","wood"],"materials":["assembled from walnut panels and decorated entirely with deep carving with round surfaces","double-level carving and bevelling.","Walnut"]}}
+{"021ca6c1-9f8d-5f9a-87db-f4c9193cbe1f":{"name":"Saint John the Baptist from a Deesis Tier","description":"John the Baptist was the cousin of Jesus Christ and preached in the Judean desert. He lived a life of self-denial by wearing camel hair clothing and eating only locusts and wild honey. The people of the region came to him to be baptized in the Jordan River. When Jesus asked to be baptized, John proclaimed that he was not worthy of such a task and that Christ should baptize him instead. Christ insisted, however, and during the baptism the Holy Spirit descended and a voice from heaven proclaimed, “This is my beloved Son in whom I am well pleased” (Matthew 3:17). John got into trouble when he criticized King Herod’s marriage to Herodias, who had a child from her previous marriage to Herod’s brother. Herod’s stepdaughter, Salome, convinced him to arrest John and demanded his head on a silver platter. Granting her wish, Herod ordered John beheaded. In this icon, John the Baptist stands in three-quarter profile and faces left. This icon was once part of a Deesis tier of an iconostasis and would have hung to the right of an icon of Christ in Majesty.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1450","location":"Clinton, Massachusetts","dimensions":"Height: 115cm, Width: 34.9cm, Depth: 4.7cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Sotheby's Auction in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"0268e426-50a7-5898-934e-642eb18157d3":{"name":"Chasuble of the green Persian verstements","short_description":"The ground fabric of this dalamtic, a silk in wark satin, is single-coloured. The centre and sleeve ends are decorated with a silk fabric from Persia. The manufacture of precious silk fabrics had a long-established tradition in Persia when it experienced its last climax under the Safaviden dynasty (AD 1501-1736). Silk fabrics of high quality showing naturalistic designs with reference to the contemporary miniature painting were typical products of the period.","type":"Parament","holder":"Kunsthistorisches Museum","dates":"Persian fabric, 17th century, manufacturing: Vienna, c. AD 1750","location":"Vienna","dimensions":"Height: 106cm, Width: 125cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Hof- and Burgpfarrkirche, Vienna","obtention":"From the Parish Church of the Hofburg?","bibliography":"Seipel, Wilfried (ed) and Schmitz-von Ledebur, Katja, *Hauptwerke der Geistlichen Schatzkammer. Kurzführer durch das Kunsthistorische Museum*, volume 7, Wien: Kunsthistorisches Museum, 2007: 126-127, Nr. 51.  \nSchmitz-von Ledebur, Katja, *Gottes Lob. Kirchliche Textilien aus der Zeit Maria Theresias*, exhibition catalogue Geistliche Schatzkammer, Wien: Kunsthistorisches Museum, 2016: 36-37, Nr. 1.","dynasty":"Safavid","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["atlas","floral decoration","Habsburg","lampas","liturgical vestment","Persian textiles","Persian-Austrian relations","satin"],"materials":["Ground fabric: warp satin (silk), trim: lampas (silk, even gold, even silver), patterned","silver borders"]},"03306ff5-668c-5706-a70c-d5ed5a3886c1":{"name":"The Arrival of the Mahmal","description":"The painting is after is after Konstantin Makovsky’s 1876 work, ‘The Arrival of the Holy Carpet in Cairo’ (during this period the mahmal was often referred to as ‘the holy carpet’, or ‘le tapis sacré’ in French). It is not clear whether de Mango had seen Makovsky’s work or if he had access to the original photograph from which the painting was made. However, we do know that de Mango spent time in Cairo and was greatly inspired by life in the Middle East. An engraving of Makovsky’s work by R. Brendamour also appeared in a German periodical of 1893, and de Mango may have been aware of that version as well.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1921","location":"London","dimensions":"Height: 80 cm; Width: 101cm","place_of_production":"Pera, Turkey","dynasty":"Ottoman","artist_birthdate":"19 February 1843","artist_birthplace":"Bisceglie, Italy","artist_deathdate":"22 January 1930","artist_deathplace":"Istanbul, Turkey","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-%20and-the-arts-of-pilgrimage/mss-1356/","keywords":["Cairo","Egypt","hajj","pilgrimage","Religion"],"materials":["Oil on canvas"]},"040d5edd-ece2-5d65-a462-03b30e90b3e1":{"name":"Pieces from the Nur al-Din Zangi *minbar*.","description":"A collection of panels formed from small and medium-sized pieces of interlocking pinewood representing all that remains of the Minbar of Nur al-Din Zangi, which was crafted in Aleppo as a good omen for the conquest of Jerusalem. The *minbar* was destroyed in a fire of 1969 which damaged some of the sections of al-Aqsa Mosque, especially the southern, *qibla*, wall. Nur al-Din Zangi ordered the production of the *minbar* while preparing for the conquest of Jerusalem but he died before he could retake the city, and Salah al-Din (Saladin) undertook the transportation of the *minbar* from Aleppo to Jerusalem in AH 583 / AD 1187.  \nThe *minbar* was made from interlocking pine and inlaid with mother-of-pearl, ivory and pearls. The different components that constitute it are attached to each other by means of wooden nails and, in addition, the interlocking technique (*ta'sheeq*) is employed. The *minbar* was made up of three sections: the entrance, which faced *muqarnas* tiers, a staircase and a podium, which was covered by a kiosk. The door was composed of two leafs, important sections of which remain. The entrance opened onto the staircase with a wooden enclosure on both sides, crafted in the *mashrabiyya* technique. The staircase leads to the podium where the *khatib* would deliver the sermon.  \nThe *minbar* is rich in vegetal and geometric decorations as well as an arrangement of star-shaped medallions, each of which forms a complete decorative unit which, with the surrounding units, forms beautiful latticework (*mashrabiyya)*. The *minbar* also has a collection of epigraphic inscriptions that contain Qur'anic verses and an endowment (*waqf*) inscription of Nur al-Din Zangi and his son al-Salih, who accomplished what his father began. This is in addition to the inscriptions which bear the name of the craftsmen who made the *minbar*. The *minbar* of Nur al-Din is considered to be one of the most beautiful of the Islamic wooden *minbar*s.","short_description":"The remains of a *minbar* destroyed in 1969 in a fire that damaged al-Aqsa Mosque. The minbar was commissioned by Nur al-Din Zangi in Aleppo as a good omen for the conquest of Jerusalem. Salah al-Din (Saladin) undertook its transportation to Jerusalem. The pieces have rich vegetal and geometric decoration, interlocking and star-shaped panels and names of the craftsmen.","type":"Woodwork, minbar, pine","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Nur al-Din Zangi (ruled in Syria AH 541–69 / AD 1146–74) and Salih bin Nur al-Din Zangi, Salah al-Din Ayyubi (known as Saladin, r. AH 564–89 / AD 1169–93).","dates":"Construction of the *minbar* began in hegira 564 / AD 1169, and was completed in AH 570 / AD 1174.","location":"Jerusalem","dimensions":"Length 245 cm, width 112 cm.","method_for_datation":"The *minbar* is dated by the epigraphic inscriptions it bears, and a number of historical sources, some of the most important being those of Abu Shama (d. 665 / 1267) and Ibn al-Athir (d. 630 / 1223) and Mujir al-Din al-Hanbali (d. 927 / 1520).","method_for_provenance":"Aleppo was narrowed down as the place of production for the *minbar*, supported by both the epigraphic inscriptions on it and by historical sources.","provenance":"Custom-made in Aleppo, Syria for al-Aqsa Mosque in Jerusalem.","obtention":"The *minbar* was transferred from al-Aqsa Mosque to the Islamic Museum after the fire of 1969.","bibliography":"Abu Shama, al-Maqdisi, Dhail or Tarajim Rijal al-Qarnain al-Sadis wal-Sabi' \\[The Biographies of Famous People in the 6th and 7th Century\\], Cairo, 1947.  \nAl-A'arif, A., *Tarikh Qubbat al-Sakhra wa al-Masjid al-Aqsa* \\[The History of the Dome of the Rock and the Aqsa Mosque\\], Jerusalem, 1955.  \nAbu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif,* Jerusalem, 1998.  \nAl-Ansari, F., *Minbar Nur al-Din Zengi \\[The Minbar of Nur al-Din Zangi*\\], 1989, Jerusalem.  \nMayer, L. A., *Islamic Woodcarvers and their Works,* Geneva, 1958.","dynasty":"Ayyubid","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["carved inscription.","epigraphic decoration","geometric decoration","inlay","ivory","Minbar","Mother-of-pearl","pine","vegetal decoration","woodwork"],"materials":["Interlocked pine, inlaid with mother-of-pearl, pearls, and ivory."]},"048c6a9d-2f1b-5deb-80ce-ba88d1053a07":{"name":"Milas Prayer Rug","description":"Milas region is famous for its prayer rugs. This is an outstanding example of a Milas prayer rug with intensive decoration and skillful handcraft. The prayer area of the rug is decorated with a tree of life on a ground filled with rose, carnation and tulip motifs. The border is composed of highly stylized tree and dragon motifs which are locally called “leaf” and “frog”. These continuous motifs are arranged in the form of “cattle water” which is the most important decoration element of Milas rugs.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 103cm, W: 152cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Muğla Milas rug","obtention":"From the İzmir Hisar Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*,İstanbul: Eren Yayınları, 1987: 182.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 2, Katalog no: 112.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Milas rug","West Anatolian"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"05127f0b-387e-53fc-9c38-7c747e046530":{"name":"Reliquary of St. Stephen the King","description":"The reliquary bust of St. Stephen the King, on a base, shows the saint in royal dress. Characteristics of the Baroque style come to the fore in the saint’s head shown in the round and almost imperceptibly turned sideways, with striking features and a soft wavy beard and moustache.  \nThe bust was probably made by a master craftsman from Rome, influenced by Bernini, while the crown is the work of a contemporary Central European goldsmith.  \nThe Latin inscription in a cartouche nailed to the front of the base records that Cardinal Francesco Barberini, nephew of Pope Urban VIII, had this bust made in 1635 out of piety for St. Stephen. He commissioned the bust to hold the saint’s skull, endowing the relic with the reverence it deserved. Today it is still in Zagreb Cathedral dedicated to St. Stephen the King.  \nSt. Stephen, King of Hungary, converted the Hungarians to Christianity and in the early 11th century founded an archbishopric in his hometown Esztergom where he died. He was canonised in 1087 and his cult spread from Hungary to Croatia where it was especially widespread after the Middle Ages. At the time, Hungary and Croatia were in a union and known as the lands of the Crown of St. Stephen after the crown he wore.","short_description":"The reliquary of St. Stephen in the form of a bust shows him dressed as a king with a crown on his head. The bust was probably the work of a master craftsman from Rome, influenced by Bernini, while the crown is attributed to a goldsmith from the Central European circle. The Latin inscription in a cartouche on the front of the base verifies that the reliquary was commissioned by Cardinal Barberini in 1635, nephew of Pope Urban VIII, a member of a powerful and wealthy Roman family that died out in the male line in 1736.","type":"Devotional object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1635","location":"Zagreb, North-West Croatia","dimensions":"H: 113 cm; w: 65 cm","place_of_production":"Rome","method_for_datation":"The 1915 Inventory of Zagreb Cathedral mentions the reliquary.  \nA Latin inscription with the year of origin is on a cartouche on the front of the base.","provenance":"From Cardinal Francesco Barberini, Rome","obtention":"Cardinal Francesco Barberini gifted the reliquary to Zagreb Cathedral.","bibliography":"*Riznica zagrebačke katedrale* (The Treasury of Zagreb Cathedral), Zagreb, 1983.  \n*Barok i prosvjetiteljstvo. Hrvatska i Europa* (Baroque and the Enlightenment: Croatia and Europe), Zagreb, 2003.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Bust","religious object","reliquary","rock-crystal","St. Stephen the King"],"materials":["cast base and tiny cast parts","Copper and silver, gilded and embossed","decorated with jewels, glass and rock crystal"]},"05e51871-4d33-519c-836e-6e68090e5a80":{"name":"Ladik Prayer Rug","description":"This rug is an outstanding example of a Ladik prayer rug because of its colours and detailed decorations. Typical characteristics include, upside down tulips in the borders and three crescent motifs at the top of a triple niche *mihrab*. However, the column motifs usually present in this type of rug do not appear. This example demonstrates the variety of the Ladik prayer rugs and the broadness of its motif repertory.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 117cm, W: 181cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the İzmit province","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Ankara, Cilt 5, Katalog no: 529.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Ladik Prayer Rug","Middle Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"072908a4-0753-537a-a852-9b3ddcb4ddd6":{"name":"Kırşehir Prayer Rug","description":"Kırşehir Province of Central Anatolia was an important prayer rug producing centre. This double *mihrab* prayer rug is an outstanding example of the regional style. Kırşehir prayer rugs characteristically have elaborate stepped arches above the *mihrab*, vivid colours, and detailed floral decorations. The multiple borders are filled with stylized flowers, leaves and a scrolling vine of carnations. The most important element of the decoration is the naturalist bird motif woven inside the *mihrab* area.","type":"Prayer rug","holder":"Konya Mevlana Museum","dates":"19th century","location":"Konya","dimensions":"L: 93cm, W: 142cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Kırşekir, Elmalı","obtention":"From the Konya Mevlana Dergahı (dervish lodge)","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 5, Katalog no: 516.","dynasty":"Ottoman","author":"Gülseren Kervan, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Kırşehir","Middle Anatolia","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"074fe362-9f4c-5b1b-b022-d07db8b96020":{"name":"Healing bowl","description":"This brass talismanic healing bowl, dated to the 12th–13th century Seljuq and Anatolian Beyliks period, was traditionally used in Anatolian folk medicine for spiritual wellbeing, protection from the evil eye, and relief from night terrors and insomnia. Water placed inside the bowl was blessed through recitation, then either drunk or applied to the body to transmit its sacred power. The bowl is richly adorned on both its inner and outer surfaces with finely engraved Kufic inscriptions.","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"AH 6th–7th century / AD 12th–13th century","location":"Istanbul","dimensions":"Diameter 20,5cm","place_of_production":"Anatolia","method_for_datation":"Date of production was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archival texts.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archives.","obtention":"It was displayed for 20 years in the window of the antique shop of “Parisli Mustafa” in the Cevahir Bedesten (Grand Bazaar) and was sold at auction after his death.","dynasty":"Seljuqs (Anatolian)","keywords":["brass","healing bowl","Seljuqs","water"],"materials":["Brass"]},"09c974f1-3499-5895-8d83-7f1c12a97916":{"name":"Candlestick base.","description":"The base of a Mamluk candlestick made of beaten sheet copper that has been gilded with brass and inlaid with silver and gold. The drip-tray that would have sat on the top rim of the base is missing. The body is decorated with a wide band of *naskhi* script divided into two sections by two roundels. The main decorative fields are embellished with fine floral scrolls inlaid with silver. The inscription, which is inlayed with silver, describes the attributes of the patron who commissioned the candlestick but does not mention his name! Many such candlesticks would have been presented for use in mosques, shrines, and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"Many metal candlesticks like this one were commissioned during the Mamluk period to be presented for use in mosques, shrines and religious schools. The Arabic calligraphic script describes the titles and allegiances of the Mamluk patron who commissioned the candlestick.","type":"Metalwork, copper","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira, late 7th–early 8th century / AD late 13th–early 14th century.","location":"Glasgow, Scotland","dimensions":"Height 10.1 cm, diameter (of base) 19.6 cm.","method_for_datation":"Stylistic analysis: the titles written on the base are typical Mamluk titles of the late 7th to early 8th / late 13th century to early 14th centuries.","method_for_provenance":"The titles written on the base are typical Mamluk titles of the late 7th–early 8th / late 13th–early 14th centuries.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam*, exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["Sheet copper, beaten and inlaid with gold and silver."]},"0a0edfc8-af4f-5ae8-9755-2f42463320c3":{"name":"Incantation bowl","description":"A copper dish with a small, inverted dish at the canter, known as an incantation bowl. The entire surface, inside and out, is ornamented with religious inscriptions and talismanic numbers.  \n  \nThe exterior rim is inscribed with Qur’anic verses: “In the name of Allah, the Gracious, the Merciful”; “Allah is the Light of the heavens and the earth. The parable of His Light is as a niche and within it a lamp”; “Allah the Sufficient, Allah the Healer”; “In the name of Allah, the Gracious, the Merciful”; “In the Name of Allah, Who with His Name nothing can cause harm in the earth nor in the heavens, But Allah is the Best to guard and He is”; “In the name of Allah...the healer…”. The inner rim is ornamented with a band enclosed between two frames, each inscribed with repeated numbers (81 / 12).  \n  \nThe band is inscribed with Qur’anic verse in Thuluth script: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”.  \n  \nThe inner base is surrounded by fifteen lobed medallions arranged in horizontal registers containing invocations reading: ”Allah the Sufficient / Allah the Healer / In the name of Allah,” repeated. At the very centre is a small, inverted dish. Its decoration begins with a band inscribed in Thuluth script repeating ”O Allah, grant us well-being”. Above it runs a row of pointed arches containing horizontally written numbers (II/II). The central surface of the dish is adorned with a star-shape formed of interlaced script reading ”O the most Compassionate, O the most Generous”.  \n  \nThe exterior body is decorated with ornamental bands consisting of inscriptions and motifs. The outer rim begins with a band of Qur’anic verse: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”. This is followed by a frame of repeated numbers (II/II).  \nAround the outer rim of the bowl are fifteen lobed medallions arranged in horizontal registers, each inscribed with repeated invocations: ”Allah the Protector / Allah the Healer / In the name of Allah / Allah the Comforter”.  \nNext comes a frame whose decoration is effaced, but traces of the number (81/12) remain visible.  \nThe recessed base begins with a band in thuluth script containing invocations: ”O Allah, grant us health / O Allah, be pleased with us”. This is followed by a row of pointed arches inscribed with numbers (81/12 and II/II). At the very center, a hexagram encloses the numbers (81/12).","type":"Bowl","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th–13th century / AD 18th–19th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter: 21.5cm, Height: 5cm.","provenance":"Iraq","copy_editor":"Zeina Al Amad","keywords":["bowl","Copper","incantation","Religion","water"],"materials":["Copper, hammering, incising, and engraving"]},"0b440404-7dee-50b3-9519-121dcb0f4d35":{"name":"*Holy Sepulchre*","description":"The golden thread relief embroidery for the sarcophagus-shaped *Holy Sepulchre* covers eight panels and contains 16 oval medallions bordered by gold cartouches. Within the medallions is an iconographic programme based on juxtaposing Old Testament scenes, announcing the Sacrifice of Christ, with corresponding scenes from the New Testament.  \nWithin the lower oval cartouches are four embroidered scenes from the Old Testament: Abraham sacrificing Isaac, Moses with the brass serpent, Moses fighting the Amalekites, and the legend of the prophet Jonah and the sea monster.  \nIn the triangular gables of the roof are scenes showing The Last Supper and the Resurrection  \nThe longer sloping sides of the roof contain five scenes from the Passion of Christ: Christ on the Mount of Olives; Seizure of Christ or the Kiss of Judas; Christ before Caiaphas; the Scourging of Christ and the Crowning with thorns, on one side, and on the other, Pilate Revealing Christ (*Ecce Homo*); Christ Falling under the weight of the Cross; Crucifixion on Golgotha; the Deposition and the Burial.  \nThe *Holy Sepulchre* is the work of Wolfang Jakob Stoll, commissioned from him by the Bishop of Zagreb, Petar Petretić, whom Stoll served from 1650 to 1667. Petretić was a great patron of the arts and actively promoted Croatian art heritage.  \nStoll made many superb vestments most of which are stored in the Treasury in Zagreb Cathedral. The *Holy Sepulchre* is his greatest and most complex work and probably the only preserved example of an embroidered *Christ's Sepulchre* in Europe.  \nStoll based his rendition of the biblical scenes on copperplate prints, which were at that time widespread in Europe. He worked mainly from the prints of Jan and Egidius Sadeler who found their inspiration in the paintings of Marten de Vos, Theodor Barendsz and Jacopo Tintoretto.  \nThe decorative elements, such as festoons, genii, baskets of fruit and flowers, belong to the ornamental repertoire of Mannerism.  \nThe *Holy Sepulchre* was first placed in the Cathedral in Passion Week before Easter on 13 April 1659","short_description":"The golden thread relief embroidery of the *Holy Sepulchre* covers eight panels and contains 16 oval medallions bordered by gold cartouches containing scenes from the Old and New Testaments.  \nThe Bishop of Zagreb, Petar Petretić, commissioned it from the German embroiderer, Wolfgang Jakob Stoll.","type":"High-relief embroidery of symbolic sarcophagus","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1659","location":"Zagreb, North-West Croatia","dimensions":"H: 159 cm; w: 207 cm; d: 100 cm","place_of_production":"Zagreb","method_for_datation":"Analysis of Stoll’s work includes vestments with a pluvial with the master’s name and the monogram of Bishop Petar Petretić. Contemporary documents in the cathedral archives confirm the commissions and the engagement of the above master.","provenance":"Made for Zagreb Cathedral","obtention":"Commissioned for the cathedral, the *Holy Sepulchre* was destined for the Treasury from the outset.","bibliography":"Horvat, A., *O vezenom ciklusu Božjeg groba zagrebačke katedrale 1659* (On the Embroidered Cycle on the Holy Sepulchre in Zagreb Cathedral from 1659), Zagreb, 1967–68.  \n*Pavelić-Weinert, V., Vezilačka radionica 17. st. u Zagrebu* (Embroidery Workshop from the Seventeenth Century in Zagreb), Zagreb, 1988.","workshop":"Embroidery workshop of W. J. Stoll in Zagreb","artist_birthdate":"First decade of the 17th century","artist_birthplace":"Ingolstadt","artist_deathdate":"14 October 1672","artist_deathplace":"Graz","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Bishop P. Petretić","embroidery","funerary object","high relief","model","religious object","W. J. Stoll"],"materials":["embroidery in various coloured silks on red and white satin.","Relief embroidery in gold thread"]},"0bf9f93d-7e41-57a5-a618-9f644fa93aa1":{"name":"Dervish Bowl *Keşkül-ü Fukara*","description":"The coconut shell vessel is intricately engraved with Persian couplets using the carving technique.  \n  \nOn the silver border, the inscription reads:  \n  \n\"They are offered a pure drink whose end is musk \\[a pleasant fragrance\\]. Let those who strive, strive for this — a spring from which those near to Allah drink.”  \n  \nThis is followed by the date AH 1234 / AD 1818 and the phrase \"Amal-i Kazım\" (\"Work of Kazım\").","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 10cm, diameter: 25cm","place_of_production":"Shell made in Persia; silver lining made in Istanbul","obtention":"Purchased.","dynasty":"Ottomans","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["bowl","Coconut","Dervish","Ottomans","silver","water"],"materials":["Sea coconut shell, silver"]},"0cf1a62f-ad34-5894-aee0-ed8e36e2513a":{"name":"Triptych with '*hilya-i-sherif*' (noble description).","description":"This triptych is a typical product of Ottoman religious art of the AH 12th / AD late 18th century. It is made of wood covered with a thin layer of paper painted with various motifs and consists of three parts. The central panel, the most important part, contains a *hilya-i-sherif*, a noble description of the physical and moral qualities of Muhammad. The two side panels contain the *hilyas* of the first four caliphs and the sons of Ali, Hasan and Husayn. This piece is of particular interest as, in the lower part of the central panel, there is a mention of the illuminator, who signed Halil Kamili, disciple of Mehmed Qalyunt, and the calligrapher, Mahmud son of Mustafa, pupil of Baqqal-zade Ahmed Efendi, who died in the month of Rejeb 1200. In terms of the decoration of the triptych, its three leaves are embellished with inscriptions in various different characters, such as *thuluth*, *naskhi* and *ta'liq*, while the actual decorative motifs used include classical shoots with stylised floral motifs in the *hatayi* style, and *rumi* motifs, arabesques dominated by palmettes. The pointed pediment of the triptych shows in its centre panoramas of Islam’s two pre-eminent sacred sites: Mecca, with the Ka'ba in the foreground, and Medina, with its mosque. Particularly notable is the small, central vase from which flowers shoot, symbolising the distribution of the charismatic virtues of the prophet. The description of the physical and moral qualities of Muhammad are part of a long literary tradition that started with Ibn Ishaq’s *sira* (biography of the Prophet). Triptychs such as this one were the object of real worship and veneration, relating to the magical powers that, according to the calligrapher, could be attributed to the triptych and to belief in the magical powers of the writing.","short_description":"Triptychs were a common and important part of Ottoman religious art. This example includes the ‘noble description’ of Muhammad’s physical and moral qualities, as well as representations of Islam’s two pre-eminent holy sites: Mecca and Medina.","type":"Triptych, pachment paper, woodwork","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira 12th century / AD 18th century.","location":"Rome","dimensions":"Height 95.5 cm, width (doors open) 65 cm, width (doors closed) 36 cm.","method_for_datation":"From the identification of the calligrapher.","method_for_provenance":"Similar pieces are common in Turkish religious art in the 12th / late 18th century.","provenance":"Turkey.","obtention":"Purchase.","bibliography":"Arseven, Esad C., *Les Arts Décoratifs Turc*, Istanbul, 1952.  \nAtil, E., *Turkish Art of the Ottoman Period* , Washington, 1973.  \nGallotta, A., “Un Trittico Ottomano con *hilye -i serif* nel Museo Nazionale d'Arte Orientale di Roma”, *Arte Orientale in Italia: Miscellaneous Writings of the Museo Nazionale d'Arte Orientale di Roma*, Rome, 1973, pp.25–79.","dynasty":"Ottoman period","linkcatalogs":"IAM_TR_EN_001","author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","illuminated parchment","worship"],"materials":["Wood, gilded and illuminated parchment paper."]},"0e4485e1-3fb0-5d8c-a83c-5315bc85cb66":{"name":"*Kiswa* (tomb cover) for the Prophet of God, Ibrahim (Abraham).","description":"There was a tradition in both the Mamluk and the Ottoman periods, for sultans, noble personages of state, as well as the benevolent, to interest themselves in the tombs of the prophets and the devout by offering a *kiswa* (covering for a grave or tomb), and then to renew it each year or whenever necessary. The ritual draping of tombs and shrines were popular celebrations that took place in certain seasons every year. For the most part, this occurred in order to procure the good-will and approval of visitors to the tomb or shrine, and to enhance the popularity of the *kiswa*'s donor among the general public. It was during the Ottoman period in Palestine that there was a huge unparalleled interest in the tombs, shrines and holy places that were scattered throughout the region. This was within the context of the official interest in the Sufi orders, their sheikhs, and the venues where the rituals were practiced. An example of this veneration can be seen in the context of the tombs of the Prophets Moses, Samuel and David, and their wives, in al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).  \nThe *kiswa* exhibited here is made from woven green silk. The *kiswa* was produced in order to envelope the tomb completely, leaving only the tombstone visible, upon which was written the name of the deceased: “The Prophet of God, Ibrahim \\[Abraham\\]”. The *tughra* of the Ottoman sultan, Selim III (r. AH 1203-22/AD 1789-1807) is embroidered on the *Kiswa*, together with inscriptions that read, “This is a protector” and “revered”, in addition to other inscriptions that include religious supplications and Qur'anic verses.  \nThe official tradition as noted above, to send *kiswa*s to the tombs and shrines of venerated holy men and women, continued in Palestine until the end of the Ottoman period in 1916, when the tradition was officially stopped. At the popular level, however, locals who lived in the environs of these tomb sites and shrines continued preparing *kiswas* but they were no longer splendid, finely made textiles as had been the case during the period of the Ottoman sultans.","short_description":"The coverings of the prophets’ tombs were renewed every year in popular celebrations. The importance of these traditions increased during the Ottoman period. This covering woven of green silk envelops the tomb leaving only the tombstone on which is written the name of the deceased. The *tughra* of Ottoman Sultan Selim III is embroidered on it.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).","dates":"Hegira 1203–22 / AD 1789–1807.","location":"Jerusalem","dimensions":"Length 180 cm, width 210 cm.","method_for_datation":"The piece was dated by the inscription embroidered on it which bears the name of the donor, the Ottoman sultan, Selim III.","method_for_provenance":"It is likely that this piece was made in Syria or Istanbul in view of the similarities with other pieces made there, some of which are housed in Turkish museums, particularly in Istanbul.","provenance":"Probably produced in either Syria or Istanbul, but made specifically for the Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).","obtention":"The piece was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) to the Islamic Museum in Jerusalem at an unknown date.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["cloth","fabric","funerary object","Kiswa","silk","tomb"],"materials":["Silk embroidered with silver silk threads."]},"0e493dee-d727-519c-91a1-24aef19e5e22":{"name":"Mosque lamp.","description":"A mosque lamp of typical size and shape for Mamluk lamps, with flaring neck, wide body and high foot. Thick glass loops are attached for the suspension cords. It is decorated with enamelling, mostly in blue and red, with some highlights added in green, white and gold. The majority of the decoration is calligraphic. A prominent inscription states that 'This is one of the objects made for His High Excellency, our lord the great Amir, Sayf al-Din Aqbugha 'Abd al-Wahid \\[officer of\\] al-Malik al-Nasir'. The areas in and around the calligraphy are decorated with floral motifs and arabesques. Sayf al-Din Aqbugha's blazon, a diamond (napkin) on a rectangular field, appears in roundels on the neck. Aqbugha built an important *madrasa* at the Mosque of al-Azhar in Cairo (the Madrasa al-Aqbughawiyya) in AH 740 / AD 1340, and this lamp was probably suspended from the ceiling in that building, possibly with the very cords that are still attached to it.","short_description":"A lamp of typical Mamluk shape, decorated with enamelled glass forming inscriptions, floral decoration, and blazons. The patron, Sayf al-Din Aqbugha, founded a *madrasa* (religious school) at the Azhar mosque complex in Cairo in AH 740 / AD 1340, and this lamp may originally have hung there.","type":"Glasswork, enameled","holder":"Victoria and Albert Museum.","initial_owner":"Sayf al-Din Aqbugha.","dates":"Probably around hegira 740 / AD 1340.","location":"London, England","dimensions":"Height 33 cm, width 23 cm.","method_for_datation":"It is likely that the lamp was made for the Madrasa al-Aqbughawiyya, built by Sayf al-Din Aqbugha in 740 / 1340.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1869 from the collection of Dr Meymar.","bibliography":"Lamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1930, p.440.  \n  \nLane-Poole, S., The Art of the Saracens in Egypt, London, 1886, pp.215–16.  \n  \nWatson, O., \"Glass from the Islamic World\", Glass (ed. R. Liefkes), London, 1997, p.35.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["arabesque","blazons","calligraphy","coat of arm","Emblems","Enamel","floral decoration","Mosque interior decoration","religious object"],"materials":["Enamelled glass, gold."]},"0e4a2c60-95e1-53b1-b364-83013292b0c9":{"name":"Qur’an Stand","short_description":"This Qur’an stand would elevate larger holy books to prevent direct contact with the unclean surface of the ground. The pigmented wood structure from India features deep floral carvings.  \n  \nMughal-style carvings with rows of florals and vines adorn the Qur’an stand in geometric precision. While Islamic woodwork in India remains widely understudied, the lobed arches of the legs remind of Mughal architecture. Furthermore, the woodwork of the Mughal Empire rarely bears inscriptions, hindering an accurate dating and study of clusters of pieces.  \n  \nThese stands still cradle Qur’ans in affluent homes, mosques, Islamic schools (*madrasa*), and in tombs for recitation and display purposes.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 30cm , Width: 27cm, Height: 25cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, colour, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, colour, engraving and pattern.","provenance":"India","obtention":"Purchase","bibliography":"Carvalho, P. M., \"What Happened to the Mughal Furniture? The Role of the Imperial Workshops, the Decorative Motifs Used, and the Influence of Western Models\", *Muqarnas*, 21 (2004): 79–93.  \nMahshid, K. E., *Islamic wood work motifs of Iran and India in Mughal era/Mahshid Kakouei Ezbarami,* Doctoral dissertation, University of Malaya, 2016.","dynasty":"Mughal","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["India","Mughal","post-Mughal","Quran Stand"],"materials":["Cedar Wood"]},"100c3cd0-799a-5feb-ac7f-8516c0d5b098":{"name":"*Saint Catherine of Alexandria*","short_description":"Under a Renaissance arch with leafy garlands and ornamented pillars, St Catherine stands on a brown tiled floor in front of a balustrade, next to a broken torture wheel. In accordance with her position as a king’s daughter, she wears a fashionable Burgundian Low Country dress with a high-girded, ermine-trimmed cloak and a crown on her long, blond tresses. In her role as a martyr, she carries the sword of justice. As a symbol of her exaltation, two *putti* hold up a draped cloth behind her, concealing part of the hilly, wooded, castle-studded landscape in the background. On the frieze of the entablature there is an inscription that reads “S katherina”, and affixed to the pillars are little frames with the date (1523) in both Arabic numerals (left) and Roman numerals (right). So far, no drawing or print has been produced that might have served as a model for this reverse glass painting.  \n  \nThe date must be connected to an event that sparked the commission for this magnificent small painting, but there are no inscriptions nor heraldic clues as to whether it was commissioned for personal use, as a gift to a private individual, or as a donation to a private or public building. The quality of the glass support, the careful painting technique with generous application of gold leaf, and the meticulous, delicate etching as well as the high artistic merit identify it as a precious reverse glass painting that could only have been created in the context of rich patronage.","type":"Reverse glass painting; painting","holder":"Vitromusée Romont","initial_owner":"Ruth and Frieder Ryser","dates":"1523","location":"Romont, Fribourg","dimensions":"Height: 37.8cm, Width: 31.5cm (including frame)","method_for_datation":"By date and by stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Netherlands","obtention":"Donated by Ruth und Frieder Ryser in 2006","bibliography":"Bretz, Simone, et al., \"Hl. Katharina von Alexandrien\", in Simone Bretz et al. (eds), *Deutsche und niederländische Hinterglasmalerei vom Mittelalter bis zur Renaissance*, Berlin ; München: Deutscher Kunstverlag, 2016.  \nRyser, Frieder, *Verzauberte Bilder: die Kunst der Malerei hinter Glas von der Antike bis zum 18. Jahrhundert*, Munich: Klinkhardt und Biermann, 1991.  \nSchlossmuseum Murnau (ed), *\"Amalierte Stuck uff Glas, hinder Glas gemalte Historien und Gemäld\": Hinterglaskunst von der Antike bis zur Neuzeit*, exhibition catalogue, Markt Murnau a. Staffelsee: Schlossmuseum Murnau, 1995.  \nSchweizerisches Forschungszentrum zur Glasmalerei Romont (ed), *Glanzlichter: die Kunst der Hinterglasmalerei = Reflets enchanteurs: l'art de la peinture sous verre*, exhibition catalogue, Bern: Benteli, 2000.","catalogue_holding_link":"https://www.vitrosearch.ch/en/objects/2255074","author":"Elisa Ambrosio, Yves Jolidon","copy_editor":"Adrienne Staudohar","translator":"Kate Whitebread","keywords":["Religion","the virgin martyr Catherine of Alexandria"],"materials":["Slightly uneven, cylinder-blown glass plate with faint green cast. Few commutated gas bubbles in vertical progression","white and grey inclusions. Technique: reverse glass painting, grisaille (not fired), eglomisé. Translucent glazes and opaque paints."]},"1027aa27-0c29-5f12-8165-2db5e0dda881":{"name":"Circular chandelier.","description":"This chandelier belongs to a series of eight found in the Great Mosque of Kairouan, and which are dispersed today among four Tunisian museums (Raqqada, the Bardo, Mahdiyya and Monastir).  \nThe punched cast-bronze base is in the form of a tray designed to carry 10 candles, with a flared bronze corona from which 18 evenly spaced upright arms project. These are similar in size and are all decorated with double, spread fleurons. The stylised vine-leaf motif is commonly used in Ifriqiyan art of the 3rd and 4th centuries (9th and 10th), particularly in the *mihrab*, the *minbar* and the *maqsura* of the Great Mosque of Kairouan. Nine of the 18 arms end in circular rings and the other nine have heart–shaped tops. The two types are placed in alternating sequence on the corona. The heart motif is frequently found in Kairouanese bookbinding and features in stylised form on several Fatimid sculptures. The central ring of the chandelier is surrounded by 18 horseshoe arches linking the uprights, giving the overall effect of a festooned rose. The base-tray is suspended by three chains linked to three rings.  \nThe Kairouanese type of chandelier has doubtless been influenced by similar Byzantine designs produced throughout the Islamic period in the Mediterranean region. Muslim craftsmen replaced the Christian cross of the Byzantine and Coptic chandeliers with the tri-lobed fleuron and the geometric motifs dear to their own creed. Prototypes similar to that of Kairouan have been found in Egypt, Syria and especially in Spain. This Spanish ancestry arouses speculation that Western Islam may have had its own school of bronze-smiths.  \nInterestingly, this technique appears to have been taken up by Spanish Christians, since there is a similar chandelier from a Spanish church at the British Museum in London.","short_description":"Inspired by Byzantine art, this piece was one of a group of eight used in the Great Mosque of Kairouan. The Muslim artist has replaced the cross in Byzantine and Coptic chandeliers with a trilobed fleuron and some geometric motifs consistent with the Islamic creed.","type":"Chandelier, metalwork","holder":"Museum of Islamic Art.","dates":"Hegira, 4th–early 5th century / AD 10th–11th century.","location":"Raqqada., Kairouan.","dimensions":"Diameter 31 cm, thickness 1 cm.","method_for_datation":"The seven other chandeliers with which this one was kept probably date from before the Hilalian invasions of 449 / 1057. There are stylistic similarities to chandeliers from Egypt, Syria and Spain dating from the 4th / 10th century.","method_for_provenance":"This chandelier was part of the furniture of the Great Mosque of Kairouan. Along with seven other pieces, it was kept as a relic in the old library of the Great Mosque. They all date from before the Hilalian invasions in 449 / 1057. Furthermore, it can be compared to other pieces from Egypt, Syria and particularly from Elvira in Spain. Archaeological digs at the ruins of the Great Mosque in this town have revealed a chandelier dating from the 4th / 10th century whose overall design and internal rosette of horseshoe arches bear a striking resemblance to the Kairouanese chandelier. This convincing evidence unmistakably dates the Kairouanese chandelier from the same period.","provenance":"Kairouan.","obtention":"This chandelier was displayed from 1956 at the museum of the Great Mosque of Kairouan before its acquisition by the Museum of Islamic Art at Raqqada in 1986.","bibliography":"*De Carthage a Kairouan* (exhibition catalogue), Paris, 1982, p.219.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.450–51, fig. 10.  \n*Omeyas* (exhibition catalogue), Granada, 2001, p.54.  \n*The Arts of Islam* (exhibition catalogue), London, 1976, p.169, plate no. 177  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","furnishing","geometric decoration"],"materials":["Cast bronze."]},"1203d512-7e1e-58c1-b5ee-087144132528":{"name":"The Miracle of Saint George and the Dragon","description":"Saint George was born to Christian parents in the 3rd century. He joined the Roman army and became a high-ranking officer at a young age, earning the respect of Emperor Diocletian. At that time, Diocletian persecuted Christians and required that all soldiers offer sacrifices to the pagan gods. Saint George publicly denounced the emperor and confessed to being Christian. He was subjected to brutal punishments but refused to renounce his faith. Eventually, he was beheaded and became a popular martyr saint. In one story of his life, he rescued a town besieged by a dragon. The townspeople had been sacrificing children, who were randomly chosen by casting lots, to the dragon. Saint George rode in just as the town’s princess was to be sacrificed. He killed the dragon, a symbol of paganism, and converted the townspeople to Christianity. In this icon, Saint George rides a white horse and slays the dragon with a spear while Christ, seen in the upper right corner, bestows a blessing.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1500","location":"Clinton, Massachusetts","dimensions":"Height: 43.5cm, Width: 30cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2003. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","saints"],"materials":["Egg tempera on wood"]},"13234dce-e760-5f68-9ead-fa6944333432":{"name":"Magic Bowl","short_description":"Protective verses from the Qur’an, blessings and magic letters encase this bronze bowl. This vessel belongs to a group of objects known as magic bowls in Islamic metalworks, intended to ward off fear, evil and demons (*jinn*).  \n  \nWhile this bowl originates from Karbala in Iraq, the place of pilgrimage for Shiite Muslims, these objects have appeared in Syria, India and Iran since the 12th century. Earlier Sasanian magic bowls with Aramaic inscriptions embodied similar amuletic qualities, however were made of clay instead of metal and invoked the powers of demons and Liliths.  \n  \nThe Throne Verse (*Ayat al Kursi*) of the Qur’an guards the exterior of the bowl in the *thuluth* style of Arabic calligraphy, granting talismanic protection. A hexagram (six-pointed star) invokes prophet Sulayman (Solomon), while the surrounding inscriptions bear blessings for one's body and the senses. Twelve panels on the vessel allude to the twelve Imams in Shia Islam. The science letters (*ilm al huruf*) ascribes magical properties to the assortment of letters marking the panels.","type":"Domestic tools","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 22.5cm, Width: 20cm","place_of_production":"Iraq, Karbala","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","provenance":"Iraq","obtention":"Purchase","bibliography":"Al-Jubeh, B., \"Magic and Talismans/The Tawfiq Canaan Collection of Palestinian Amulets\", *Jerusalem Quarterly*, 2005: 22–23.  \nAl-Saleh, Y., “Amulets and Talismans from the Islamic World”, in *Heilbrunn Timeline of Art History,* New York: The Metropolitan Museum of Art, 2000.  \nKiyanrad, S., \"Sasanian Amulet Practices and their Survival in Islamic Iran and Beyond\", *Der Islam*, 95 : 1 (2018): 65–90.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.  \nWelch A., \"Islamic calligraphy: Meaning and symbol\", in: Kolers P.A., Wrolstad M.E., Bouma H. (eds) *Processing of Visible Language. Nato Conference Series, vol 13*, Boston: Springer, 1980.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Iraq","Karbala","Magic bowl","Shia Islam","Sulayman's hexagram","Talisman"],"materials":["Bronze","Engraving"]},"1433647b-a363-527b-a739-01058ae49638":{"name":"Ritual ladle for the Taghounja festival","alternate_name":"Wooden ritual ladle; festival dipper","description":"The ritual ladle used in the Taghounja festival reflects the intersection of water, fertility, and collective ritual in Moroccan rural life. During this traditional celebration communities would gather to invoke rain, fertility, and divine blessing. The ladle, carved from wood, was used to pour or sprinkle water in symbolic gestures of renewal and abundance. Its simplicity belies a profound cultural meaning: water as the essence of life, shared collectively through ritual. Its preservation illustrates how intangible heritage and material culture merge to tell the story of Morocco’s spiritual relationship with water.","type":"Ritual utensil","holder":"Mohammed VI Museum of Water Civilisation","owner":"Mohammed VI Museum of Water Civilisation","initial_owner":"Local communities celebrating Taghounja","dates":"AH 14th / AD 20th century","location":"Marrakech","dimensions":"70 × 12.5 × 7cm and 60 × 10 × 6cm","place_of_production":"Morocco (rural communities)","method_for_datation":"Based on oral tradition and ethnographic sources.","method_for_provenance":"Museum curatorial records.","provenance":"Collected as ethnographic testimony of ritual practice","obtention":"Museum ethnographic acquisition (details not available).","bibliography":"El Faïz, M., *L’eau et les hommes au Maghreb*, Rabat: L’Harmattan, 2002.","workshop":"Rural workshops, oral tradition","author":"MUSEUM Staff, Layan Shahin","copy_editor":"Judy Harter","keywords":["festival","rain prayers","ritual ladle","Taghounja","water symbolism"],"materials":["Carved wood, sometimes decorated"]},"14763417-a183-5949-ac5d-11f296d400e1":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","short_description":"This hanging of red, yellow-golden and green silk is richly embroidered with silver and silver-gilt inscriptions and designs. Above, a lamp with invocations to Allah as the Opener or Judge (ya Fattah) appears suspended from an arched niche resting on two columns. Its spandrels display two roundels with the Islamic profession of Faith (shahada). Below, a quote from chapter 2 (Al-Baqarah), verse 197 of the Holy Qur’an appears: ‘…and the best provision is Al-Taqwa (piety, righteousness)’. In the lower half of the hanging, four roundels with the names of the rightly-guided caliphs surround the imperial Ottoman emblem or tughra of the sultan Abd al- Hamid II  (1293 H/1876 AD – 1327 H/1909 AD), who commissioned this curtain.. Hangings like this one may have been intended for the prayer niche of the Prophet’s mosque, as earlier examples of this type often include the inscription ‘this is the mihrab of the Prophet (pbuh)’.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Hegira mid 13th century / AD mid 19th century","location":"Sharjah","dimensions":"2620 mm x 1430 mm","provenance":"Egypt","author":"Ulrike Al-Khamis","keywords":["shahada","tughra","tugra","sitara"],"materials":["Silk, cotton, silver and gilt silver thread"]},"14d23909-007c-5bfe-ba51-0f21c11eaef4":{"name":"Namban Oratory","description":"This rectangular oratory surmounted by a triangular pediment with the monogram *IHS* (the abbreviation of the Greek *IHSOUS*, or JESUS) located at the centre, has two side-panels enclosing a painting of the Virgin Mary holding the infant Jesus. Although the lacquer decoration presents a predominantly Japanese ornamental grammar – especially a floral one – both its form and the iconography embody Christian cultural references. The pictorial image is itself an example of the possible interaction between the Jesuit painting school – operating in Japan since the 1580s – and the Japanese pupils that quickly demonstrated skill in Western-style painting.  \nAs it is, such a hybrid object, that crosses different artistic backgrounds, could only have been made during the Portuguese presence in Japan, during the period spanning approximately 1549 to 1640.  \nThe oratory is mentioned in the *Inventário Artístico de Santarém* (Santarém Artistic Inventory) as Indo-Portuguese lacquer work. Such misinformation reveals how, in the middle of the 20th century, such an item was unfamiliar to the European public in general, but that was not the case in the late 16th and beginning of the 17th century, at least not for the Portuguese elite. Such a statement can only be based on the remaining objects – with or without associated painting – the number of which has expanded increasingly during the last three decades (this example did not come to light until 1985). A fact that also draws attention to the demands of the Iberian market for these objects at the time.  \nThe Sardoal Oratory has the particularity of being associated with a religious space, thanks to an inscription located on the altar of Nossa Senhora da Esperança in the Church of Nossa Senhora da Caridade. This text, dated 1670, is the earliest known reference in Portugal to a reminiscent *Namban* object.","short_description":"A lacquered *Namban* oratory with a floral design in gold and silver powder (*maki-e)* and mother of pearl inlay (*raden*) with a painting of the Virgin Mary holding the infant Jesus.","type":"Ecclesiastical furniture","holder":"Sardoal's Holy House of Mercy, Sardoal","owner":"Santa Casa da Misericórdia, Sardoal","initial_owner":"Gaspar de Sousa Lacerda (?)","dates":"Late 16th century","location":"Convent of Santa Maria da Caridade, Sardoal, Santarém","dimensions":"H: 47.2 cm; l: 35 cm; w: 5.1 cm","place_of_production":"Japan","method_for_datation":"The date and origin of the object were established on stylistic grounds and partially by the inscription (see text above).","provenance":"Portuguese India (?)","obtention":"The object was transferred from the church of Nossa Senhora da Caridade to the Santa Casa da Misericórdia.","bibliography":"Okamoto, Y., *The* Namban *Art of Japan*, New York, Tokyo, 1972.  \nPinto, M. and Mendes, H., *Lacas Namban em Portugal. Presença portuguesa no Japão*, Lisbon, 1990.  \nWatanabe, T., “Namban lacquer shrines: some new discoveries” in *Lacquerwork in Asia and Beyond. A Colloquy held 22–24 June 1981,* William Watson (ed), London: Percival David Foundation of Chinese Art, SOAS, \\[n.d\\], pp. 194–210. (*Colloquies on Art and Archaeology in Asia*, 11).  \n*Cristo fonte de esperança.* *Exposição do grande Jubileu do ano 2000*, Exhibition catalogue, Diocese do Porto, 2000.  \nImpey, O. and Jörg, C., *Japanese export lacquer 1580–1850*, Amsterdam, 2005..","workshop":"*Namban*","dynasty":"Azuchi/Momoyama periods","author":"Alexandra Curvelo","translator":"Alexandra Curvelo","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","inlay","Jesuit","Jesuit school of painting","Lacquer ware","religious furnishing","urushi"],"materials":["frame: wood, lacquer (urushi), gold powder, silver powder (maki-e), copper and mother of pearl inlay (raden)","Painting: oil on copper"]},"151fac1e-ebdf-570b-9f37-a9dcd36098e4":{"name":"Flask: Candle holder for festival of name-giving","short_description":"On the 7th day after the birth of a child, there is a candle burning naming festival in Egypt. For both boys and girls, flasks for drinking water are made of clay, and are provided with candle holders. Depending on the sex of the new-born baby, the neck of the bottle is either fashioned as a stylised female figure or ends in an implied penis. The festival is celebrated in honour of the 7 angels who stand around the new-born. On the evening of the 7th day after the birth of the child, these angels become a threat. In order to propitiate them, they are provided with a plate of food-offerings. Nearby, the clay bottle stands on a tray with beans. The beans are sprinkled with water and the candles on the flasks are lit. Each candle receives a name. The one which burns the longest is, so to speak, the \"baptismal candle\" of the child. The stub of the candle is then placed in a small bag, together with magical substances, and worn around the child's neck as an amulet to ward off evil.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1975","location":"Vienna","dimensions":"H: 55cm, Diameter: 20cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1975.\"","bibliography":"Steinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","materials":["Ceramic, pigment"]},"153c5ddb-dd1d-5e3c-9e80-de0b66684f95":{"name":"Parts of a *minbar*.","description":"These elements of the facing of the *minbar* are formed by two distinctive parts. The first one consists of two longitudinal panels from the upper parts of the lateral faces of the *minbar*. Their surfaces, divided into sections and surmounted by an arch, are decorated with stacks of pinecones and acanthus rosettes borrowed from Abbasid flora. The panels are framed by a band bearing an inscription in angular *kufic* script also in an Eastern style. The inscription in the right panel, whose spandrels are adorned with half-sprays of acanthus, includes the date the Fatimids founded the *minbar*. The one in the left panel shows Qur'anic texts from verse 36 of Sura 24, 'The light'.  \nThe second part includes the three elements from the back.  \nThe top, arched panel is topped by an inscription in *kufic* script, which indicates the name of the Umayyad patron and the date the *minbar* was repaired. Its surface, framed by a border of small floral medallions, is decorated in two styles: the upper section is occupied in the centre by a rectangular panel with a poly-lobed arch with floral medallions and on the sides by festoon acanthus rosettes. The lower section is adorned with an acanthus rosette flanked by poly-lobed medallions containing polygonal knotwork based on an eight-pointed star.  \nThe rectangular middle part, bordered with a votive inscription, is adorned with a central motif of tiered chevrons with palm foliage and serrated acanthus rosettes inscribed in squares.  \nThe lower part is decorated with half-balusters in turned and painted wood, glued on a slab.  \nThese facings, which illustrate a historic period of Morocco when two political and religious movements fought for the hegemony of the country, play an important role in the history of Moroccan art, which, from that time forward, would be influenced both from the East and from Andalusia.","short_description":"These *minbar* parts illustrate a historical episode and the beginnings of Islamic art in Morocco, when Fatimids and Córdoban Umayyads were fighting for control of the country. The Fatimids incorporated Eastern decoration when making the *minbar*, and the Umayyads added Western elements when converting it.","type":"Woodwork, minbar, wood","holder":"Batha Museum.","initial_owner":"*Habus (waqf)*.","dates":"Sides: Hegira 369 / AD 979; back: Hegira 375 / AD 985.","location":"Fez.","dimensions":"Back: height 146 cm, width 75 cm, depth 3–4.5 cm; panels: height 56 cm, width 20.6 cm, depth 2.5–4.5 cm.","method_for_datation":"Two inscriptions mention the dates. The date of foundation is shown on the arcature in the right panel: 'This *minbar* was made in the month of Shawwal in the year 369 \\[April / May 979\\]' and the date it was repaired appears on the upper part of the back: '… this is what was commissioned by the mayor of the palace …, al-Mansur, sword of the empire of the *imam* and servant of God … Hisham … Abi Amir Muhammad … son of Abi Amir … in the month of Jumada II in the year 375 \\[October–November 985\\]'.","method_for_provenance":"These parts were removed from the *minbar*, which remained in use at the Andalusian Mosque from its creation in 369 / 979 until 1353 / 1934.","provenance":"Andalusian Mosque, Fez.","obtention":"*Habus*.","bibliography":"Cambazard-Amahan, C., *6000 ans d'art au Maroc*, catalogue, Paris, 1990.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nTerrasse, H., *La Mosquée des Andalous à Fès*, Paris, 1934.","dynasty":"Sides: Tunisian Fatimid; back: Umayyad Caliphate of Córdoba","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Albertina Torres, Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","floral decoration","geometric decoration","Habous","liturgical object","Mosque interior decoration","vegetal decoration"],"materials":["Carved, turned, painted cedarwood."]},"15610349-3f4b-5d20-bbb1-76ff1816ce04":{"name":"Kaftan","short_description":"Originally worn by a prince or a boyar, the present kaftan was turned at some point into an ecclesiastical cope and preserved as such at the Cozia Monastery (in southwestern Romania), where it was discovered in 1864. By the mid-1950s it was transferred to the Museum, and was later reconstituted into its original form. The long, loose garment with long sleeves is lavishly decorated with eight-petalled rosettes set against a red ground. Each rosette encircles a lotus flower. In between rosettes, a design of delicate scrolls with tiny wild roses.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 145cm (on the back)","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Lăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 125-126, cat. no. 48.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 32, cat. no. 3, fig. 8-10.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["çatma","Kaftan"],"materials":["Voided silk velvet brocaded with silver-gilt thread (çatma)"]},"159db56e-edd6-577a-b51e-40b856217129":{"name":"Prayer rug","description":"The rich colour palette and the contrast between the undecorated *mihrab* field and the borders with intricate geometric motifs, the so-called *Crivelli güls*, convey a sense of vitality and unsophisticated beauty. The apex of the stepped *mihrab* echoes the crenellations on the narrow panel above. Identical motifs can be found on earlier carpets, which testify to the persistence of certain patterns over more than two centuries. These motifs, drawn from architecture, appear to have lost their original meaning, much like the columns turned into flower garlands on other 19th-century rugs. Two ewers featured in the spandrels on either side of the pointed top of the *mihrab* suggest, in all probability, the ritual ablution before prayer.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 174cm, W: 139cm; knot density ver. 39/dm; hor. 27/dm; 1,053/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, central Anatolia, Mucur","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 41.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 2.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Național de Artă al României, 2015: no. 5.  \nZigura, Alexandra, *Covoare turceşti din colecţia muzeului*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1966: 70–1.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Crivelli güls","prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"15b869a4-109e-5091-8bd1-fdeab056f0c9":{"name":"Frontal with St. Alexander pope","description":"This frontal originally decorated the front of the former altar in the church of Vergiano. It is a good example of the art of scagliola, a technique of using plaster to create imitation marble or stone. This method was invented in Emilia, in Carpi, a small town near Modena, at the beginning of the seventeenth century.  \nThe art of scagliola is very old. In antiquity it was common to decorate surfaces in order to imitate marble, but examples of decorations made of plaster powder imitating marble start only from the sixteenth-century. Scagliola is a cheaper technique compared to precious stone inlaid. For this reason and for its rapidity of execution it soon became very popular. This explains the ample presence of scagliola artefacts in Italy made exclusively for churches and mostly altar frontals. Guido Fassi (1584–1649), an architect and engineer from Carpi, was the first to employ this technique for altar frames. Later his collaborators and pupils painted on the scagliola surface first, then imitated stone inlay thus creating in Carpi the first Italian school of scagliola.  \nThe artist who made this frontal, Carlo Antonio Bini, is a member of this school. He employs the typical decorative naturalistic patterns (flower wreaths, small birds, fantastic creatures) against a black background. In the middle Pope St. Alexander I is kneeling in front of a monstrance, wearing a cope.","short_description":"This altar frontal represents St. Alexander pope kneeling in front of the Eucharist. Against a black background one can see the naturalistic patterns (flower wreaths, small birds, fantastic creatures).","type":"Scagliola work","holder":"Church of Sant´Alessandro","initial_owner":"Church of Sant´Alessandro, Vergiano","dates":"1680","location":"Vergiano, Monghidoro, Bologna, Emilia-Romagna","dimensions":"92 x 186 cm","place_of_production":"Bologna","method_for_datation":"Inscription in the lower middle: MDCLXXX / CARLO ANTONIO BINI FE (1680/Carlo Bini made).","obtention":"Originally made for the church.","bibliography":"Negro, E. *Monghidoro: la memoria artistica*, Bologna, 1988, p. 211, p. 212.  \nColli, D., Garuti, A. and Pelloni, R. *La scagliola carpigiana e l'illusione barocca*, Modena, 1990.  \nFassinelli, A. M. *Scagliola, l'arte della pietra di luna*, Rome, 1997.","workshop":"Full baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Anna Maria Bertoli Barsotti","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["animal decoration","Antependium","floral decoration","imaginary animal","Scagliola","St. Alexander pope","zoomorphic imagery"],"materials":["Scagliola"]},"163ae238-7cdd-5bf2-b4ef-095207b4794d":{"name":"Candlestick base.","description":"A cast brass, inlaid candlestick of truncated conical form; it has bevelled ridges on both the upper and lower rims. The body is dominated by a central band of *naskhi* script divided into three sections. The sections are separated by three roundels containing Mamluk heraldic emblems, the style dating to the AH 8th / AD 14th century. The main decorative fields are embellished with fine floral scrolls inlaid with silver; a black niello substance is used as inlay to fill in the background of the floral patterns, thus emphasising the fine details of the scrolls. The inscription describes the patron who commissioned the candlestick. Many such candlesticks would have been presented for use in mosques, shrines and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"This candlestick was made for presentation to a mosque or *madrasa*, and is decorated with the titles of the Mamluk patron who commissioned it, stating: 'by the most noble authority, lofty, lordly, great; the kingly, supportive, … provider of protection; the masterful, maintainer, prince al-Nassiri'.","type":"Metalwork, cast brass","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 8th century / AD 14th century.","location":"Glasgow, Scotland","dimensions":"Height 26 cm, diameter (of base) 22.8 cm.","method_for_datation":"Stylistic analysis, together with analysis of the titles described in the inlaid scripts and the Mamluk heraldic emblem.","method_for_provenance":"Analysis of the Mamluk heraldic emblem and inlaid scripts.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam* , exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["Cast brass, with silver and niello inlay."]},"1702078b-d03e-543a-b81f-2cd7344ea8f1":{"name":"Mosque lamp.","description":"A glass mosque lamp with a rounded body, flared neck and attached splayed foot. The lamp is almost intact apart from the neck which has been repaired. Attached to the body of the lamp are six loops used to suspend the lamp from the ceiling. The lamp is covered in peonies outlined in red against a blue background. On the neck and underside of the body are three circular medallions of a composite vegetal design. This is a fine example of the more unusual type of Mamluk mosque lamps without inscriptions. The small numbers of similar lamps that survive are all associated with buildings constructed under Sultan Hasan ibn Muhammad. Rows of these lamps, lit up, illuminating the floral designs against a blue background would have been a spectacular sight in a mosque interior.","short_description":"An enamelled glass mosque lamp with rounded body, flared neck and attached splayed foot. Although typical of Mamluk mosque lamps in shape and technique, this lampis unusual as it has purely floral or vegetal decoration and no inscriptions.","type":"Glasswork, enameled","holder":"The British Museum.","dates":"About hegira 750–61 / AD 1350–60.","location":"London, England","dimensions":"Height 37 cm (max.), Diameter 23.6 cm.","method_for_datation":"This lamp is one of a group of lamps without inscriptions, decorated with purely floral motifs, produced in about the mid-7th / 14th century. They are associated with buildings commissioned by Sultan Hasan ibn Muhammad (r. between 747–51 / 1347–51 and again in 754–62 / 1354–61). Two similar lamps, now in the Museum of Islamic Art in Cairo, were found in the Madrasa of Sultan Hasan built in 756 / 1356. Another lamp in the same museum in Cairo is inscribed with the name of Sultan Hasan.","method_for_provenance":"This lamp bears close resemblance to others produced for buildings in Egypt that were commissioned by Sultan Hasan.","provenance":"Egypt.","obtention":"Bequeathed to the British Museum by Sir Augustus Wollaston Franks in 1881.","bibliography":"Carboni, S., and Whitehouse, D., Glass of the Sultans, New York, 2001, p.237–38, cat. no. 118.  \nHarden, D., Painter, K., Pinder-Wilson, R., and Tait, H., Masterpieces of Glass, London, 1968, p.121, cat. no. 159.  \nPinder-Wilson, R., \"The Islamic Lands and China\", in Five Thousand Years of Glass(ed. H. Tait), 1991, p.134, cat. no. 170.  \n  \nMamluk Art: The Splendour and Magic of the Sultans, p.76, reg. no. 270.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["floral decoration","Mosque interior decoration","religious object"],"materials":["Enamelled glass."]},"178f74aa-fe42-524b-94f2-f5d4a1c1bd50":{"name":"Processional Altar of St. John the Evangelist","description":"A silver processional altar made at the beginning of the 18th century, which belonged to the Royal Monastery of Our Lady of Conception, and was used in the Procession of the Holy Sacrament in Beja. The social and religious significance of the Corpus Christi Day procession cannot be understated; it represents one of the greatest manifestations of the Portuguese Baroque, which once acknowledged, justifies the sumptuousness of some of the pieces used in these ceremonies. Traditionally, up until 1893, the altar was carried by farmers.  \nRectangular in shape, the *acroteria* (small bases placed at the four extremities) has a beaded edging, and four *albarradas* or ornamental vases, alternate with smaller jars in the middle. The entirety is covered with vegetable and scalloped-shell ornamentation, and St. James' crosses. The wooden carrying rods are also silver plated.  \nThe octagonal shaped pedestal stands over the main body, decorated with double scalloped-shell ornamentation, pear-shaped “tables” and St. James' crosses. There is also an octagonal platform with small jars placed at each corner of the pedestal.  \nAn iron column rises above the pedestal, covered with silk cloth embroidered with gold thread. It meets a gold and silver halo embellished with precious stones above which a gold and silver crown rests, also studded with precious stones. In the middle of the altarpiece, the Martyrdom of St. John the Evangelist is played out, the saint graphically shown immersed in boiling olive oil. The wooden effigy of the saint with clasped hands looks straight up at the sky. The silver boiler, standing on a silver tripod above the fire, is kept alight by two multicoloured wooden figures, kneeling at either side of the boiler. One of them is blowing and the other is using a solid-silver pitchfork.  \nThe patrons of the altarpiece were a group of nuns devoted to St. John the Evangelist. There was another group of nuns in the same convent that devoted themselves to St. John the Baptist and commissioned a similar processional altar in honour of the saint. In fact, both altarpieces date from the beginning of the 18th century and were made in the same workshop. They both show the same crowned stamps of the city of Lisbon and the same maker's letter “M”.","short_description":"A silver processional altar made at the beginning of the 18th century, it portrays features typical of the Portuguese Baroque at the time of King João V. Designed to represent the Martyrdom of St. John the Evangelist, the piece belonged to the Royal Monastery of Our Lady of Conception and was used in the procession of the Holy Sacrament in Beja, on Corpus Christi Day.","type":"Metalwork","holder":"Queen Leonor Museum","owner":"Museu Rainha D. Leonor","initial_owner":"Royal Monastery of Our Lady of Conception, Beja","dates":"c. 1700","location":"Beja, Beja","dimensions":"H: 199 cm; width: 99 cm; depth: 107 cm","place_of_production":"Portugal","method_for_datation":"Historical evidence: Tavares (1899) and the Chronicle of the Procession of Corpus Christi in Beja","provenance":"Royal Monastery of Our Lady of Conception, Beja","obtention":"Originally belonged to the Royal Monastery of Our Lady of Conception, Beja was transferred to the Museu Rainha D. Leonor also in Beja.","bibliography":"*Museu Regional de Beja, Catálogo de algumas peças principais*, cat. 84, Lisbon, \\[n.d.\\].  \nViana, A., “Andores de prata do Museu Regional de Beja”, *Arquivo de Beja*, V, 1948.  \nRoque, J., “Os Andores de prata do Real Mosteiro da Conceição de Beja”, *Ourivesaria Portuguesa*, cat. 13, 14, 15, Revista oficial dos Industriais de Ourivesaria do Norte, 1951.  \nInventário Artístico de Portugal, Academia Nacional de Belas Artes, \\[Edição CD ROM, CD III - Distrito de Beja\\], Lisboa, 2000.","workshop":"National Baroque","author":"Museu Regional de Beja","translator":"Maria José Barroso","translation_copy_editor":"Mandi Gomez","keywords":["Beja","Corpus Christi","Mosteiro da Conceição","Processional altar","religious furnishing","religious object","St.John the Evangelist","worship"],"materials":["Gilded and painted wood with silver and precious stones"]},"17a114d9-989f-52a9-85d5-689485ba21f6":{"name":"Icon *The Holy Seven Slav Teachers*","short_description":"This icon represents icon-painting in Macedonia in the 19th century. This painted variant of the motif of the seven Slav teachers was enriched by Dimitar Dicho Zograf with the romantic awareness of the Macedonian Revival. The style of the most popular and most productive Macedonian painter in the 19th century follows the experience of the painters from that period. It was commissioned by the Robev family for the church of St. Nicholas Gerakomia in Ohrid. It was painted on wood with oil. It represents the Slav missionaries Ss. Cyril and Methodius and their most prominent disciples Clement, Nahum, Gorazd, Sabbas and Angelariy, in a sole composition entitled as “Sedmochislenitzi” (The Seven Holy Teachers). The saints' names are inscribed in the Old Church Slavonic language.","type":"Icon","holder":"Museum of Macedonia","dates":"1862","location":"Skopje","dimensions":"96.5 x 62 x 2 cm","provenance":"Ohrid","artist_birthdate":"1819","artist_birthplace":"v. Tresonche","artist_deathdate":"1872-3","author":"Viktorija Popovska Korobar, art historian","copy_editor":"Daniel de la Vega","keywords":["Icon","iconography"],"materials":["Oil on wood"]},"1911d22b-68b3-5d5e-a23a-6f0b09d5b12c":{"name":"Dalail Al Khayrat (Dalail Al Khayrat wa Shawariq Al-Anwar fi Dhikr al-Salat ala al-Nabi al-Mukhtar)","short_description":"Written in *maghrebi* calligraphy in the 18th century, the *Dalail al-Khayrat* (“The Guide to Goodness”) represents a famous collection of prayers for Prophet Muhammad (PBUH) compiled by Sufi leader Imam Muhammad Sulaiman al-Jazuli in Souss, Morocco. Bound in brown cardboard with golden geometric and floral decorations, the copy embodies a book that swept across the Muslim world.  \n  \nOften attributed to sainthood, the Berber al-Jazuli created this literary device in the 14th century for recitation, prayer and oral remembrance of the beloved Prophet Muhammad. Intended for word recitings to enhance one’s access to the divine, the book could be read aloud or silently, alone or as a collective.  \n  \nThe prayers are split into seven sections representing each day of the week for daily worship. Simultaneously, the book served as a *hajj* (pilgrimage) guide due to its vivid descriptions of Mecca and Medina. While the book appeals to people across socio-economic backgrounds and geographic context, the collection reflects al-Jazuli’s inclusive nature and encouragement of women to transfer Islamic knowledge and educate the future generations.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 12cm, Width: 11cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"Morocco","obtention":"Purchase","bibliography":"Abid, H., \"The Birth of a Successful Prayer Book,\" *Journal of Islamic Manuscripts*, 12 : 3-4 (2021): 265–294.  \nCornell, V. J., \"Muḥammad ibn Sulaymān al-Jazūlī and the Place of Dalāʾil al-Khayrāt in Jazūlite Sufism\", *Journal of Islamic Manuscripts*, 12 : 3-4 (2021): 235–264.  \nJohnson, K., \"An Amuletic Manuscript: Baraka and Nyama in a Sub-Saharan African Prayer Manual. 2010\", *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections*, (2010): 250–272.  \nNgom, Fallou, Castro, Eleni, and Diakité, Ablaye, \"African Ajami Library: EAP 1042\", in: *Digital Preservation of Mandinka Ajami Materials of Casamance, Senegal*, Boston: Boston University Libraries, 2018.  \nRausch, M., \"Ishelhin women transmitters of Islamic knowledge and culture in Southwestern Morocco\", *The Journal of North African Studies*, 11 : 2 (2006): 173–192.","dynasty":"Alawid","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Maghreb","Manuscripts","Morocco","North Africa","Prayers"],"materials":["handwriting","Paper, cardboard"]},"19309244-d3ba-5328-b6af-d77395f59e8e":{"name":"Mosque Lamp","short_description":"This mosque lamp was almost certainly made for the monumental mosque and madrasa complex of the Mamluk Sultan Al-Malik Al-Zahir Sayf al-Din Barquq (AH r. 783-791 and 792-801 / AD 1382-1389 and 1390-1399) in Cairo, completed in 788 AH / 1386 AD. It presents a typical decoration for glass lamps produced in that period with inscriptions in blue enamel, gilding on the neck, and in reserve on blue background with a floral interlacing motif on the globular body. Al-Malik Al-Zahir Sayf al-Din Barquq is mentioned twice in the inscriptions on the body and in the circular medallions on the neck. The blue inscription on the neck is verse 35 from the Sura of Light (Qur’an 24), “Allahu nur al-samawati wa al-ardhi mathalu nurihi kamishkatin fiha misbahun al-misbahu fi zujajatin\" (God is the Light of the heavens and the earth. The Parable of His Light is as if there were a Niche and within it a Lamp: the Lamp enclosed in Glass). This quotation is often used for lamp decoration and emphasizes the sensorial, luminous aspect of the Qur’anic text. The large spaces of the mosques and madrasa founded by the Mamluks during the eighth century AH / fourteenth century AD required ample lighting. This need prompted the production of hanging lamps in Egypt and Syria and explains the relatively high number of surviving examples today.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height: 33cm, Diameter (at the widest point): 26.5cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 62-65,11.  \nLasikova, Galina, *Image of Mosque*, Moscow: Mardjani Foundation, 2015: 231.  \nSeipel, Joseph H., et al., *God is Beautiful and Loves Beauty: The object in Islamic Art and Culture*, New Haven: Yale University Press, 2013: 212, Figure/Plate 206.","dynasty":"Mamluk","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"19712bce-3702-52aa-a6e1-3f6ba2529789":{"name":"‘Transylvanian’ rug","description":"The term “Transylvanian” rug is related to small prayer rugs made in the villages of Anatolia but preserved mostly in the region of Transylvania. Commonly these are decorated with two prayer niches in mirror image and have a border filled with elongated, polygonal cartouches.  \nThe Kraków rug represents both these features. The red field of the double niche is ornamented with palmettes and cogwheels organised along the vertical axis, and two flowering branches flanking it. The indigo-colour spandrels are filled with an ornament of the “rosette and leaf”-type with large rosettes among lanceolate leaves. In the main border, flanked by two narrower borders, there are cartouches with lozenges, placed on the red ground.  \nSo-called Transylvanian carpets were very popular in Poland and many are preserved in Polish collections. We can also find such rugs depicted in Polish paintings. On the refectory ceiling in the former Piarist monastery in Rzeszów, a Transylvanian rug covers the table in a scene from “The meeting in Emaus”, painted at the end of 17th century by Łukasz Ziemecki. It looks very much like the rug in the Kraków collection. It is interesting that in the Brukenthal National Museum in Sibiu, Transylvania, a rug with almost the same design as the Kraków version is preserved. The only visible differences are colouristic. On the edge of the Sibiu rug is an inscription with the date 1675. Therefore, the Kraków rug was probably made in third quarter of 17th century.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"Third quarter of the 17th century","location":"Kraków","dimensions":"H: 170cm, W: 122cm; knot density 1,056/dm2","method_for_datation":"Comparative analysis of other preserved rugs; analysis of paintings","method_for_provenance":"Stylistic analysis","provenance":"Anatolia","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 51, 154, cat. 15.  \nBiedrońska-Słotowa, Beata, “Islamic carpets in Polish painting: A contribution to the iconography of Oriental textiles”, in *Rozprawy Muzeum Narodowego w Krakówie. Seria nowa, vol. I*, Kraków: National Museum in Kraków: 1999: 111‒28.  \nIonescu, Stefano (ed.), *Kobierce anatolijskie z kolekcji Muzeum Narodowego Brukenthala w Sibiu / Anatolian Carpets From the Collection of the Brukenthal National Museum in Sibiu* (Romania ed.), Gdańsk: National Museum of Gdańsk, 2013: 120–3, cat 9. (Analogy)","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["‘Transylvanian’ rug","Anatolia","mihrab","prayer rug","Transylvania"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"1a476191-4d4c-570a-ab3c-a49e3f98f66c":{"name":"Prayer rug.","description":"This rug belongs to the group of prayer rugs from Ghiordes, a village between Izmir and Ushak, where most of the Anatolian prayer rugs were manufactured in the AH 12th–13th / AD 18th–19th centuries. It shows in the central field a pointed niche with a half-niche on each side on a cream background. The motif of the three-arched niche derives from rug patterns of Ottoman courtly manufacturing during the AH 10th–11th / AD 16th–17th centuries. In contrast to these original designs, the columns of this rug are based on stylised carnations. Edged with trefoiled blossoms they support the main niche and separate it from the half-niches. The spandrels are filled with stylised carnations on a dark-blue background. A large bouquet of flowers hangs in the apex, reaching nearly to the bottom where a row of carnations is presented. The panel above the spandrels is filled with rosette blossoms and ornaments.  \nThe border is formed by two horizontal and two vertical stripes showing an endless pattern of stylised plants on a dark blue background. The wavy motif of a flower scroll alternately coloured in blue, red and tan is repeated on the inner and outer guard bands.","short_description":"Prayer rug, probably from Ghiordes. In the central field the rug shows a pointed niche with a half-niche on each side. Stylised carnations and bouquets of flowers are the most important motifs of this rug. The central field is framed with a border.","type":"Wool, knotted, carpet","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","dates":"Hegira 12th century / AD 18th century.","location":"Stockholm","dimensions":"Height 157 cm, width 113 cm.","method_for_datation":"A very similar rug is dated to the 12th / 18th century.","method_for_provenance":"Rugs showing similar designs and colour schemes are usually ascribed to the Ghiordes group.","provenance":"Anatolia (Ghiordes district), Turkey.","obtention":"Acquired from the carpet dealer P. Willborg, Stockholm, in 1984. The rug belonged to the collection of R. Christensen, Stockholm.","bibliography":"Dimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, Metropolitan Museum of Art, New York, 1973.  \nSterner, M., *Orientens Mattor*, Stockholm, 1959, 204.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","prayer","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"1a9e5630-70cb-5d3f-a3ff-92564b210c02":{"name":"Lamp","short_description":"The Mamluks were prodigious patrons of the arts who took a special interest in building religious foundations, which they supplied with all manner of beautiful furnishings, including lamps such as this. According to the inscriptions on the lower part of the lamp, it was commissioned \"By order of the most noble authority, the Exalted, the Lordly, the Masterful, holder of the sword, Shaykhu al-Nasiri\", a former mamluk of the Sultan al-Nasir Muhammad. On the upper and lower sections of the lamp is Shaykhu’s heraldic device or blazon in the form of a circular medallion bearing a red cup set between a red and a black bar. He is known to have built a mosque and a *khanqa* in Cairo in the mid-eighth/mid-fourteenth century, and this lamp was most likely made for one of these structures.","type":"Furnishings","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira mid-8th century / AD mid-14th century","location":"Los Angeles","dimensions":"Height 37.5cm, Diameter 29.2cm","method_for_datation":"The lamp’s inscriptions indicate that it was made on the order of the Mamluk Amir Shaykhu al-Nasiri, presumably for either the mosque or *khanqah* he had built in Cairo in the mid-fourteenth century.","method_for_provenance":"Lamps of this type seem to have been produced exclusively for Mamluk religious foundations.","provenance":"Egypt or Syria","obtention":"Mosque or *khanqah*, Cairo, built in Hegira 750/1349 AD and Hegira 756/1355 AD, respectively, of Amir Shayku al-Nasiri (died Hegira 758/AD 1357). Lucien Sauphar (unknown dates), Galerie Charpentier, Paris, until 1936 (sold to); A. Seligmann, Rey & Co, Paris, until 1950. Collection of William Randolph Hearst (1863-1951), San Simeon, California, until 1950 (gifted to); LACMA, William Randolph Hearst Collection.","bibliography":"Hess, Catherine, *The Arts of Fire: Islamic Influences on Glass and Ceramics of the Italian Renaissance*, Los Angeles: J. Paul Getty Trust, 2004: 86.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 64, 72, 73.  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Rev. ed., Los Angeles: Museum Associates, 2005: 30, fig. 27.  \nLevkoff, Mary L., *Hearst the Collector*, New York: Abrams; Los Angeles: Los Angeles County Museum of Art, 2008: 192-93.","dynasty":"Mamluk","author":"LACMA Staff","keywords":["calligraphy","coat of arms","Enamel","gilding","glass","inscription","Mamluk","Mosque interior decoration","religious objects","Shaykhu al-Nasiri","waqf"],"materials":["Glass, free-blown and tooled, applied handles, enamelled and gilded"]},"1c83b59f-bba0-5630-b9da-a13188474ac4":{"name":"Prayer rug","description":"Outlined on the contrasting green of the central field, the red prayer niche has a stepped arch fringed with hooks along its inner edges. Inside the niche, a floral composition encircled by 12 tiny ewers recalls the mosque-lamp motif. A recurrent motif of prayer rug designs, ewers are traditionally associated with an *aide-mémoire* meant to remind the believer of the ritual ablution required before prayer. The present rug features a main border reminiscent of the so-called Gothic border of 16th- and 17th-century carpets, and, in the upper corners of the main field, stylised vegetal motifs, which show the Western influence on Turkish art. This rather unusual blending of two stylistic sources is illustrative of the two main “forces” with a strong impact on the decorative vocabulary of 19th-century Ottoman carpets: the Turkish tradition and the influence of European art. The bright colour scheme is quite remarkable and its sharp contrasts almost shocking compared mainly to the fine colouring of the Gördes and Kula carpets that reigned supreme on the European market of Oriental carpets at the turn of the century.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"19th century","location":"Bucharest","dimensions":"H: 166cm, W: 115cm; ; knot density ver. 36/dm; hor. 30/dm; 1,080/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, central Anatolia, Kırşehir","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 5.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Ghiordes","prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"1ca4ae5b-e753-59d1-a5de-423460efb5d1":{"name":"Iconostasis in the Church of the Holy Saviour","short_description":"This iconostasis was created by one of the greatest Macedonian masters of woodcarving, Petre Filipovski Garka, who formed his own group of artisans and developed his outstanding style of wood-carving, which was widely recognizable in the Balkans in the early 19th century. This exquisite piece of wood-carving was made from walnut in the technique of high relief. The iconostasis depicts scenes from the Old and the New Testament in which biblical figures are rendered wearing traditional costumes worn in Macedonia. The detail shows the self-portraits of Petre Filipovski and his associate artisans.","type":"Work of art executed in wood-carving; iconostasis","holder":"The Church of the Holy Saviour","dates":"1824","location":"Skopje","provenance":"Skopje","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Woodcarving","iconostasis"],"materials":["Wood (walnut); carving in high-relief"]},"1fa972c1-55d3-529e-8a54-27ed5bbaf7a3":{"name":"Calligraphy","description":"Considered one of the masterpieces of Ottoman classical literature, *Su Kasidesi* (*Water Ode*) is Fuzûlî’s celebrated ode (*kaside*) written in praise of the Prophet Muhammad. The poem employs water (*su*) as its central metaphor, intertwining themes of purity, life, longing and spiritual elevation. Throughout the *kaside*, water appears as an entity filled with devotion—flowing, bowing, crying, evaporating and kneeling—mirroring the poet’s own yearning for the divine.  \n  \nFuzûlî’s intricate wordplay transforms water into a symbol of both physical and spiritual life, reflecting the Islamic belief that all creation originates from water. By personifying water as an admirer of the Prophet, the poem situates natural elements within an emotional and devotional universe.  \nThe musical rhythm of the *aruz* metre, the repetition of sound patterns and the carefully layered imagery create an atmosphere of reverence. The poem’s rhetorical brilliance lies in its fusion of mystical Sufi thought, high literary artistry and deep emotional sincerity.  \n  \n*Su Kasidesi* continues to be celebrated as one of the finest examples of Ottoman poetic expression, demonstrating Fuzûlî’s mastery in blending spirituality, metaphysics and lyrical beauty.","type":"Calligraphy","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 1431 / AD 2011","location":"Istanbul","dimensions":"Height: 98cm, width: 112cm","place_of_production":"Istanbul","method_for_provenance":"Date and origin are written on the piece.","obtention":"Purchased.","artist_birthdate":"AH 12 Rajab 1346 / AD 5 January 1928","artist_birthplace":"Tarsus","artist_deathdate":"AH 2 Sha'ban 1446 / AD 1 February 2025","artist_deathplace":"Istanbul","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["calligraphy","poem","spirituality","water"],"materials":["Calligraphy on paper"]},"201954ee-da8e-50a5-a061-1b9e19db7811":{"name":"Ostrich egg pendants","short_description":"Since the early modern period, ostrich eggs have been suspended in rooms in the Christian and Islamic regions of the Mediterranean. Their purpose is to warn the faithful and to safeguard their souls against harm. In bazaars, they are hung on the fronts of street side shops, and in and above gateways. Ostrich eggs decorate the tombs of saints, churches and mosques. With the fashion for all things Oriental, they have found their way into upper class living rooms furnished \"in Moorish style.\"","type":"Architecture; religion","holder":"Weltmuseum Wien","dates":"Before 1855","location":"Vienna","dimensions":"Eggs: H: max. 15cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt (prob. Nubia) and Turkey","obtention":"Miramar Collection of Archduke Ferdinand Max, brother of Emperor Franz Joseph I, which was officially incorporated in 1878 into the Imperial Collection in Vienna.","bibliography":"Steinmann, Axel, \"Strauß-Eier als orientalisches Präservativ gegen das Malocchio\", in Ilsebill Barta (ed), *Maximilian von Mexiko. Der Traum vom Herrschen, exhibition catalogue* Vienna: Hofmobiliendepot - Möbelmuseum Wien, 2013: 97-100.","materials":["Ostrich eggs, silk, wool, cotton, silver thread, pigment"]},"208f7a0a-f7c8-54f1-a727-726b4b64c7c8":{"name":"Prayer chain","short_description":"Islamic prayer beads (*misbaḥa*) consist of three sections of beads separated from each other by two larger marker beads (*imām*) for easier counting. The last bead, which is usually a much larger piece in the shape of a bottle neck, is called \"minaret imam\" (*yad*) and stands for the greatest and secret hundredth name of Allah. The *misbaḥa* is meant for reciting prayers, praising Allah, and as a talisman.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1914","location":"Vienna","dimensions":"Length without tassel: 39.4cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Sfax","obtention":"Catalog entry: \"Collected and donated by the banker Alfred Weidholz (Vienna), 1914.\"","bibliography":"Steinmann, Axel, *Blickfänge. Schmuck aus Nordafrika, exhibition catalogue*, Vienna: Museum für Völkerkunde, 1995: fig. 27.","materials":["Glass beads, cotton string, silk tassel"]},"20abb534-7f0e-5447-96ad-59b7c1f4354d":{"name":"Pendant with The Miracle of Saint George and the Dragon","description":"Saint George was born to Christian parents in the 3rd century. He joined the Roman army and became a high-ranking officer at a young age, earning the respect of Emperor Diocletian. At that time, Diocletian persecuted Christians and required that all soldiers sacrifice to the pagan gods. Saint George publicly denounced the emperor and confessed to being Christian. He was subjected to brutal punishments, but refused to renounce his faith. Saint George was beheaded and became a popular martyr saint. In one story of his life, he rescued a town besieged by a dragon. The townspeople had been sacrificing children, who were randomly chosen by casting lots, to the dragon. Saint George rode in just as the town’s princess was to be sacrificed. He killed the dragon, a symbol of paganism, and converted the townspeople to Christianity. In this miniature icon, Saint George is seen atop a white horse slaying the dragon with a spear. The princess stands nearby with the town in the background. The icon has a beautiful enameled *oklad* (frame) with a silver loop at the top. It may have been worn around the neck and was probably commissioned for a military officer from a wealthy family since Saint George is a patron saint of soldiers.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 7cm, Width: 6.4cm, Depth: 3cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Christie's Auction, London, in 2007. Gifted by Gordon Lankton to the Museum of Russian Icons in 2008.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","saints"],"materials":["Egg tempera on wood with silver oklad, gems, enamel"]},"2128703e-9b93-51af-ae89-1e8e1b75f0d3":{"name":"Calligraphy","description":"This artwork features the phrase \"*Su gibi aziz ol*\", written in classical Ottoman Turkish and rendered in Hasan Çelebi’s refined *sülüs* calligraphy. The expression—literally \"May you be as precious as water\"—is a traditional Anatolian blessing that conveys wishes of purity, value, and life-giving goodness. Water, regarded in both Islamic thought and Ottoman culture as the origin and sustainer of life, becomes a symbol of virtue, generosity, and spiritual clarity.  \n  \nThe calligraphic composition is shaped in a fluid, droplet-like form, echoing the blessing’s meaning. Surrounding the central inscription is an intricate *tezhip* (illumination) border in deep blue and gold, reminiscent of traditional Ottoman manuscripts.  \n  \nThe visual contrast between the delicate floral motifs and the strong, sweeping calligraphic lines highlights the harmony between ornamentation and the written word.  \nThrough its union of devotional aesthetics and cultural symbolism, this piece reflects the enduring legacy of Ottoman calligraphy and the masterful craftsmanship of Hasan Çelebi, one of the leading contemporary heirs of this artistic lineage.","type":"Calligraphy","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 1430s / AD 2010s","location":"Istanbul","dimensions":"Height: 70cm, width: 50cm","place_of_production":"Istanbul","method_for_datation":"Date and origin are written on the piece.","obtention":"Purchased.","artist_birthdate":"AH 1 Rajab 1349 / AH 1 December 1930","artist_birthplace":"Erzurum","artist_deathdate":"AH 25 Sha'ban 1446 / AD 24 February 2025","artist_deathplace":"Istanbul","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["calligraphy","Qur'an","verse","water"],"materials":["Paper, ink"]},"2226f421-a01c-56bf-809f-7d0c2067f79e":{"name":"Lamp holder.","description":"A large brass lamp holder; a hexagonal base tapers upward to an upper structure which once supported a dome, now lost, to which the suspension chain would have been attached. The bottom of the structure would have held several small glass oil lamps, accessed through a door in one of the six sides which is now missing. The sides are pierced to let the light from the lamps through, as well as engraved and inlaid with designs in which an inscription medallion praising Sultan Qaytbay is nestled among floral decoration. A large inscription band at the bottom of the lamp holder, repeated in smaller calligraphy in a parallel band at the top, declares: 'Glory to our lord the Sultan, the most noble ruler, sultan of Islam and the Muslims, reviver of justice in the world, suppressor of the immoral and rebellious, sultan of the Arabs and Persians, lord of the two seas, servant of the Two Holy Shrines, master of kings and sultans, Commander of the Faithful, Abu'l-Nasr Qaytbay, may God Almighty make his reign long'! When this lamp holder hung in a mosque it is unlikely that its decoration would have been visible; still, it is indicative of the quality of the arts under Sultan Qaytbay.","short_description":"A large brass lamp holder, the sides of which are pierced to reveal the light supplied by oil lamps held in its bottom. The decoration, executed in several techniques, includes several inscriptions naming Sultan Qaytbay. The lamp holder must originally have hung in a mosque he founded or renovated.","type":"Metalwork, brass, silver","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Qaytbay.","dates":"Between hegira 872–901 / AD 1468–96.","location":"London","dimensions":"Height 163 cm, diameter 74 cm.","method_for_datation":"Inscriptions on the object name Qaytbay as Sultan and imply that he is still alive ('may God extend his rule'), the lamp holder is thus dated to his regnal dates, 872–901 / 1468–96.","method_for_provenance":"Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1888.","bibliography":"Mitter, P. and Clunas, C., \"The Empire of Things: The Engagement with the Orient\", *A Grand Design: The Art of the Victoria and Albert Museum* (eds. M. Baker and B. Richardson), London, 1997, pp.255-6.  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East,* London, 2004, p.98.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["Brass, engraved and inlaid with silver and gold."]},"24d1b22a-7e02-5a13-97d1-ffbb62d62561":{"name":"Fragment from the internal *kiswa* of the Ka‘ba","short_description":"This fragment comes from the internal *kiswa* of the Ka‘ba which was presented by the Ottoman sultan ‘Abdülaziz (r. 1861–1876) in his first regnal year. It was the last internal *kiswa* to be sent by the Ottomans. It remained inside the Ka‘ba until 1936, when it was replaced by an Indian-made one. Later internal kiswas were woven in Mecca.  \nThe section preserved in fragment represents almost half of the loom width and an almost complete vertical repeat. The latter is made up of four zigzag bands. In the first wide band is the *shahada*, followed in a narrower band by phrases in praise of God. The third band has cartouches and roundels inscribed with invocations to God. The final narrow band has *sura* *al-Baqara*, II, verse 144, in part, ‘*We see the turning of thy face (for guidance) to the heavens: now shall We turn thee to a Qibla that shall please thee. Turn then thy face in the direction of the sacred Mosque*’.","type":"Textile; woven textile; *kiswa*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1861–76","location":"London","dimensions":"45 x 35.5cm","method_for_datation":"Provenance and date are based on published information.","provenance":"Turkey","bibliography":"Rif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: fig.113, opposite p.291.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Silk lampas, with satin ground and twill pattern"]},"272aabb1-2d59-5faa-9ce5-a28c1305a906":{"name":"Brass head of flagpole","short_description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["casted brass","calligraphy","wooden staff"],"materials":["Brass; casting"]},"27f64d8c-b2e4-52c4-a51c-fbe641ebcaef":{"name":"Prayer rug.","description":"This rug, dominated by the colours red, brown and white, is dedicated to prayer because of its niche motif in the central rectangular field. The niche is formed by a stepped, pointed arch and edged all around with carnations. A geometrical ornament is set against the light brown background of the area below the arch. A floral device replaces the lamp often to be seen in other prayer rugs. The spandrels are filled with five red flowering bushes. There are two transverse panels, one above the spandrels and one below the niche. Both show the same motif of a cloud-band in combination with rosette blossoms filling the spaces. The small central field is framed by a broad border consisting of an inner and an outer row of heavily stylised carnations and seven narrow stripes coloured alternately white and red.  \nThere were two places, Ghiordes (Gördes in Turkish) and Kula, manufacturing prayer rugs of similar patterns. This rug combines characteristic elements of both: for example, the seven narrow stripes are found in Kula prayer rugs and the niche with two transverse panels and a colour scheme dominated by red are typical of Ghiordes prayer rugs.","short_description":"Rug dedicated to prayer because of the niche motif in the central rectangular field. The floral device in the area below the arch replaces the lamp often to be seen in other prayer rugs. The central field is framed by a border of stylised carnations and seven narrow stripes.","type":"Wool, knotted, carpet","holder":"Hallwyl Museum.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height 167.5–173.5 cm, width 128–132.5 cm.","method_for_datation":"In the 13th / 19th century, rugs from Ghiordes and Kula show a strong stylisation of the floral motifs similar to that of the rug described above.","method_for_provenance":"The rug cannot definitely be ascribed to Ghiordes or Kula. It shows characteristics of both manufacturing centres such as the two transverse panels, one at either end of the central field, typical of rugs from Ghiordes, and the seven narrow stripes which are to be found in rugs from Kula.","provenance":"Anatolia (Ghiordes or Kula), Turkey.","obtention":"Bought for the collection of Wilhelmina von Hallwyl (1844–1930) in Saloniki in 1896. Count and Countess Walther and Wilhelmina von Hallwyl donated the collection and their home to the Swedish state in 1920.","bibliography":"Ådahl, K., *Den Orientaliska Mattan i Sverige*, Stockholm, 1998, cat. no. 31.  \nDimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, The Metropolitan Museum of Art, New York, 1973.  \nSterner, M. and Kinch, J., *Antika Orientaliska Mattor i Sverige*, Stockholm, 1937.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","prayer","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"28485e93-6aee-597e-b6d4-519ba9eeb8e4":{"name":"Caucasian Rug","short_description":"Although the Ummayad and Abbasid caliphates overthrew the Iranian empires in the Caucasus and Azerbaijan, the cultural influence of Persia remains. This Caucasian carpet displays a blend of influences from Islam and pre-Islamic Persia.  \n  \nPrimary colours from natural dyes typically brighten carpets from the Shirvan region with blue likely representing water as a life's source. The symmetry in these textiles creates harmony with repeated shapes such as the *kubpa* (hexagonal medallion) with tooth-like edges and diamonds to protect from the evil eye.  \n  \nBright colours and geometric figures adorn this rug with abstracted religious symbols. The *mehrab* (arched prayer niche) denotes the direction toward toward which Muslims pray, Mecca. The upper end of the carpet displays the date, 1281 Hegira (1864 AD). Two chequered rectangles resemble a chess board, which suggests a possible alternative use for this carpet for entertainment during travels.","type":"Carpet; Rug","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1864 AD / 1281 Hegira","location":"Shahaniya","dimensions":"Length: 130cm, Height: 110cm","method_for_datation":"The date can be read on the upper side of the carpet, while the origin was derived from an examination of material, colour, pattern and knot.","method_for_provenance":"The date can be read on the upper side of the carpet, while the origin was derived from an examination of material, colour, pattern and knot.","provenance":"Caucasus, Daghistan, Shirwan","obtention":"Purchase","bibliography":"Bier, C., *Carpets For Commerce: Rug-Weaving In The Caucasus. Proceedings of The Textile Society of America Biennial Symposium*, 1990: 166-177.  \nBoggs, J., *Carpets as Signifiers of Historical Change: The Azerbaijani Carpet Industry from the Mid-nineteenth to Late Twentieth Century*, Senior Theses, University of South Carolina, 2011: 394.  \nGoswami, K. K., \"Developments in Handmade Carpets: Introduction\", in K.K. Goswami (ed), *Advances in Carpet Manufacture*, Duxford: Woodhead Publishing, 2018: 213-268.  \nMast, T. M., *Ruglore and Ruglife: A folkloric Study of Oriental Rugs, Rug Weaving and Rug Scholarship with a Focus on Turkey and the Caucasus*, Dissertation, University of Pennsylvania, 1995.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["carpet","Caucasus","Mehrab","rug"],"materials":["Ghiordes knot","wool"]},"2b8bffd7-5ba3-5029-b6c5-d671a0482187":{"name":"High altar for San Pietro Cathedral of Bologna","description":"This complex and precious altar was donated by Pope Lambertini to the San Pietro Cathedral of Bologna. Originally it was composed of six candlesticks, a silver cross and a silver frontal depicting *Jesus Handing the Keys to St. Peter in the Presence of the Apostles*. Unfortunately, these rich objects were probably handed to the Frenchmen in 1796, after the treaty of Tolentino, signed by Pope Pius VII.  \nThe invoices for the high altar are registered in the *Diario Benedettino*. The pope prayed that it reached Bologna safe and sound.  \nIn the middle of the side there is a silver embossed oval representing *Christ Rescuing Peter from the Water*, on the sides are two smaller roundels representing allegories of *Faith*. The three bas-reliefs are framed in gilded cast bronze, with cherubs' heads and garlands against a blue lapis-lazuli background. In the corners the oval bas-reliefs represent the *Martyrdom of St. Peter* on the left and *St. Peter in Jail Visited by the Angel*. On the upper side hangs the coat of arms of the Lambertini family in silver.  \nThe whole altar is on show together with a sumptuous frontal donated by the pope in 1742, made of  \nhemp canvas embroidered with gold thread. Against the embroidered gold background are several sewn gold leaf decorations. In the middle is a roundel of *St. Peter* half bust and on the sides the coat of arms of the Lambertinis' with the tiara and the papal keys held by angels.  \nThis extremely precious altar, only a part of the richer original complex, is characterised by its technical skill and high artistic quality. The Roman silversmith Angelo Spinazzi, documented from 1721 to 1767, probably made the step. On the sides a hallmark, despite being not entirely legible is believed to be that of the Roman craftsman Filippo Tofani. No hallmark is visible on the main central relief.","short_description":"This extremely precious altar was donated to the cathedral of Bologna by Pope Benedict XIV.  \nThe sides and corners are characterised by extremely detailed work: against a blue lapis-lazuli ground are intertwined coats of arms of the Lambertini family and oval bas-reliefs with figures in chiselled and embossed silver and gilded bronze. On the side, in the middle, *Christ Rescues Peter from the Water* flanked by two Allegories of Faith, on the corners *St. Peter in Prison Visited by the Angel* and the *Martyrdom of St. Peter*. The work was made in Roman workshops. The altar is completed by a beautifully worked frontal, also a gift from Pope Benedict XIV (1742).","type":"Metalwork","holder":"San Pietro Cathedral of Bologna","initial_owner":"San Pietro Cathedral of Bologna","dates":"1753- post 1756","location":"Bologna, Emilia-Romagna","dimensions":"Side max. 57x380x27 cm; medallions left and right 34x25 cm, central 35x55 cm; sides 105x78 cm, 5x63 cm; capitals height 57 cm; roundels, right 30x21 cm, left 28x21 cm; frontal 104,5x355 cm","place_of_production":"Rome","method_for_datation":"This altar was sent to Bologna and began in 1753. Work continued to 1756 although the whole complex was not yet complete.  \nSpinacci, quoted many times as the author of the step, might be Angelo Spinazzi, a Roman silversmith working between 1721 and 1767.  \nOn the reliefs on the corners it is possible to see two hallmarks: 1) *the cipher 85 in a circle*, 2) *FT with a small cross under inside an irregular frame*. The first is used by several testers and affirms the high quality silver, following 1734 prescriptions. The second hallmark refers to the silversmith Tofani, even if this work is not cited by Bulgari in his monograph and if we don't know for sure the hallmark of this master.","provenance":"Gift of Pope Benedict XIV Lambertini","obtention":"Donated by Pope Benedict XIV Lambertini.","bibliography":"Bulgari, C. G. *Argentieri gemmari e orafi d'Italia,* Rome, 1974.  \n*L'Arte del Settecento emiliano. L'arredo sacro e profano a Bologna e nelle Legazioni Pontificie, (*exhibition catalogue) (ed. J. Bentini), Bologna, 1979.  \n*Il tesoro di San Pietro in Bologna e Papa Lambertini* (exhibition catalogue) (ed. F. Varignana), Milan, 1997, pp. 192-193, figg. 40-41.  \nVarignana, F. *Guida al tesoro della cattedrale di San Pietro in Bologna*, Bologna, 2000, pp. 81-82, figg. 96-97.","workshop":"Late baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Federica Trombacco","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Allegory","bas-relief","Benedict XIV","Cathedral of Bologna","liturgical","liturgy","metalwork","Roman silversmiths","St. Peter"],"materials":["brass frame.","bronze cast, chiselled and gilt","hemp canvas embroidered with gold thread","lapis-lazuli","Silver cast, chiselled, embossed","wood frame"]},"2c61e46e-3c33-5e1e-acf0-98b19112c300":{"name":"Mosque Lamp","short_description":"The Mamluk glassmakers invented mosque lamps gilded and enamelled in vibrant colours between the 13th and 14th centuries. Production centres in Egypt and Syria became prominent for these mosque lamps with innovative Islamic enamelling techniques.  \n  \nDuring the 13th century, extensive trade occurred between Venice and the Mamluks, influencing the glass lamp techniques and styles. Hematite and cassiterite pigments created the pink tint in Mamluk glassware.  \n  \nThis mosque lamp embodies an example of the vase-shaped enamelled lamps gaining popularity in Europe in the 19th century as exotic and luxurious medieval Islamic art pieces.  \n  \nThe pink lamp reads the year 1867 along with the signature Philippe-Joseph Brocard, a renowned French craftsman fascinated with reviving, preserving and reproducing Mamluk lamps. The *kufic* calligraphy is reminiscent of the style used during the Mamluk era.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1867","location":"Shahaniya","dimensions":"Diameter: 30cm, Height: 39.5cm","place_of_production":"France, Paris","method_for_datation":"The date and origin were derived from the signature of the artist Philippe J. Brocard.","method_for_provenance":"The date and origin were derived from the signature of the artist Philippe J. Brocard.","provenance":"France","obtention":"Auction","bibliography":"Colomban, P., Tournié, A., Caggiani, M.C. and Paris, C., \"Pigments and enamelling/gilding technology of Mamluk mosque lamps and bottle\", *J. Raman Spectrosc.*, 43 (2012): 1975–1984.  \nCaggiani, M.C., Valotteau, C. and Colomban, P., \"Inside the glassmaker technology: search of Raman criteria to discriminate between Emile Gallé and Philippe-Joseph Brocard enamels and pigment signatures\", *J. Raman Spectrosc.*, 45 (2014): 456–464.  \nMcClinton, K. M., \"Brocard and the islamic revival\", *Connoisseur London*, 205 : 826 (1980): 278–281.  \nSalvant, J., Schussler, V., McKenna, C. et al., \"Investigation of an enameled glass mosque lamp: a 13th–14th-century Mamluk example or 19th-century European version?\", *Herit Sci*, 4 : 5 (2016).  \nWard, R., \"Coincidental Developments? The Aldrevandin Glasses and Ayyubid–Mamluk Glass\", *Journal of Glass Studies*, 57 (2015): 137–146.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["France","Mamluk","Mosque Lamps","Paris"],"materials":["enameling","gilding","Glass, bronze"]},"2e37ae24-5c92-5eeb-bdae-5fa66679ca7b":{"name":"Ladik prayer rug","description":"Ladik, in Anatolia, had been an important carpet-making centre since at least the 17th century. Two types of prayer rug can be assigned to Ladik, but both have one charming feature: a row of elongated tulips in a cross-panel. The first group, considered to be earlier, are triple-arch prayer rugs. These have a narrow cross-panel with tulips over a *mihrab*. Another group consists of mostly 18th- and 19th-century rugs. They have a much smaller central niche and a wide cross-panel with upside down tulips beneath the *mihrab*.  \nThe Kraków rug belongs to the second group. The small, red *mihrab* niche is closed with a stepped, pointed arch, decorated with hook motifs. It has three elongated blossoming shrubs inside the niche that resemble the columns of the first group of Ladik rugs. The spandrels are decorated with five rosettes, a pair of lanceolate leaves and three ewers. The *mihrab* niche and ewers are symbols connected with the everyday ritual prayers of Muslims. Beneath the *mihrab* there is a wide cross-panel with two rows of arcades, upside down tulips, roses and stems with flowers. Six borders surround the field of the carpet. The main border is filled with an ornament of bold, strongly geometrised carnations.  \nIt is interesting that a very similar Ladik rug was depicted in a painting dating to as early as the second quarter of the 17th century. In the votive picture of the priest Tarło in one of the Polish churches, the rug can be seen beneath the altar of the prayer scene.","type":"Rug","holder":"National Museum in Kraków","dates":"Beginning of the 18th century","location":"Kraków","dimensions":"H: 187cm, W: 108.5cm; knot density 1,075/dm2","provenance":"Anatolia, Ladik","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 82‒3, 165‒6, cat. 32.  \nBiedrońska-Słotowa, Beata, “Islamic carpets in Polish painting: A contribution to the iconography of Oriental textiles”, in *Rozprawy Muzeum Narodowego w Krakówie. Seria nowa, vol. I*, Kraków: National Museum in Kraków: 1999: 111‒28.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 36, cat. 10.","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Ladik","mihrab","prayer rug","tulip"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"2ed5f331-f245-5701-b5ea-1a6aa1a79c09":{"name":"Qur’an","short_description":"This large-scale Qur’an manuscript from India stretches more than one meter in length. Handmade in India, these grand holy books were likely a result of domestic writings of the Qur’an and calligraphy as a form of devotion and worship.  \n  \nThe *ayah* (verses) are composed in black ink in *naskh* script within a black frame refining the border on the delicate paper. Individual *ayah* and decorative elements also appear in liquidized gold for embellishment and emphasis. A selection of pages illustrates segments of *surah* (chapters) in bright colours from pigment in diamond and medallion shapes with floral motifs.","type":"Manuscript","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 115cm, Width: 67cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, pigmented colour, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, pigmented colour, calligraphy and inscriptions.","provenance":"India","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"Chapter 8 The Chain of Mamluk Calligraphers\", in D. Behrens-Abouseif *The Book in Mamluk Egypt and Syria (1250–1517)*, Leiden: Brill, 2018.  \nGruber, C.and Brend, B. (eds), *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections,* Bloomington and Indianapolis: Indiana University Press, 2010: xviii, 281.  \nEhrlich, J., \"Plunder and Prestige: Tipu Sultan’s Library and the Making of British India\", *South Asia: Journal of South Asian Studies*, 43 : 3 (2020): 478–492.","dynasty":"Mughal","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","India","Quran"],"materials":["handwriting","Paper, cardboard"]},"2f8a5281-9aad-56b2-94ab-cc71340502a0":{"name":"Prayer rug","description":"Pirot kilims are woven very finely. Weave density can measure up to seven to nine grains per centimetre, like on the kilim with a *mihrab* and pots with flowers in the central field. At the top of the *mihrab* there is a lamp, and in the corners there are flower braches. Kilim has three borders and the one in the middle is narrower than the other two. Borders are decorated with vegetable ornaments, *almonds* (*bademčići*) and *octopuses* (*oktapod*). The colours used are: red, green, blue, yellow, brown and violet.","type":"Prayer rug","holder":"Museum of Applied Art","dates":"First half of the 19th century","location":"Belgrade","dimensions":"H: 150cm, W: 107cm","method_for_datation":"By stylistic analysis, material and technique","provenance":"Pirot","obtention":"Purchased in 1952","bibliography":"Cvetković, M., *Igra šarenih niti: Kolekcija pirotskih ćilima Etnografskog muzeja u Beogradu*, Belgrade: Etnografski muzej, 2008.  \nVitković-Žikić, M., *Pirotski ćilimi = Les Kilims de Pirot*, Belgrade: Muzej primenjene umetnosti, 2001.  \nPetković, M., and Vlatković, R., *Pirotski ćilim* \\[Abstract in English\\], Belgrade: Srpska akademija nauka i umetnosti, 1996.  \nStojanović, D., *Pirotski ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1987.","author":"Draginja Maskareli","keywords":["Kilim","mihrab","Pirot","prayer rug","Şarköy","weave","wool"],"materials":["weaving","wool"]},"3014d292-46d6-5552-8846-8782d58e0b90":{"name":"Foot reliquary","description":"When Basel split into two half-cantons in 1833, the famous Basel Minster Treasure suffered the same fate. The new Canton Basel-Landschaft received 64 per cent of the treasure, but because it was desperately short of funds, it converted the ecclesiastical riches into cash, among them the silver reliquary of 1450, which brought the exchequer 562 francs. The reliquary has the shape of a foot, consistent with its contents – allegedly the foot bones of a young boy who was murdered in Bethlehem on Herod’s command. What chills modern viewers to the bone today, used to be the object of religious devotion to many. Through a of rock glass opening believers could catch a glimpse of the sacred relic and hope for divine assistance.","type":"Reliquary","holder":"Swiss National Museum","owner":"Schweizerische Eidgenossenschaft","dates":"1450","location":"Zurich","dimensions":"H: 14,2cm, L: 24,1cm, W: 9,8cm, Weight: 1041,6g","method_for_datation":"Dated following inscription","provenance":"Switzerland, Basel","obtention":"Part of the Basler Minster Treasure. Aquired by the Landesmuseum at an Auction in 1982.","keywords":["Basel","foot reliquary","Minster treasure","relic"],"materials":["copper, engraved, gilded","crystal glass beads","enamel (translucent)","mother-of-pearl","oak wood","silver filigree","Silver, chased, partially gilded"]},"301e4bad-ae28-55b7-8175-5f828d2c5939":{"name":"Candlesnuffer.","description":"A candlesnuffer that resembles a pair of scissors, made from gilded iron and with decorative painting. Although the form resembles an ordinary pair of scissors one of its arms contains a small chamber (a rectangular box section) to extinguish lamps and candles. The second arm (which has a flat edge), when closed, enters inside the chamber and snuffs out the lamp or candle. The arm with the chamber extends into a tapered shape not unlike an ordinary pair of scissors, while the flat-edged arm is shorter, cut-off at the level of the chamber. The piece is completely gilded and is decorated with a multiplicity of forms the most prominent being located on the two sides of the chamber. Each of the long sides of the chamber is decorated with two confronting birds, possibly pigeons, and they appear to hold a leaf in their beaks. On each of the two small sides of the chamber are lions. Some of the decoration and gilding has worn off as a result long-term use.  \nThis snuffer has been used to extinguish not hundreds, but thousands of candles and lamps which would have illuminated al-Aqsa Mosque, Dome of the Rock, the plazas and other buildings within the Haram al-Sharif in Jerusalem.","short_description":"The Aqsa Mosque and the Dome of the Rock were lit by thousands of candles and lamps which required implements for lighting and extinguishing. This candlesnuffer takes the form of elegant scissors made from gilded iron. It is decorated with zoomorphic and vegetal forms, minutely portrayed to fit the small scissors.","type":"Metalwork, iron steel","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 18.5 cm, width 5.5 cm.","method_for_datation":"The snuffer was dated by comparing it with the design and techniques of manufacture of other pieces whose dates have been tentatively pin-pointed.","method_for_provenance":"It is possible that the snuffer was produced in Istanbul since there are similar pieces known to have been produced there, but there is no firm evidence to confirm this.","provenance":"Possibly Istanbul.","obtention":"The piece was transferred from al-Aqsa Mosque to the Islamic Museum but it is not known when.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["candle-snuffer","Candles","gilding","iron","Scissors"],"materials":["Gilded iron with decorative painting."]},"310e79cc-ee2c-5e1c-89d1-fcfcb20cf00e":{"name":"Curtain for the door of the Holy Ka‘ba in Makkah al-Mukarramah","short_description":"This curtain, known as *sitara*, *burdah* or *burqa* and embroidered with qur’anic quotations, forms the most elaborate part of the *kiswah* textile cover which encloses the Holy Ka‘ba in Makkah. This example was made under the patronage of King Fahd ibn Abd al-Aziz al-Saud, who ascended the throne in AH 1405 / AD 1985.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira after 1405 / AD 1985","location":"Sharjah","provenance":"Makkah al-Mukarramah, Saudi Arabia","dynasty":"Saudi Arabia","keywords":["Curtain","Door","hajj","Holy Ka'ba","Makkah al-Mukarramah","patronage","pilgrimage","textile"]},"32629ea7-5978-5c34-ac5e-6fa3012db355":{"name":"Reliquary Chest of St. João de Brito","description":"The Portuguese established trading posts along the coasts of India and China where merchants could trade and store their merchandise, extending their authority into the hinterland. While the traditional political structures of local chieftains remained, the elite profited by reselling European wares. In addition to trade, the Portuguese sought to spread Christianity among the local Asian populations with Franciscan, Dominican and later Jesuit missionaries preaching to the indigenous peoples. The Christian missionaries learned the native languages, familiarised themselves with the indigenous cultures and even their religions; in this effort, the Jesuits were extremely dedicated. St. João de Brito was sent as a member of the Jesuit Order to the mission of Maduré, in India, in 1673. His aim was to convert the higher castes, in order to better establish Christianity in the region. He became a *pandaraswami*, an Indian ascetic. One of his converts, Prince Tadaya Theva upon becoming Christian, was rejected by one of his wives. She complained to her uncle, the Raja of Marava, who had the Jesuit executed in Orbyur, India, in 1690.  \nThis chest, with a pyramidal lid engraved in low-relief, features scenes of St. João de Brito's life and martyrdom. The bas-relief on the top features the saint in Indian dress, with sandals and a staff. Several winged cherubs in chiselled silver flank the lid. The body of the chest presents two sculpted winged angels on each side in true Baroque expression. Four elaborate feet in gilded silver hold the main body. Commissioned by King Pedro II of Portugal as a royal homage to the Jesuit saint, the Portuguese coat of arms is seen in the centre testifying to the royal provenance.  \nThe presence of the *Agnus Dei* on the top may have been a later addition by the Jesuits, who used it on special occasions as a Eucharistic tabernacle for the veneration of the Blessed Sacrament.","short_description":"Commissioned by King D. Pedro II, this Reliquary Chest is engraved in low-relief with scenes of St. João de Brito’s life and martyrdom. The bas-relief on the top features the saint in Indian dress, with sandals and a staff.","type":"Reliquary","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","owner":"Santa Casa de Misericórdia, Lisbon / Museum of São Roque","initial_owner":"Jesuit Order","dates":"c. 1694–1698","location":"Lisbon, Lisbon","dimensions":"H: 54 cm; w: 88 cm; depth: 40 cm","place_of_production":"Augsburg, Germany","method_for_datation":"Moutinho de Almeida attributed this piece to the German silversmith Henrich Mannlich by identification of his hallmark (H.M.).","provenance":"Augsburg, Germany","obtention":"After the expulsion of the Jesuits by the Marquis of Pombal in 1759, the church and the Professed House (House of the professed priests) along with all its possessions were given to Santa Casa da Misericórdia in Lisbon.","bibliography":"*Documentos para a História da Arte em Portugal*, Fundação Calouste Gulbenkian, Lisbon, Vol. 5, 1969, p. 26.  \nVassallo, e Silva, N., “Os Relicários de São Roque, *Oceanos*, No. 12, Lisbon, 1992.  \nMoitinho de Almeida, F., *Marcas de Pratas Portuguesas e Brasileiras – Século XV a 1887*, Lisbon, 1995.  \nVassallo, e Silva, N., “Aspectos da Arte da Prata na Companhia de Jesus” (Séculos XVI a XVII), *O Púlpito e a Imagem. Os Jesuítas e a Arte*, Lisbon, 1996.","workshop":"German goldsmiths/International Baroque","artist_birthdate":"Unknown","artist_birthplace":"Augsburg","copyright":"Copyright images: Santa Casa da Misericórdia de Lisboa.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Henrich Mannlich","Jesuit","reliquary","St. João de Brito","travel"],"materials":["White and gilt silver"]},"32db9874-813f-566f-afe8-d3adcab6c80a":{"name":"Saint Georges","short_description":"This stained glass was commissioned from the artist Yoki by the Association “Semper Fidelis” to commemorate the entry of the canton of Fribourg into the Swiss Confederation in 1481. Although officially presented to the Fribourg cantonal authorities, this piece of glass art was designed for the Musée du Vitrail (now Vitromusée Romont), which opened in 1981 as part of the celebrations for the 500th anniversary of the canton joining the Swiss Confederation. For a long time it was exhibited in the attic of the museum, where a special opening was created to display it.  \n  \nThis glass in concrete depicts St. George in armor and nimbus, riding a white horse, holding a spear in both hands and piercing the mouth of the dragon lying at his feet, which turns its head to look at him.","type":"Glass in concrete","holder":"Vitromusée Romont","initial_owner":"Association *Semper Fidelis*","dates":"1981","location":"Romont, Fribourg","dimensions":"Diameter: 178cm","method_for_datation":"Signature (Yoki 81) at the bottom right","method_for_provenance":"According to the signature, the date and the research conducted","obtention":"Donation by the Association Semper Fidelis (veteran officers association)","bibliography":"Baud, Philippe, *Yoki: un demi-siècle de vitrail: un monde de lumière*, Saint-Maurice: Editions Saint-Augustin, 2001.  \nEltschinger, Michel, *Les amitiés de couleur: soixante ans d'art verrier*, Villars-sur-Glâne: Michel Eltschinger, 2013.  \nGuisolan, Jérôme, *Semper Fidelis: 1971-2011: quarante ans de mécénat au service de la culture*, Pully: Association Semper Fideles, 2011.  \nSauterel, Valérie, \"L'œuvre verrier de Yoki dans l'espace profane\", in Mélanie Rouiller (ed), *Yoki - l'art au service de la lumière: Émile Aebischer, artiste peintre et verrier*, Pro Fribourg, 213, Fribourg: Pro Fribourg, 2021: 28-43.","workshop":"Michel Eltschinger (Villars-sur-Glâne, Switzerland)","artist_birthdate":"21 February 1922","artist_birthplace":"Romont, Switzerland","artist_deathdate":"12 November 2012","artist_deathplace":"Givisiez, Switzerland","catalogue_holding_link":"https://vitrosearch.ch/en/objects/2672928","author":"Anna Salamin, Valérie Sauterel, Astrid Kaiser","copy_editor":"Adrienne Staudohar","translator":"Kate Whitebread","keywords":["banner","Cross","dragon","George","horse","lance","Religion","shield","soldier"],"materials":["Glass in concrete"]},"32fb3761-3d91-5ac8-b9e9-d93cf46f8c28":{"name":"Lamp from a mosque","short_description":"This lamp from a mosque was purchased from a Yemenite from Saana by Franz Steindacher in Aden in 1896. Steindacher was part of an Austrian expedition to explore the Red Sea.","type":"Furniture","holder":"Kunsthistorisches Museum, Weltmuseum","dates":"1896","location":"Vienna","dimensions":"Glass height 31 cm, diameter 21,5 cm","provenance":"Yemen, San`a'","copy_editor":"Daniel de la Vega","keywords":["Exploration","Aden","travel","traveller","mosque interior decoration"]},"33034cbb-75d9-5619-8b7f-cac29ec681b4":{"name":"Fragment of a basin.","description":"Fragment of a basin sculpted in low relief, triangular in shape, both parts of which have been restored. Two of the sides are flat, the third is curved.  \nThe scene on the basin, of which only a part has survived, depicts hawking. The torso and part of the thigh of a horse rider can be distinguished, clothed in a pleated tunic belted around the waist by a large belt, and holding a white weapon in the right hand. Behind him, a falconer, whose face is mutilated and whose lower limbs have been amputated, and who is wearing a tunic that is open in front and tightened at the waist by a narrower belt, holds a dead hare. In his left hand, he holds up a falcon, of which only one foot and a bit of the tail can be seen above the horse's rump, the lower part of which is missing. A section of tree trunk, which could belong to a palm tree, appears behind the falconer.  \nTo the left of this scene lies an inscription consisting of two lines in *kufic* lettering. The first line is rather difficult to interpret ; the second reads as follows: ' …*ine wa arba'ou maya … amal ibn* …' (…four hundred…the work of Ibn…). '*ine*' cannot be translated as it is the last syllable of a number that could just as well be forty as seventy or even ninety.","short_description":"Fragment of a sculpted white marble ablutions basin, the two halves of which have been pieced back together. The bas-relief scene shows a falcon hunt. On the left-hand side there is an inscription in *kufic* characters. This object was originally from Andalusian Morocco.","type":"Basin, marble","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 5th century / AD 11th century.","location":"Algiers","dimensions":"Length 51.5 cm, width 21 cm, thickness 7.5 cm.","method_for_datation":"The object features a date which is missing the numerals representing single units and units of tens, and thus can only be placed somewhere between 440 and 489 (1048 and 1096).","method_for_provenance":"Through comparing this bas-relief fragment to basins from al-Andalus, Marçais was able to attribute this fragment to a basin, which could have been used for ablutions, of the same origin.","provenance":"Al-Andalus (Spain).","obtention":"Gift of Edmond Doutté, who acquired it in Rabat in 1902, during an exploration in Morocco.","bibliography":"Marçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarçais, G., “Sur un bas-relief musulman du musée Stéphane Gsell”, *Annales de l'Institut d'études orientales,* Vol. I, 1934–5, pp.162–75.","dynasty":"Taifa Kingdoms","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Al-Andalus","Basin","hawking","hunting scene","inscription","kufic","low relief","sculpture","Taifas"],"materials":["Sculpted white marble."]},"336e6afb-8f0e-5f3a-a491-c18e56f13628":{"name":"*Hag Al Layla'* celebration","description":"*Hag Al Layla'* takes place in Sha’ban, the month before Ramadan. On this night, families hand out sweets and nuts – peanuts, almonds, *meez* and *nakhi* (chickpeas) – to the neighbourhood children. The children recite *dua’as* (verbal prayers) as they collect treats inside handmade cloth bags, however, should their neighbour refuse to hand out treats they may express anger toward that person. Traditionally, women give out the sweets, which are kept in a *geffah* (palm leaf basket), while sitting outside their front door. Each child would take care to visit every house in the neighbourhood.","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"In current practice","location":"Sharjah, United Arab Emirates","author":"Amanda Snyder, Mona Mukhashab","copy_editor":"Judy Harter","keywords":["hag al layla","ramadan","shaban"]},"33fb43d3-39d9-5067-a872-1b4b9314584b":{"name":"Covered al-Buzuriyya Market","description":"During the Mawlid (Feast of the Birth of Prophet Muhammad), people from all over Damascus rush to buy the first gift of this occasion, the *Mulabbas*, distinguishing the capital from other Syrian cities. This sweet, made of roasted almonds coated with sugar, is linked to the emotional history of the people of the capital because it is white, symbolising new birth, as in the birth of the Prophet. Many shops in the historic Buzuriyya market in Damascus are filled with sweets and chocolates in preparation for Mawlid al-Nabawi. According to one of its makers, the *Mulabbas* industry in Damascus dates back more than 150 years, and its main sales area is centred in the historic Buzuriyya Market.","holder":"Museum for Islamic Art","owner":"Christine Delpal","initial_owner":"Christine Delpal","dates":"Hegira 1412 / AD 1992","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus”, Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili. “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["Photography, black and white"]},"3481e842-be03-549a-be65-9ec6969a8ba5":{"name":"Marasali prayer rug","description":"A Caucasian Marasali prayer rug woven in 1253 Hijra (1838 AD) with the quintessentially Azeri flaming buta motif. The main, and very dark blue, field of this pile carpet is occupied by rows of multi-coloured pear-shaped leaf motifs with serrated edges.  These motifs are better known as flaming butas (also botehs or Paisley pattern motifs), and are here alternately coloured across the horizontal rows, creating uniformly coloured diagonal rows on the vertical axes from bottom right to top left. A geometrical arch is positioned at the top end of the centre filed creating the distinctive prayer-niche design of the prayer rug. To the left of the arch’s tip is discretely woven the date of manufacture using red knots. In Arabic letters and numbers it states “year 1253” in the Islamic calendar. The border shows a row of “bird motifs”, resembling bunches of red grapes, on an ivory background. These bird motifs are one of the key distinguishing features of Marasali carpets, and have evolved from clearly rendered abstracted birds bending to peck at the ground to the form you see on the border of this carpet, which looks more like a bunch of grapes with a leaf at its base.","type":"Prayer rug","holder":"Glasgow Museums - The Burrell Collection","dates":"Hegira 1253 / AD 1838","location":"Glasgow, Scotland","dimensions":"H: 1321mm, W: 1067mm","method_for_datation":"Manufacturing techniques and stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Azerbaijan, Shirvan district, Maraza village","obtention":"Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944","workshop":"Caucasian workshop","dynasty":"Russian domination period","author":"Noorah Al-Gailani","keywords":["bird","boteh","buta","date","flaming buta","inscrption","Paisley Pattern","prayer niche","prayer rug"],"materials":["Silk warp and weft","wool pile"]},"35453f02-5851-5ed4-841e-211439b842c4":{"name":"Qur’an with box","short_description":"The small Qur’an belongs to a group of diminutive holy books intended as a talismanic object. Written in India in the *Turabi* calligraphy style with a single horse hair, the Qur’an represents a devotional book hard to read with the naked eye.  \n  \nEncased in a silver box, sometimes in textile pouches, the script becomes a pendant for a necklace. While the amulet would guard and empower the wearer, its manufacture was often reserved for sultans and their soldiers for their protection. Furthermore, the silver embellishes the protective power as a lucky metal in Islam. Carried around the neck or attached to ceremonial objects and weapons, good luck charms endure and appear throughout time and place.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 2cm, Width: 1cm, Height: 2cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"India","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"Chapter 8 The Chain of Mamluk Calligraphers\" in D. Behrens-Abouseif, *The Book in Mamluk Egypt and Syria (1250–1517),* Leiden: Brill, 2018.  \nGruber, Christiane (ed) and Brend, B., *The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections,* Bloomington and Indianapolis: Indiana University Press, 2010: xviii, 281.  \nEkhtiar, M., *How to Read Islamic Calligraphy,* New York: The Metropolitan Museum of Art, 2018.  \nEkhtiar, M., and Parikh, R., \"Chapter 10 Power and Piety: Islamic Talismans on the Battlefield\", in M. Ekhtiar and R. Parikh (eds), *Islamicate Occult Sciences in Theory and Practice,* Leiden: Brill, 2020.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","India","miniature","Quran","Talisman"],"materials":["handwriting","Paper, silver"]},"35a55142-cbad-545f-9150-ff76ab018f9b":{"name":"The Archangel Gabriel","description":"This icon depicts the Archangel Gabriel turned to the left, indicating that it comes from the Deesis tier of an iconostasis. He wears the *alb* (tunic) of a deacon and the liturgical coat of a bishop. In his right hand, he holds a sphere of light and in his left hand, a rod. The Archangel Gabriel, whose name means “man of God” in Hebrew, has been called the leader of the heavenly hosts. He is associated with numerous biblical events, including the announcements of the births of Mary and John the Baptist, and most importantly, the Annunciation, in which Gabriel proclaimed to the Virgin Mary that she would conceive and bear a son named Jesus.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 90cm, Width: 37.5cm, Depth: 5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2010. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","workshop":"Rostov","copy_editor":"Adrienne Staudohar","keywords":["Angels","Religious iconography","saints"],"materials":["Egg tempera on wood"]},"35d28d2d-69ab-5ec0-a006-32f2135420d3":{"name":"Textile with prayer niche (*mihrab*).","description":"The fabric, made of red, black and yellow-brown silk, is decorated with motifs embroidered with silver- and gold-plated copper wire woven into a cotton base. The basic decorative element consists of a large prayer niche (*mihrab*), at the centre of which, at the top, there hangs a mosque lamp. Above and beside it there are scrolls containing decorative epigraphic motifs. The background of the fabric, with the exclusion of the inside of the niche where there are naturalistic floral motifs, is decorated with arabesque elements consisting of intertwined palmettes of various shapes or half-palmettes surrounded by spirals.","short_description":"This fabric, embroidered with metal thread and decorated with a prayer niche (*mihrab*), a large mosque lamp and epigraphic motifs, is typical of late Ottoman textile production.","type":"Silk, satin, metal thread","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira 12th–13th century / AD 18th–19th century.","location":"Rome","dimensions":"Height 265 cm, width 160 cm.","method_for_datation":"The suggested dating and origin of the object are based on the decorative style, which relates to late Ottoman textile production (12th–13th / 18th–19th centuries).","provenance":"Turkey.","obtention":"Purchase.","bibliography":"Barista, H. ö., “Turkish Embroideries: Later Period of The Ottoman Empire”, *Seventh International Congress of Turkish Art*, Warsaw, 1990, pp.37–42.  \nGönül, M., “Some Turkish Embroideries in the Collection of the Topkapisaray Museum in Istanbul”, *Kunst des Orients*, 1969, VI, pp.43–76.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["calligraphy","embroidery","floral decoration","mihrab","prayer niche","textile"],"materials":["Silk satin embroidered with metal thread."]},"370f95db-5572-52d3-b9d7-f5099026bcc9":{"name":"*Feast of St. Anthony of Padua*","description":"The subject is a relatively scarcely represented scene from the life of St. Anthony of Padua, priest, preacher and disciple of St. Francis of Assisi. The Franciscan saint sits at the table in the house of a wealthy man, blessing goblets of wine. On the left, a *putto* brings a lily, symbol of purity and one of the saint's attributes. On the right, precious tableware is displayed, as was customary at feasts from the 16th century onwards. Although the scene is illuminated at the centre, the picture features two pictorial sections: the left symbolising austerity and humbleness and the right, luxury and superiority. The artist also draws attention to the two sections by use of character types: the face of St. Anthony with his halo reflecting spiritual delight, while the gross face of the rich man shows sensual pleasure, greed and a boorish approach to the situation. The listening man on the right points out his gluttony, one of the seven deadly sins. The painter highlights the scene with a contrasting motif of deep-red drapery, which sets the colour tone for the whole picture. The painting stands out among Kracker's altarpieces and ceiling frescos because of its genre-painting atmosphere and use of chiaroscuro. It also manifests the artist's bold monogram *JK*, but not as distinctively as on some of his more sizeable compositions.  \nThe picture was part of the decoration of the refectory in the Franciscan Monastery in Moravská Třebová, together with *The Feast of the Holy Family* and *The Feast of St. Wenceslas*.  \nKracker was a leading exponent of the Vienna Academy style represented by Paul Troger and Michelangelo Unterberger. After studying in Vienna Kracker was active in the workshop of Josef Tadeáš Rotter in Brno, and later settled in Znojmo. His best-known works include ceiling paintings and altarpieces in the Church of St. Nicholas in Prague and in Nová Říše. His later work was associated with Hungary, where he joined the service of Bishop K. Esterházy in Jager.","short_description":"The subject is a relatively scarcely represented scene from the life of St. Anthony of Padua. The canvas formed part of the decoration in the refectory of the Franciscan Monastery in Moravská Třebová. It is an early piece by the artist, J. L. Kracker who was active in Bohemia, Moravia and Hungary.","type":"Painting","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Franciscan Monastery, Moravská Třebová","dates":"1759","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 148.7 cm; w: 93.4 cm","place_of_production":"Moravia","method_for_datation":"The picture is marked with the artist's monogram *JK* bottom left, on a vessel.","provenance":"Franciscan Monastery, Moravská Třebová","obtention":"The picture comes from the refectory of the Franciscan Monastery in Moravská Třebová. It was transferred to the Moravian Gallery in 1963.","bibliography":"Alois Czerny, Mährisch-Trübauer Künstlernamen, *Mitteilungen des Erzherzog Rainer-Museums für Kunst und Gewerbe*, Brno, XXVIII, 1010, pp. 1–11.  \nJana Vránová, Jan Lukáš Kracker, autor křížové cesty v Opavě-Kateřinkách*, Sborník památkové péče v severomoravském kraji* 3, 1977, pp. 161–162.  \nVlasta Kratinová, *Malířství 18. století na Moravě ze sbírek Moravské galerie*, Brno, 1968, p. 19.  \nIvo Krsek, in Ivo Krsek –­­ Zdeněk Kudělka –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, ed. Zdeněk Kudělka, Prague, 1996, p. 501, cat. 223.  \nAnna Jávor, *Johann Lucas Kracker*. *Ein Maler des Spätbarock in Mitteleuropa,* Budapest, 2005, pp. 73, 259, cat. 113.","artist_birthdate":"1717","artist_birthplace":"Vienna","artist_deathdate":"1779","artist_deathplace":"Jager","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Attribute","chiaroscuro","refectory","symbolism"],"materials":["Oil on canvas"]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","dynasty":"Qing","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink, watercolours and gold on paper"]},"38408d83-304f-5d3b-ba1f-3b4dc4fb028b":{"name":"Curtain for the *minbar* of the Meccan sanctuary, with the name of King Faruq I of Egypt","short_description":"This is an exceptionally fine example of the high quality of embroidery produced by the craftsmen of Dar al-Kiswa in the mid 20th century. Very few curtains for the Meccan *minbar* survive, and none of the known examples predates the early 20th century. This is probably one of the last ones made, as Egypt stopped sending curtains for the Meccan *minbar* around that time.  \n  \nThe top panel is inscribed, ‘God Almightly said in his revered book’. The three lines below have *sura al-Jumu‘a* (LXII), verse 9, which appropriately mentions the call to prayer on Fridays. The last panel states that ‘This sitara for the minbar of the sacred House of God was ordered by him who depends on God, the king of Egypt Faruq I, may God grant him succor, in the year 1365’.","type":"Textile; Mecca *minbar* curtain; *sitara*; *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1365 / AD 1946","location":"London","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","obtention":"Christie’s, London, sale of 26 April 2012, lot 360.","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nRif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: figure 96 (between pp.255–6).","dynasty":"House of Muhammad ‘Ali","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Dark blue silk, with beige silk appliqués, relief-embroidered in silver wire over cotton thread padding"]},"38bee4ad-cee4-5177-b8e7-dff8c1f903a8":{"name":"Inscribed reed floor mat","short_description":"A fine floor mat, woven on the loom, with sparse decoration, self-patterned borders with interlocking lozenge pattern and pairs of brown brocaded bands. The inscriptions, written in a *kufic* script, have benedictory content with details about the work's creation, as naming *Tabariya* the place of production. Such floor coverings were made for domestic and religious interiors and were possibly used during prayers.","type":"Floor mat, tabby weave","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"223 cm X 115 cm","provenance":"Tiberias","dynasty":"Fatimid","keywords":["Floor mat","kufic","Prayers","Tabby weave"],"materials":["Tabby weave with brocaded decoration, hemp and bast fibre"]},"38c8715f-fcca-5d98-afc6-976902eb06dc":{"name":"Coconut shell dipper","description":"This dipper is inscribed in Arabic with the verse:  \n*\"Wa ja‘alnā mina’l-mā’i kulli shay’in ḥay\"* (Surah al-Anbiyā, 21:30), \"And We made from water every living thing.\"  \n  \nIt also bears the Basmala — *\"Bismillāhi’r-Raḥmāni’r-Raḥīm\"*, \"In the name of Allah, the Most Compassionate, the Most Merciful.\"","type":"Dipper","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 7.5cm, diameter: 10.5cm","place_of_production":"Anatolia","obtention":"Purchased.","dynasty":"Ottomans","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["Basmala","Coconut","Dipper","Ottomans","Qur'an","water"],"materials":["Coconut shell"]},"38e4904d-c574-52b6-a1e1-5202c0c6e8ba":{"name":"Pilgrimage certificate","short_description":"This certificate was made for a pilgrim named Sayyid Yusuf bin Sayyid Shihab al-Din Mawara al-Nahri for his ‘umra, illustrating significant locations in Mecca, Medina, and other religious locations. Beside these illustrations are inscriptions from the Quran and texts written in Arabic and Persian related to pilgrimage, with the name of the pilgrim and his six witnesses featured at the end. Pilgrimage certificates are considered legal documents acquired by the pilgrim at the end of the journey.","type":"Manuscript","holder":"Museum of Islamic Art","dates":"Dated Hegira 21 Muharram 837 / AD 6 September 1433","location":"Doha","dimensions":"Height: 665 cm, width: 34.7 cm","provenance":"Central Asia or Iraq","obtention":"Christie's London, Classical, Western Asiatic, Byzantine and Islamic Antiquities, 23 October 1972, Lot 109  \nKuzmeli Collection until 1998; sold to Qatar Museums","bibliography":"Chekhab-Abudaya, Mounia, “Travelling manuscripts”, in Siu Perdue and Tagliacozzo (eds), *Asia Inside Out*, vol. 3, Cambridge: Harvard University Press, 2019: 146-178.  \n  \nChekhab-Abudaya, Mounia, Roxburgh, David, and Couvrat-Desvergnes, Amélie, “Sayyid Yusuf's 1433 Pilgrimage Scroll”, in Gülru Necipoğlu and Karen Learl (eds), *Muqarnas 33*, Leiden: Brill, 2016: 345-408.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.","dynasty":"Timurid or Qara Qoyunlu","author":"Mounia Chekhab-Abudaya","keywords":["Central Asia","Certificate","Iraq","pilgrimage","Qara Qoyunlu","Timurid"],"materials":["Opaque Watercolour, Gilt Paint, Paper, Ink"]},"392875c0-7574-582d-b567-f145659f7e9b":{"name":"Prayer rug","description":"The oldest carpets preserved till today that were produced in Asia Minor date from the 13th century, from the time of the Seljuqs. Turkish carpets were exported to Europe from the 14th century onwards and that is when we start to find them in the paintings of the Italian masters, especially the Siena and Florentine schools. The best examples of the carpet art of Asia Minor, boasting exceptionally imaginative designs, can be found in the prayer rugs. In the centre of Kula prayer rug is a dark blue *mihrab* or prayer niche. In the middle of this field there is a stylised star-like floral design in the shape of a pillar. The inside edge of the *mihrab* has smaller flowers while the surrounding area is covered with large geometric, flower motifs. There are eight borders, of which three are missing at the narrow ends of the rug. One of the narrow borders is repeated several times, with the same geometric motif, but in contrasting colour combinations. The other borders have a floral motif. The colours used are blue, brown, red and green.","type":"Prayer rug","holder":"Museum of Applied Art","dates":"Late 18th – early 19th century","location":"Belgrade","dimensions":"H: 160cm, W: 124cm","method_for_datation":"Ref. Stojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","provenance":"Kula","obtention":"Purchased in 1954","bibliography":"Vitković-Žikić, M., \"Odsek za tekstil i kostim\", in I. Zorić (ed.), *55 godina Muzeja primenjene umetnosti: 1950–2005*, Belgrade: Muzej primenjene umetnosti, 2005: 97–121.  \nStojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","keywords":["Kula","prayer rug","symmetrical knot","wool"],"materials":["symmetrical knots","wool"]},"39548f51-03b2-558c-9e39-2e9427feaf5c":{"name":"Basin.","description":"A large marble fountain-basin. The basin is basically a large hemisphere supported on a short foot and topped with a 12-sided rim, one side of which is blank and another of which has a section cut out to support the channel which brought water. Eleven of the sides carry an inscription giving the name and titles of the Ayyubid governor of Hama, al-Malik al-Mansur Muhammad ibn al-Muzaffar Mahmud ibn Muhammad ibn ‘Umar ibn Shahanshah ibn ‘Ayyub (also known by his shorter title of Mansur II Muhammad), who ruled from AH 641–83 / AD 1244–84. The exterior of the basin is carved with a bold design of two interlacing arabesque designs, each repeated six times in alternation and set off against a background of smaller floral decoration. Such a fine basin would probably have been placed in a prominent public mosque to serve the needs of congregants and to proclaim the glory of the ruler.","short_description":"A large marble basin for ablutions, carved on the exterior with prominent interlacing arabesque designs. The 12-sided rim is inscribed with the name and titles of the patron, the governor of Hama. Thus the basin served both the ritual needs of the community and the governor’s public image.","type":"Carved marble","holder":"Victoria and Albert Museum.","dates":"About hegira 676 / AD 1277–8.","location":"London, England","dimensions":"Height 50 cm, diameter 97 cm.","method_for_datation":"The inscription gives the date 676 / 1277–8.","method_for_provenance":"The basin is inscribed with the name and titles of the Ayyubid governor in whose honour this object was made (see description above).","provenance":"Hama, Syria.","obtention":"Purchased by the Museum in 1903.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.111.","dynasty":"Ayyubid","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["floral decoration","inscription","religious objects","water"],"materials":["Carved marble."]},"39c77b9c-54ff-5cb2-bbbc-c8a5ef99dbc2":{"name":"Set of Icons from a Festival Tier","description":"This set of 12 icons, the only one of its kind in the United States, is believed to be from the Pskov region of Russia. The icons were originally hung on the festival tier of an iconostasis, the partition separating the nave from the sanctuary of an Orthodox church. The festival tier highlights the major holidays of the Orthodox liturgical calendar. This set includes the following images:  \n  \n1\\. The Meeting of Anna and Joachim  \n2\\. The Nativity of the Virgin Mary  \n3\\. The Nativity of Christ  \n4\\. The Presentation of Christ  \n5\\. The Transfiguration  \n6\\. The Raising of Lazarus  \n7\\. The Crucifixion  \n8\\. The Three Marys at the Sepulchre  \n9\\. The Descent  \n10\\. The Ascension of Christ  \n11\\. The Holy Trinity  \n12\\. The Feast of Pentecost","type":"Icon","holder":"Museum of Russian Icons","dates":"1500s","location":"Clinton, Massachusetts","dimensions":"Height: 62cm, Width: 42cm","provenance":"Russia","obtention":"From the De Wijenburgh Collection. Purchased by Gordon Lankton from Idonen Galerie, Germany, in 2012. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Life of Jesus","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"3b20eedf-73ef-58bb-867b-4bd1624b5b9c":{"name":"Silver service.","description":"A silver service consisting of identical pairs of candlesticks, incense burners and perfume sprinklers. 'Adila, the daughter of Sultan Mahmud II, presented the service as a gift to al-Aqsa Mosque. The design is heavily influenced by the European style.  \nEach of the candlesticks is composed of a base, a shaft, a body, neck and the candleholder. The base of the candlestick is broad and octagonal in form, and is adorned with engraved leaf decorations. The base is connected to the body via the shaft, on top of which is a cupped ledge in the form of a leaf. The leaf-shaped ledge curves upwards, resembling the leaves engraved on the base. The body of the candlestick is composed of two globular areas: the lower one resembles a small sphere, while the one above it is a relatively large ovoid. Both are decorated with leafy engraved motifs similar to those that decorate the base. The body is connected to the neck, where there is another cupped leaf-shaped ledge, resembling that below it and of approximately the same size.  \nBoth the incense burners and the perfume sprinklers resemble each other, for each piece is composed of a base, body and punctured neck; the base fluted and wide, narrowing immediately. The base of one of the incense burners carries an Ottoman inscription in Arabic letters that reads: “Sultan Mahmud Han Sani hazretlerinin kerimesi, devletlü, ismetlü Adile Sultan hazretlerinin Mescid-i Aksa'ya mahsus vakfıdır.” (“Endowment of her Excellency Adile Sultan, daughter of his Excellency Sultan Mahmud Han II, to al-Aqsa Mosque.”)  \nThe date “1305” \\[AD 1887\\] is inscribed on it as well. This date was added during the reign of the Ottoman sultan, 'Abd al-Hamid II (r. AH 1293–1327 / AD 1876–1909). The body of the incenser is globular and fluted in form, slender at the bottom in order to adhere to the base, and at the top in order to cleave to the neck. The middle of the body is divided into two: the upper and the lower parts, which are connected to each other by a hinge, whereby one can open the censer and fill it. The necks of the incense burners are punctured to permit the fragrance to escape, similarly the necks of the sprinklers terminate with holes from which to sprinkle perfume and, like the incensers, they open at the apex in order to fill the inside of the sprinkler with perfume. Both the incense burners and perfume sprinklers end with a small globular section decorated with vegetal leaves, which resemble those decorating the candlesticks.","short_description":"This silver set is worked in the European style and is made up of six pieces that are similar in size and shape and decorated with vegetal motifs: identical pairs of candlesticks, incense burners and perfume sprinklers.  It was given to al-Aqsa Mosque by ‘Adila, the daughter of Sultan Mahmud II.","type":"Metalwork, silver","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"‘Adila, daughter of Sultan Mahmud II (r. AH 1223–55 / AD 1808–39), who gave it as part of an endowment to al-Aqsa Mosque, Jerusalem.","dates":"Hegira 1305 / AD 1887.","location":"Jerusalem","dimensions":"Height (of the candlestick) 60 cm, diameter 22 cm; height (of each incense burner and sprinkler) 33.5 cm, diameter 20.5 cm.","method_for_datation":"The service has a written inscription on the base of one of the incense burners that includes the date.","method_for_provenance":"Possibly produced in either Istanbul or Greece, but there is no firm evidence concerning its place of production.","provenance":"Possibly produced in Istanbul or Greece.","obtention":"The service was transferred from al-Aqsa Mosque to the Islamic Museum but it is not known when.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Incense burner","perfume","silver","vegetal decoration"],"materials":["Cast silver, engraved."]},"3c54f80b-766c-5ff6-959e-037413ba35e0":{"name":"Two mosque lamps.","description":"Two glass mosque lamps with globular body and flared neck, decorated with enamel and gilt. Around the body is a bold inscription, while roundels exhibiting a cup emblem alternating with calligraphy surround the neck. The inscriptions around the body of both these lamps state that they were made for Sayf al-Din Shaykhu al-‘Umari, a prominent amir for Sultan al-Nasir Muhammad. Shaykhu achieved the status of commander-in-chief of the palace and then Great Amir before being assassinated in AH 759 / AD 1357. The roundels around the neck and the underside of body contain a cup motif, the blazon of Shaykhu, indicating that he held the post of cup-bearer. The neck is inscribed with the Qur’anic verse 24:35, known as the ‘Light’ verse: ‘God is the Light of heavens and the earth; the likeness of His Light is a niche, wherein is a light, the light in a glass, the glass as it were a glittering star’.  \nMamluk lamps with their non-figurative decoration, and inscriptions of Qur’anic verses, were mostly intended for religious buildings, hence the term ‘mosque lamp’. However, there are some lamps of the same shape from this period that would have been used in a secular setting. These lamps are part of a group of extant lamps probably made for the mosque Shaykhu commissioned in AH 750/ AD 1349, or for the sufi hostel (*khanqa*) he had built soon after in AH 756/ AD 1355, situated at the foot of the Citadel in Cairo.","short_description":"A pair of glass mosque lamps decorated with enamel and gilt. Around the body are medallions containing the cup emblem, the heraldic symbol belonging to the patron Sayf al-Din Shaykhu al-‘Umari, who was cup-bearer for Sultan al-Nasir Muhammad.","type":"Glasswork, gilded glass, enameled","holder":"The British Museum.","initial_owner":"Amir Shaykhu.","dates":"Hegira mid-7th century/ AD mid-14th century.","location":"London, England","dimensions":"Height 53 cm, diameter (at base) 14 cm, diameter (at top) 26 cm.","method_for_datation":"Embellished with the blazon of Shaykhu these lamps were probably made for one of the religious buildings he commissioned; a mosque in 750/ 1349 and a *khanqa* in 756/ 1355. Shaykhu rose to prominence in the 740s / 1340s, and helped re-instate Sultan al-Nasir Hasan on the throne in 754 / 1354. Thenceforth Shaykhu effectively ruled the Mamluk Empire until he was assassinated in 758/ 1357. These mosque lamps probably date to the mid-7th / mid-14th century when he was at the height of his powers.","method_for_provenance":"The objects are embellished with the blazon of Shaykhu (amir of Sultan al-Nasir Muhammad in Cairo, Egypt), and inscribed with his name, it is probable, therefore, that these lamps were made for one of the religious buildings that Shaykhu commissioned.","provenance":"Egypt.","obtention":"One of the lamps (OA+521) was bequeathed by Felix Slade in 1868; the other (G.497) was part of the Godman Bequest of 1983.","bibliography":"Brend, B., Islamic Art, London, 1991, p.113.  \n  \nPhillips, T. (ed.), Africa: The Art of a Continent, London, 1996, p.591.  \n  \nPinder-Wilson, R., \"The Islamic Lands and China\", Five Thousand Years of Glass (ed. H. Tait), 1991, p.135, fig. 168.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["blazons","calligraphy","coat of arms","Emblems","Mosque interior decoration","religious object"],"materials":["Enamelled and gilded glass."]},"3d75b4f5-408b-508c-ad11-26e59afd1efb":{"name":"Incense burner","short_description":"The Christian incense burner belongs to a group that is normally ascribed to the Syrian and Palestinian area. This attribution is further confirmed by the unique inscription in early *Kufi* that can be translated as follows: “In the name of Allah (God), made by Yaqub, son of Ishaq from Damascus.”","type":"Burner, metalwork","holder":"The David Collection","dates":"Hegira 2nd century / AD 8th century","location":"Copenhagen","provenance":"Syria or Palestine","dynasty":"Umayyad","keywords":["cast brass","gold","Incense burner","Iran","religious object","silver"],"materials":["Cast and engraved bronze, later chain"]},"3fb86eda-1e8c-5fdf-9e0b-53b50204bf6c":{"name":"Seljuq Rug","description":"A “Konya Group” rug found in the Konya Aladdin Mosque and acquired by the museum in 1911. The condition of this rug is poor, nevertheless it is possible to perceive the general decoration. The rug is in three pieces, the remaining parts of a large carpet. The main border is wide and light red in colour. Stylized *kufic*letters in dark red are contoured with brown and placed side by side. The main border is separated from the basic ground by a yellow band framed with a narrow brown line. The dark blue ground is a diamond pattern with hooked ends. There are small heart shapes in their middle of these diamond shapes. Seljuq rugs were commonly woven in large sizes. They were decorated in plain geometric patterns, generally with a small number of colours in various shades contrasted with a wide *kufic* border.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 123cm, W: 226cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı,Istanbul: Eren Yayınları, 1987: 13‒22.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007: 25, Kat. No: 3.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 3, Katalog no: 303.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık İhtişam*, Istanbul: Kaynak Yayınları, 2009: 135‒136.*","dynasty":"Anatolian Seljuq","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Middle Anatolia","Seljuq Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"4110beeb-d623-5316-b3ea-13f8ecd8e3db":{"name":"Mahmal","short_description":"This ceremonial *mahmal* consists of a tent-like cotton cloth embroidered with gold and silver threads. Placed upon a wooden frame (litter) on a camel’s back, the *mahmal* would bear the *kiswa* (Kaaba covering) and other religious items to Mecca in a pilgrimage procession.  \n  \nThis example from Ottoman Turkey features the Mamluk yellow colour embellished with the Throne verse *(Ayat al-Kursi)*, the Muslim invocation (*Basmala*), and the declaration of faith *(Shahada)* in *thuluth* calligraphy. The signature of the Ottoman sultan is visible in *tughra* script.  \n  \nDuring the *hajj* or pilgrimage season, the caravan would parade the streets of Cairo in a festival accompanied by musicians before embarking on the journey to Saudi Arabia. The *mahmal* reminds of a wedding procession and carries feminine connotations through its familiarity with the *howdaj* used to transport women hidden away from the public eye.  \n  \nMuslim rulers would commission a *mahmal* in an opportunity to highlight their sovereignty, taste and piety. Although the legend of Mamluk Sultanah Fatima Shajarat al-Durr associated the ruler with the first *mahmal*, scholars debate the first appearance with earlier references recounting Zubaydah, the wife of Harum al Rashid, using a palanquin in a pilgrimage procession from Baghdad to Mecca.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 164cm, Width: 130cm, Height: 148.5cm","place_of_production":"Turkey","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and style.","method_for_provenance":"This mahmal was used to carry the kiswa to Mecca, Saudi Arabia.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Behrens-Abouseif, D., \"The mahmal legend and the pilgrimage of the ladies of the Mamluk court\", *Mamluk Studies Review*, 1 (1997): 87–96.  \nSardi, M., \"Weaving for the Hajj under the Mamluks\", *The Hajj: Collected Essays*, (2013): 169-174.  \nWasti, S. T., \"The Ottoman Ceremony of the Royal Purse:, *Middle Eastern Studies*, 41 : 2 (2005): 193–200.  \nYoung, W., \"The Kaʿba, Gender, and the Rites of Pilgrimage\", *International Journal of Middle East Studies*, 25: 2 (1993): 285–300.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Kaaba","Kiswa","Mahmal","Mecca","Saudi Arabia","Textiles"],"materials":["Cotton, silk, gold, silver","embroidery"]},"4161509c-5db0-57a2-b378-312463a1e2f2":{"name":"Qur’an Bag","short_description":"This Moroccan leather bag would encase a copy of a Qur’an or other religious texts to protect the manuscripts against dust, moisture and dirt. Silver thread embroiders the Islamic Star known as *Rub Al Hizb* with two overlapping squares, floral vines and Arabic calligraphy in the ancient Moroccan style. The calligraphy reads \"Prophet Muhammed - Peace Be Upon Him\".  \n  \nThe silver thread and calligraphy transform the leather bag into a talismanic object, casting protection upon the Qur’an and the owner. North African Qur’an cases often embodied a twofold protective function: book cover and talisman.  \n  \nFurthermore, the case exemplifies the craftsmanship of Maghrebi artisans, including the traditional skills of leatherwork and metal-stitching.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 13cm, Width: 14cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","provenance":"Morocco","obtention":"Purchase","bibliography":"Bernasek, L., *Artistry of the Everyday (Vol. 2)*, Harvard: Harvard University Press, 2008.  \nCohen, Anouk, \"The Quran in Practice in Morocco\", *Material Religion*, 17: 1 (2021): 124–127.  \nMichon, J., \"Traditional arts and crafts in morocco\", *Islamic Quarterly*, 26: 2 (1982): 67.","dynasty":"Alawid","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Morocco","North Africa","Quran case"],"materials":["embroidery","Leather, wood, silver"]},"4285852d-bdc9-521a-a814-ba8b902153a3":{"name":"*Mihrab* (prayer niche)","short_description":"This mihrab, nearly 12 feet tall and dated 663/1265, is the masterpiece of the DDFIA collection. It is one of six surviving luster mihrabs made during the Ilkhanid period of rule in Iran (1256–1353) and one of only two of its type outside of Iran. Originally, it was located in the Imamzada Yahya, a tomb of a descendant of a Shi‘ite imam in Veramin, Iran. In the tomb’s prayer sanctuary, the mihrab was located on the qibla wall—the one indicating the direction of Mecca.","type":"Islamic, Indian & Southeast Asian works of art; tilework; ceramic","holder":"Shangri La, Doris Duke Foundation for Islamic Art","dates":"Dated hegira Sha'ban 663 / AD May 1265","location":"Honolulu, Hawai'i","dimensions":"Overall: 384.5 x 228.6 x 21.6 cm","provenance":"Iran, Kashan","dynasty":"Ilkhanid","keywords":["'Ali b. Muhammad b. Abu Tahir","arabesque","cobalt","Ilkhanid","Imamzadeh Yahya","inscription","Iran","Kashan","lustre","Mosque interior decoration","moulded","overglaze-painted","painted","Qur'an","stonepaste","underglaze","Veramin"],"materials":["molded, overglaze-painted in luster, underglaze-painted in cobalt and turquoise","Stonepaste"]},"43f2e562-6eda-5dde-81a4-a1b3639f9c94":{"name":"'Transylvanian' Double Niche Rug","description":"A characteristic type of Ottoman rugs is the 'Transylvanian' double niche rug. Several variants of the type fashionable for over two centuries are known. Its common feature is the hexagonal medallion filling the central field. This is created by mirroring the original *mihrab* (prayer niche) of the traditional prayer rug across the central axis. This rug of symmetrical design was particularly popular in Transylvania where it was used as table or bed cover and wall hanging. The name \"Transylvanian\" refers to the place of frequent occurrence and not to the place of origin.  \n  \nThis exquisite specimen is from the first double niche rug period and is characterized by arabesque tendrils (First Period \"Transylvanian\" Double Niche Rug). The dark blue field is filled with subtly designed tendrils, with flowers and leaves arranged symmetrically to both axes. This design is complemented by two mosque lamps hanging from the apexes of the *mihrabs* (prayer niches). Ochre fields above the niches with blue arabesque tendrils can be traced to Persian design prototypes. The main strip of the 'Transylvanian' border pattern contains elongated polygonal cartouches alternated with eight-pointed stars, a pattern typical of this carpet type. A similar design with an ochre central field is kept in the collection of the “Black Church” in Brassó (now Braşov, Romania).","type":"Carpet","holder":"Museum of Applied Arts","dates":"C. 1600","location":"Budapest","dimensions":"Height: 172cm, Width: 132cm, Knot density: 1540/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"Acquisition unknown","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 56–57, no. 50 and 141, figure.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 218, plate 158 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 160, no. 74 and 161, figure \\[Emese Pásztor\\].  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 116–117, no. 25 and figure.  \nWaterhouse, Rupert (ed), *In Praise of God: Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakıp Sabancı Museum, 2007: 78, figure 32 and 151, no. 19 and figure \\[Michael Franses\\].","dynasty":"Ottoman","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["Arabesque tendrils","Double Niche Rug","Ottoman rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"4477e256-7ea2-5cbe-bda1-f87ba36cdb04":{"name":"Prayer rug.","description":"This carpet demonstrates through its design that it belongs to the group of prayer rugs. The inner area is adorned with a red-coloured arch-shaped *mihrab* (prayer niche). Placed in front of the niche is a basin, seen from above, from which emerges a small tree with green leaves, rendered in a semi-abstract design with fine lines. A small yellow jug with a handle and short spout has been incorporated into the centre of the tree. This jug may relate to Sura 5 verse 8 of the Qur’an, which mentions obligation of ablutions to be undertaken before prayer. Green-coloured, eight-pointed plaited stars can be seen in the corners of the *mihrab* arch. Above the *mihrab* is a rectangular space filled with palms and cypresses. Two borders frame the inner area. The thinner border is filled by a decorative cloud-motif band. This cloud-motif band is a common feature of Ottoman art since the AH 9th and 10th / AD 15th and 16th century, and it originated in China. On this rug, the yellow cloud-motif bands are displayed over a red background, and are positioned very close to one another. The rug’s wider border consists of a continuous tendril-like interlacing band involving plant motifs, over a light-green background.  \nThe rug’s symbolism derives from the connection between the *mihrab* motif and that of the garden of Paradise, which is perhaps what is being illustrated on the rug through the pool of water and the tree. Paradise, described as a wonderful garden, is promised at different points throughout the Qur’an to those who believe in the Islamic faith. Followers of Islam will one day arrive and stay in this garden full of lovely streams, wonderful plants and beautiful young virgins (*Huri*s).  \nPrayer rugs from Cairo are frequently mentioned in the sources, but this particular rug is the only surviving Mamluk prayer rug. It is particularly noteworthy for its incorporation of Mamluk motifs with those derived from Ottoman art, hence the reason for dating it to around AH 900 / AD 1500 or a little later.  \nMamluk rugs can be seen in Italian paintings from the 15th and 16th century and moreover are mentioned in a great number of sources. During this period there was also a flourishing trade between Mamluk Cairo and Italy.","short_description":"This is the only prayer rug to have survived from the Mamluk period. It was probably made in Cairo around 1500. Its design shows a mixture of Mamluk and Ottoman features. Carpet manufacture flourished in Egypt under the Mamluk sultans and rugs were also exported to Europe.","type":"Rug, prayer, wool","holder":"Museum of Islamic Art at the Pergamon Museum","owner":"Museum of Arts and Crafts, Berlin.","dates":"Around hegira 900 / AD 1500.","location":"Berlin","dimensions":"Length 162 cm, width 120 cm.","method_for_datation":"The carpet exhibits both Mamluk and Ottoman elements in its style, and thus could be from around 900 / 1500 as manufacturers in Cairo were just in the process of adopting Ottoman elements into their repertoire. However, as all that remains is this single Mamluk prayer carpet, it is difficult to give an exact date.","method_for_provenance":"The whole host of its unique motifs, colours and characteristic asymmetric or Persian knots all collude to suggest that this carpet was made in Cairo in a Mamluk carpet workshop.","provenance":"Egypt.","obtention":"Purchased in 1888 by Wilhelm von Bode for the Museum of Arts and Crafts, Berlin. Transferred from the Museum of Arts and Crafts on a long-term loan.","bibliography":"Enderlein, V., *Wilhelm von Bode und die Berliner Teppichsammlung*, Berlin, 1995, p.25, plate 16.  \nEnderlein, V., “Zwei ägyptische Gebetsteppiche im Islamischen Museum”, *Forschungen und Berichte* 13, 1971, pp.7–15, plates 1 and 2.  \nMack, Rosamond E., *Bazar to Piazza: Islamic Trade and Italian Art, 1300–1600*,Los Angeles; London, 2002, pp.73–94, notes 54, 201.  \n*The Eastern Carpet in the Western World*, Exhibition catalogue, London, 1983, pp.60–1, cat. no. 19.  \nZick, J., “Eine Gruppe von Gebetsteppichen und ihre Datierung”, *Berliner Museen*, 11, 1961, pp.6–14, ill. 1.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["knotted carpet","Mamluk","Paradise","prayer rug","vegetal decoration"],"materials":["Knotted wool, dye in various shades and colours."]},"44cf7449-7064-5e7b-8625-27f3fafdff19":{"name":"Processional cross","alternate_name":"Processional standard of the brotherhood of the Tears of the Virgin Mary or of the Ponte del Borgo, later del Borgo, later Company of the Holy Sacrament","description":"This solemn gilded cross bears a rich decoration of vine leaves and vine-shoots made with a drill. There are interspersed with cherub heads and angels carved in the round, crowned with polychrome flowers and holding the instruments of the Passion of Christ.  \nThe branches resemble tree trunks with bark and knots. They end with two small knobs. The dead Christ in the middle is carved in the round, polychrome with an ample gilded cloth around his hips. On the upper part of the longitudinal arm hangs a cartouche with the writing \\`INRI\\` held by three small angels.  \nAlong the lower sides, stand on shelves four small statues carved in the round. They represent the Mourning Madonna, St. Bartholomew and two angels with gilded clothes and polychrome features.  \nThe stylistic features are late seventeenth-century and the delicate carving is associated with a skilled use of a drill.  \nAfter the suppressions of 1798 that affected all religious companies and brotherhoods by the confiscation of their property, many of these processional items got lost. Thanks to a decree by the viceroy of Italy Eugenio Beauharnais in 1807 which stated for each parish church the presence of just one company of the Holy sacrament many processional crosses were preserved as properties of these companies. This happened in Budrio, where even the name of the company was changed.","short_description":"This solemn gilded cross bears a rich decoration with vine leaves and vine-shoots made with the drill. It is interspersed with angels carved in the round holding the instruments of the Passion of Christ.  \nIn the middle is the dead Christ surrounded by the Mourning Madonna, St. Bartholomew and two angels.  \nThe elaborate design is reminiscent of the local artistic taste of the end of the seventeenth century.","type":"Woodwork","holder":"Church of San Lorenzo","initial_owner":"Brotherhood of the Tears of the Virgin Mary or of the Ponte del Borgo, later del Borgo, later Company of the Holy Sacrament","dates":"Seventeenth-century","location":"Budrio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna","obtention":"Moved to the church of San Lorenzo","bibliography":"Montevecchi, B. and Vasco Rocca, S., *Suppellettile ecclesiastica*, Dizionari terminologici, 4, Firenze, 1987.  \nBiavati, G., Marchetti, P. *Antiche sculture lignee in Bologna dal XII al XIX secolo*, Bologna, 1974.  \nMeluzzi, L. *Le insegne delle Compagnie e Confraternite laicali dell'Arcidiocesi di Bologna (Croci processionali),* Bologna, 2001, p. 47, fig.21.","workshop":"Full baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Federica Trombacco","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Budrio, St. Laurence","carving","Cross","grape","liturgy","Procession","religious object","vegetal decoration","vine tendrils decoration","wood","woodwork"],"materials":["Wood carved, gilded and lacquered"]},"44ff5030-1782-52cb-a816-7b58f2d32a22":{"name":"The *Mass of Saint Gregory*","description":"References in Portuguese inventories to the carpets of “Castile” and the “Levant” became progressively more frequent in the first half of the 16th century and coincided with the period when representation of knotted carpets, in the form of Iberian and Turkish carpets, reached its peak in Portuguese painting.  \nThis fact is owed to the Muslim presence in the Iberian Peninsula. Pre-existing contact with Arab culture, as well as the production of knotted carpets, preceded the arrival of oriental counterparts and restricted their demand in the market. Facing an already-established network of Iberian, Turkish and North African manufacturers, carpet manufactories had to respond to the demands of a society well used to the consumption of exotic luxury goods.  \nThe *Mass of Saint Gregory* originally constituted one of the panels from the *predella* of an altarpiece in the church of the Convent of São Francisco. The *predella* comprised 16 paintings depicting scenes from the Eucharist. The painting seen here represents a story made popular in the Golden Legend of the moment when Christ reveals himself on the altar to Pope Gregory; Christ responds to Pope Gregory’s prayer for a sign to convince a deacon, who had earlier confronted him with doubts about the doctrine of transubstantiation. In the painting, St. Gregory kneels before the altar on a carpet of Spanish origin. The carpet’s field is filled with octagonal medallions in which stars and quatrefoils are alternately inserted; the border is filled with a pseudo-*kufic* design interwoven with stylised floral motifs.","type":"Painting","holder":"National Museum of Ancient Art","dates":"c. 1508‒1511","location":"Lisbon","dimensions":"H: 121.5cm, W: 88cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred, from the high altarpiece of the main chapel in the church of São Francisco, Évora, Portugal","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.  \nHallett, Jessica, “Queen Leonor’s Carpets”, in Alexadra Curvelo (ed.), *Casa Perfeitíssima 1509‒2009: Celebrating 500 years of the Foundation of the Convent of Madre de Deus, 1509‒2009*, Lisbon Ministério da Cultura/IMC/Museu Nacional do Azulejo, 2009: 378‒81.","workshop":"Unknown","artist_deathdate":"Died in 1518","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Francisco Henriques","painting","Portugal","Saint Gregory"],"materials":["Oil on oak panel"]},"451583b8-a3a8-528a-b5bb-8db3d1096e78":{"name":"Ladik Prayer Carpet (*seccade*) on Red Ground","short_description":"A prayer carpet in which the lower part of the field has an arched prayer niche in red. Small trefoils project into the field from each side of the niche. The blue spandrels are decorated with lanceolate leaves, rosettes, triangles, ewers, and hooks in various colors. The panel above the spandrel is separated from the latter by a band with a wavy floral scroll. The panel in red encloses the characteristic Ladik pattern of five lily stalks and *vandykes* with triangles and hook motifs. The field is framed by a narrow blue stripe containing S-motifs. The border has a repeat pattern of lilies and rosettes separated by varicolored narrow bands on a blue ground. The guard bands in yellow or orange contain wavy floral scrolls. Small S-motifs form the design of the guard stripes.","type":"Textiles","holder":"Saint Louis Art Museum","dates":"Hegira c. 1214 / AD c. 1800","location":"Saint Louis","dimensions":"Length: 201.9cm x Width: 128.3cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"The panel in red encloses the characteristic Ladik pattern of five lily stalks and vandykes with triangles and hook motifs.","provenance":"Konya province, central Anatolia, Turkey, Asia","obtention":"Gift of James F. Ballard, 1929","bibliography":"Denny, Walter and Farnham, Thomas, *The Carpet and the Connoisseur: The James F. Ballard Collection of Oriental Rugs*, Saint Louis: The Saint Louis Art Museum, 2016.","dynasty":"Ottoman period, 1281–1924","keywords":["Anatolia","Asia","carpet","Central","Ground","Konya","Ladik","Ottoman","prayer","red","Seccade","textile","Turkey","wool"],"materials":["symmetrical knot, sharply pulled to the left (raising the right warp of each knot pair), approximately 58Vx28H per decimetre","wool"]},"45181682-9ce4-506e-a0dd-e86b8fb972d9":{"name":"Coupled-Column Prayer Rug","description":"A version of 17th century Ottoman Turkish prayer rugs very popular in Hungary was the \"column\" rug, in which the *mihrab* (prayer niche) is divided into three fields by three, four or eight columns. The most common is the six-column version, considered by many to have the most beautiful design of 17th century Turkish rugs. Their general characteristic is a *mihrab* (prayer niche) whose background colour is red or ochre (rarely ivory or blue), divided into three parts by slender columns in a 1+2+2+1 distribution. The rug’s ochre *mihrab* (prayer niche) is supported by six narrow columns, dividing it into three fields. The spandrels have a blue and red arabesque decoration on an ochre field, and the crenellated frieze above has straight-stem flowers growing out of it. The design of the peak field and the frieze are not sharply delineated. Rounded cartouches of alternating colour run along the border; the outer border has a row of leaves of alternating orientation and the inner border is decorated by leaves and flowers strung along an undulating stem. In May H. Beattie’s classification, the rug is an early, type I Coupled-Column Prayer Rug.","type":"Carpet","holder":"Museum of Applied Arts","dates":"First half or middle (?) of 17th century","location":"Budapest","dimensions":"Height: 191cm (+2cm x 27cm fringe), Width: 119cm, Knot density: 1,482/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"The rug previously belonged to Arnold Ipolyi (1823-1886), Bishop of Nagyvárad, who collected it in Transylvania. It was exhibited in the 1914 'Transylvanian' Turkish Exhibition in the Budapest Museum of Applied Arts by the Bihar County Museum of Nagyvárad (Oradea, Romania). The rug entered into the inventory of the Budapest Museum of Applied Arts in 1962 as 'Item in store, of unknown origin'.","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 63, no. 76 and 165, figure.  \nBeattie, May H., Coupled-Column Prayer Rugs, *Oriental Art*, 14 (1968), 244.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 222, plate 162 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 280–281, no. 288 and figure \\[Emese Pásztor\\].  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 148–149, no. 40.  \nWaterhouse, Rupert (ed), *In Praise of God: Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakıp Sabancı Museum, 2007: 147, no. 16 \\[Michael Franses\\].","dynasty":"Ottoman","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["mihrab","Ottoman rug","prayer rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"45b19a0c-0267-54d0-a134-624669d15108":{"name":"Qur’an Sections","short_description":"'This book binds two of the thirty parts (*ajza*) of the Qur’an. Known as *juz*, it was often sold separately during medieval Islam, with delicate floral and geometric patterns decorating the brown cover of the book.  \n  \nThe *ayah* (verses) appear in *naskh* calligraphy sectioned with golden illustrations of vegetal motifs including the lotus and other flowers incorporated from ancient Chinese and Buddhist tradition.  \n  \nAlthough most Muslims in China did not speak Arabic, a few Chinese Qur’ans existed during the Ming and Qing dynasties. Since the spread of Islam and establishment of Islamic schools during the Yuan dynasty, prayers recitation and calligraphy were performed in Arabic. Many Muslims originating from the Arab world had a merchant background where *naskh* script represented the official writing. Adapted forms of *naskh* including *Muhaqqaq* and *Rihani* thus became the predominant styles for Chinese Qur’ans decorated with the typical gold ink.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th–18th century","location":"Shahaniya","dimensions":"Length: 22cm, Width: 28.5cm, Height: 3.5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving and pattern.","provenance":"China","obtention":"Purchase","bibliography":"Anvaary, S., \"A Study of the Art of Chinese Quranography from the Sixteenth to the End of the Eighteenth Century\", *Journal of Art and Civilization of the Orient*, 9: 33 (2021): 55–64.  \nGhoname, H., *Sini Calligraphy: The Preservation of Chinese Muslims' Cultural Heritage*, Doctoral dissertation, Manoa: University of Hawaii at Manoa, 2012.  \nHuaizhong, M. U. Y., \"The four upsurgences of Islamic culture in Chinese history\", *Journal of Muslim Minority Affairs,* 16: 1 (1996): 9–20.","dynasty":"Qing","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","China","Qing Dynasty","Quran"],"materials":["handwriting","Rice paper, ink"]},"473c085f-9830-5584-affd-3362c3aff805":{"name":"Coupled-column Prayer Rug","short_description":"A prayer rug where the creamy-white field is decorated with a triple arch on double columns in yellow, red, blue, and green. Between each pair of columns is a row of lozenges in yellow and red. The spandrel is decorated with a diaper of geometrical scrolls in white, reserving in the ground double arrow motifs in yellow and red. Across the top of the field is a panel with stalks of lilies alternating with other plants (probably tulips) in yellow, red, light and dark blue, and green on a creamy-yellow ground. The arches or so-called *vandykes* along the bottom of the panel are in blue and yellow and enclose arabesques in white, red, blue, and green. In the border is a row of compartments in blue, yellow, or green with floral devices in yellow, red, blue, and green. The guard bands contain a repeat pattern of a flower and leaf motif in white and red on a yellow ground (inner guard band) or in yellow (or green) and red on a white ground (outer guard band).","type":"Textiles","holder":"Saint Louis Art Museum","dates":"Hegira Early 12th to early 13th century / AD 18th century","location":"Saint Louis","dimensions":"Length: 182.9cm x Width: 121.9cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Kula district, probably western Anatolia, Turkey, Asia","obtention":"Gift of James F. Ballard, 1929","bibliography":"Denny, Walter and Farnham, Thomas, *The Carpet and the Connoisseur: The James F. Ballard Collection of Oriental Rugs*, Saint Louis: The Saint Louis Art Museum, 2016.","dynasty":"Ottoman period, 1281–1924","keywords":["Anatolia","column","Coupled","Kula","Ottoman","prayer","rug","textile","Turkey","Western","wool"],"materials":["symmetrical knot, pulled to left, approximately 34-35Vx38-40H per decimetre","wool"]},"482b2fe7-2ab8-521c-aeb6-542db13d4285":{"name":"Chasuble","description":"The background is made of red silk velvet embroidered with different silver threads. The white silver stitches blocking the metallic threads create many different surface motifs of different heights, and flat areas thanks to a light padding.  \nMost likely manufactured in Bologna, this vestment has a common decorative scheme especially evident in the chasuble. It is divided in three by a central rich bush of acanthus interlaced with the instruments of the Passion of Christ forming the main decorative feature. Great inflorescences alternate with the crown of thorns, the cock and the glove. They build a sort of central axis from which depart wide branches linked by delicate nets and vine shoots. The vestment is clearly indebted to models made in Rome in the age of Pope Benedict XIV, such as the ones donated to the Cathedral of San Pietro in Bologna. This is evident in the use of the silver thread as a reflective surface. The ample motif extended on a flat surface and the symmetrical disposition of the main shoots lead to Emilian decorative schemes and patterns. The colour red of the vestment and the symbols of the Passion might suggest a use connected with the feast of the Exaltation of the Cross or the Invention of the Cross, the sacrifice of Christ might also be generally referred to martyrdom.  \nThe high quality of the work was recognized in 1900 when the vestment was sent to the exhibition of sacred art held in Bologna, in the church of San Francesco. In 1926 this same vestment was photographed by the local Soprintendenza in one of the first campaigns documenting church heritage.","short_description":"The red background of the chasuble is divided by silver lace in fields. Two leaf garlands curl against a net ground; the sides are marked with a garland pattern in front of a net ground. The central pole springs from an acanthus bush holding the instruments of the Passion of Christ in its spires. Veil, burse, stole and maniple are embroidered using the most decorative patterns from the design.","type":"Liturgical garment (Vestment) consisting in chasuble, stole, maniple, chalice veil and burse","holder":"Parish church of San Giovanni Battista","dates":"Mid eighteenth century","location":"Minerbio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna (?)","bibliography":"Gatti, A. *Mostra d'Arte Sacra in San Francesco di Bologna* (exhibition catalogue), Bologna, 1900, p. 51, n. 30.  \n*Mistero e Immagine. L'Eucaristia nell'arte dal XVI al XVIII secolo* (exhibition catalogue) (eds. S. Baviera  and J. Bentini), Milan, 1997, p. 262, p. 264.  \nMajoli, L. “Una campagna fotografica del 1926 per il catalogo: la Chiesa di San Giovani Battista di Minerbio”, *Quaderni di Palazzo Pepoli Campogrande:* 5, 1998, pp. 12-19.","workshop":"Late Baroque","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Lorenzo Lorenzini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["embroidery","liturgical vestment","liturgy","Passion of Christ","vegetal decoration","vine tendrils decoration"],"materials":["Velvet embroidered in silk thread"]},"483e8679-d93d-56cd-b566-f321c598b6de":{"name":"*Dala’il al-Khayrat* (*Guidelines to Blessings*) by Abu Abdallah Muhammad ibn Sulayman al-Jazuli)","short_description":"The *Dala’il al-Khairat* (The Signs of Benediction) is a compilation of prayers for the Prophet Muhammad and other faith-related information by Muhammad ibn Sulayman al-Jazuli (d. ca. 1465). Popular throughout the Muslim world and particularly in Ottoman lands. It also contains descriptions of the Holy Mosque in Makkah and the Prophet’s Mosque in Madina, the two most important Islamic pilgrimage sites. Both are typically depicted in the centre of the manuscript, Here, detailed birds-eye views of both sanctuaries appear, surrounded by gold margins. On the right, at tthe heart of the Makkah mosque, the Ka’bah is dressed with its black kiswa cover, further enhanced by a golden belt (hizam) above and a golden door curtain (sitara or burqu’). On the left, within the mosque complex at Madina, a domed chamber contains the tombs of the Prophet and the first caliphs Abu Bakr and Umar, draped in golden covers – perhaps a reference to the precious, gold and silver-embroidered textiles that were spread over the tombs in Ottoman times.","type":"Illuminated Manuscript","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira 13th century / AD 19th century","location":"Sharjah","dimensions":"164 mm x 224 mm (open); 164 mm x 112 mm (closed)","provenance":"Turkey","author":"Ulrike Al-Khamis","keywords":["kiswa","hizam","sitara","burqu'"],"materials":["Paper, ink, watercolour, gold"]},"4859e54f-5855-587b-935f-40a00ec2c500":{"name":"The Mother of God Axion Estin","description":"These four icons form a set that depicts the Hymn of Axion Estin, as follows:  \n  \nIt is truly meet and right to bless you, O Theotokos,  \nEver-blessed and most-pure mother of our God.  \nMore honorable than the Cherubim,  \nAnd beyond compare more glorious than the Seraphim,  \nWho without corruption gave birth to God the Word,  \nTrue Theotokos, we magnify you.  \n  \nAccording to tradition, this hymn was revealed to an elder monk and his disciple before an icon of the Mother of God in the sanctuary of the main church of Karyes on Mount Athos. During an all-night vigil, they were joined by an unknown monk who called himself Gabriel. As he chanted an unfamiliar hymn, the icon of the Mother of God began to glow. The elder asked Gabriel to write down this hymn, so he inscribed the prayer with his finger on a roof tile “as if it were made of wax”. The tablet was sent to Constantinople, while the image was venerated as miracle-working. The revelation is commemorated on June 11, and the icon is celebrated on July 13.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 27.5cm, Width: 21cm, Depth: 3cm","provenance":"Russia","obtention":"From the private collection of Jacques Zolotnitzky. Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2012. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood with silver basma"]},"4a4a3490-2975-5ac7-9ff7-8346fbdc5189":{"name":"Prayer rug.","description":"In the AH 12th and 13th /AD 18th and 19th centuries, the small town of Milas in the southwest of Turkey was a centre for the manufacture of prayer rugs. A characteristic feature of later Milas prayer rugs is the dark red angular prayer niche. The inner side of the niche is edged all around with small flower-like ornaments. In the lower part of the niche is an octagon connected with four rosettes. The ornamentation within the arch is badly worn. Four green and red peonies with a rhomb between on a white background fill the area of the spandrels. The central rectangular field containing the prayer niche is framed several times by stripes of different geometrical patterns. The next border shows on a yellow background a design consisting of red octagons, alternating with large stylised blossoms in red, white and dark and light blue. From each of these blossoms emerge four heavily stylised carnations. The outer band shows a row of multicoloured small octagons on a white background.","short_description":"Prayer rug from Melas. Its characteristic feature is the dark red angular prayer niche surrounded by several stripes of geometrical pattern. Different kinds of flowers are spread over the whole area of the rug.","type":"Wool, knotted, carpet","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Height 148.5 cm, width 113 cm.","method_for_datation":"Milas was a centre for the manufacture of prayer rugs in the 12th–13th / 18th–19th centuries. Prayer rugs from Milas showing angular niches are ascribed to the 13th / 19th century; a Milas prayer rug showing a very similar pattern is dated to the first half of the 13th / 19th century.","method_for_provenance":"Rugs with similar designs and colour schemes are usually ascribed to the Milas group of rugs.","provenance":"Anatolia (Milas district), Turkey.","obtention":"Gift from the estate of Axel and Nora Lundgren, registered 29 September 1977.","bibliography":"Dimand, M. S., *Oriental Rugs in the Metropolitan Museum of Art*, Metropolitan Museum of Art, New York, 1973.  \nZipper, K. and Fritzsche, C., *Anatolische Teppiche: Battenberg Antiquitäten-Kataloge Orientteppiche* 3, Munich, 1989, cat. no. 67.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["geometrical decoration","prayer rug","Purity","Religion"],"materials":["knotted.","wool"]},"4b8ffd8e-ec58-5468-9e97-3c950ff7e6c9":{"name":"Mosque lamp.","description":"Glass mosque lamps with enamel decoration were mainly made during the Mamluk period in Egypt or Syria. They were made on commission and were presented by Mamluk sultans as gifts to Cairo mosques.  \nThe most famous of the Museum of Islamic Art’s mosque lamps is made of honey-coloured glass, with a foot shaped like an inverse chalice and a belly-shaped body that turns, above an indentation, into a long conical neck. On the body there are six eyelets laid on and pressed into escutcheon-shaped spaces. Chains were attached to these in order to hang the lamp from the ceiling. An additional funnel-shaped small oil lamp, which emitted the light, was hung within this lamp.  \nThe decoration consists of two frieze inscriptions, and of flowers painted on a small scale that betray a Far Eastern influence through their lotus blossom motif. The frieze inscription over the body of the lamp has been done in gold over a blue background. It mentions the name of the Mamluk sultan al-Nasir Muhammad, who ruled at various intervals (r. AH 698–708 / AD 1299–1309 and AH 709–41 / AD 1310–41). The mosque lamp could have been commissioned for a mosque or school that contained or had an adjoining mausoleum. These kinds of building complexes were constructed in Cairo in AH 704 / AD 1304 and between AH 718 and 736 / AD 1318–35. The inscription in blue over a tendril ending in spirals and a background that was originally painted in gold is particularly apt for a mosque lamp as its subject matter is based on the ‘Light verse’ from the Qur’an (Sura 24, verse 35). Both inscriptions are written in the *thuluth* script typical of the Mamluk period.","short_description":"Glass lamps were produced for mosques, shrines and mausoleums. An inner container held the oil and wick. According to the inscription on its body, this lamp was made in the name of the Mamluk Sultan al-Nasir Muhammad. It is also adorned by the Light verse of the Qur’an (Sura 24 v.35).","type":"Lamp, glass","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Count F. von Pourtales, St. Petersburg.","dates":"Hegira first half of the 8th century / AD first half of the 14th century.","location":"Berlin","dimensions":"Height 34 cm, diameter 24.8 cm.","method_for_datation":"A large number of glass mosque lamps were made during the Mamluk era. This one states the name of the Sultan al-Nasir Muhammad, who ruled in the 8th / 14th century.","method_for_provenance":"Mosque lamps were probably made in Syria as well as in Egypt. It is not yet possible to assign a precise origin to this piece.","provenance":"Egypt or Syria.","obtention":"A gift from Count F. von Pourtales in 1913.","bibliography":"Carboni, S. and Whitehouse, D., *Glass of the Sultans*, New York, 2001, pp.199–273.  \nLamm, C. J., *Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten*, Berlin, 1929–30, p.434, cat. no. 27, plate 190, no. 10.  \n*Museum für Islamische Kunst*, Catalogue, 1972–9, no.13.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Jens Kröger","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["glass enamel","Mamluk","Mosque","Mosque interior decoration"],"materials":["Glass, enamelled and gilded."]},"4be5a512-234f-5c97-a190-95e30c9a3d5f":{"name":"La Crucifixión","description":"This piece was exhibited at the International Exhibition of Modern Decorative and Industrial Arts exhibition in Paris, 1925, and won a Gran Prix Award.  \nThe Taller Mauméjean dates back to 1860, when Jules Pierre Mauméjean, aged 23, opened his first workshop in Pau (France). Jules Pierre Mauméjean was married to Marie Honorine Lalanne in Pau on 23rd July 1868 and they went on to have five children. All of their sons followed the same artistic career path as their father. However, although Joseph, Henri and Carl worked together, Léon remained independent in Paris, where he passed away on 1st March 1921.  \nIn 1890, Jules Pierre Mauméjean opened a workshop in Anglet, which he later moved to Biarritz in 1893. He passed away in San Sebastián in 1909, at age 72. Jules Mauméjean maintained permanent contact with the circles in Madrid that offered him various commissions and led to him becoming the official glass painter at the Casa Real de Alfonso XII.  \nJoseph, known as José Mauméjean, the firstborn of the family, spent numerous periods in Madrid. Not only did he spend time in the city to keep an eye on his workshops, but also to capture new clients. It was here that he met Augustine Jeanne Pastora Vic, daughter of Joseph Julien Vic, from Hendaya, then general agent of Saint-Gobain Glass in the Spanish capital. Born of his marriage to Marie, Joseph opened a new Mauméjean workshop in Madrid in 1898, located on Calle Abascal, Nº39, before moving to Paseo de la Castellana, Nº24, where he created the pieces currently located in the Museum.  \nSome years later, the Hermanos Mauméjean opened more branches in Barcelona, followed by San Sebastian. These workshops formed part of the S.A. Mauméjean Hermanos, with their headquarters in Madrid.  \nThe Hermanos Mauméjean opened a new workshop in Paris, registered in 1921. This was a Venetian Enamel-Mosaics workshop, changing its name to S.A. Mauméjean two years later, with headquarters in the same building. Shortly after, they opened a new, successful workshop in Hendaya.  \nHenri led the workshop in Mauméjean and passed away in 1932, leaving the workshop to his brother José, who passed away in 1952, aged 83, followed by Carl five years later and his son Georges, in 1970.  \nThe Mauméjean dynasty were involved in many national and international exhibitions. The most notable international exhibitions included Madrid in 1894, Paris in 1925 and 1937, Philadelphia y Pamplona in 1926, Milan and Madrid in 1927 and Seville in 1930.  \nIn Spain, the Mauméjean workshops in Madrid, Barcelona and San Sebastian provided stained glass to all major Spanish cities. Depending on the buyer, the workshop created stained glass with different themes and styles. These themes were predominantly religious, heraldic, labour-related, commercial and fundamentally ornamental. All of the styles have a historicist feel, reminding us of the Gothic, Renaissance, Classicism, etc.","type":"Stained glass window","holder":"Technological Glass Museum. Royal Factory of Glass and Crystal of La Granja","dates":"1925","location":"Real Sitio de San Ildefonso, Segovia","dimensions":"400 x 300cm","method_for_datation":"Documented by Taller Maumejean","method_for_provenance":"Documented by Taller Maumejean","provenance":"Spain","obtention":"Purchased directly from Taller Maumejean","bibliography":"Manauté, Benoît, *La Manufacture de Vitrail et Mosaïque D’Art Mauméjean: Flambe! Ilumine! Embrase!*, Bordeaux: Le Festin, 2015.  \nPastor Rey de Viñas, Paloma, *Vidrieras del Taller Mauméjean en las Colecciones de la Real Fábrica de Cristales de La Granja*, San Ildefonso, Segovia: Proyecto VIDROSO, 2005.","workshop":"Mauméjean","author":"Paloma Pastor Rey de Viñas","translator":"Jessica White","keywords":["Mauméjean workshop","staned glass windows"],"materials":["Glass, Stained glass"]},"4c547f09-e5de-5249-976c-d3b8e43f3370":{"name":"Two apexes from banners of the Prophet Moses.","description":"A pair of apexes from ceremonial banners widely used in official religious processions that took place at most of the religious sites and shrines in Palestine. Such processions formed an important part of the local cultural history of the region. The banners would carry either the name of the season, the city, village, or the family name of the household whose members were bearing it. The banner bearers would lead the procession. The banners had specific social and religious significance especially in a growing popular consciousness. In some cases, it indicated the high social standing of the family, the importance of the city, or a certain village. The raising of the banner was traditionally restricted to certain religious and social processions, limiting it to the local people, who considered it a form of social prestige.  \nOne of the most famous religious seasons in Palestine was that of the Prophet Moses. This celebration began in the Ayyubid period (beginning of the AH 6th / AD 12th century) and continued to widen and grow. It took place at the end of spring every year coinciding with Easter which was celebrated by the Christian communities in Palestine. Delegations would come to Jerusalem from different parts of Palestine, especially from the cities of Nablus and Hebron. Throngs of people would gather at the Haram al-Sharif with those who were participating in the celebration from Jerusalem. They would march in procession together, with a large and splendid retinue raising flags and banners that were specific to each city, village and important family as well as Sufi *tariqahs* (Sufi Orders). They would finally arrive at the Sanctuary of the Prophet Moses which was located between Jerusalem and Jericho. Here festivities would continue as well as the fulfilment of pledges, for the period of a week or more.  \nThe banner is typical, composed of a cylindrical pole of about 3m. The fabric flag held inscriptions that might be verses from the Qur'an, names of God, supplications, religious expressions, or the names of individuals or places. The two apexes exhibited here are similar in composition: each consisting of a cylindrical base that would fix onto the head of the pole, and a neck that bears a circular ring to support the apex. The circle of the apex includes an inscription of two lines, spaced out in copper, it reads: “God, our Lord”. On top of the circle is the crown of the apex; a spaced rhomboid shape, within which is a solid rhomboid.","short_description":"Banners were used in festivals and processions in Palestine and bore the names of the Prophets, shrines, cities and important families. The most famous shrine was the tomb of the Prophet Moses. Each of this similar pair has a copper crown that would be mounted on the head of a pole. An inscription of two spaced lines states ‘God, Our Lord’.","type":"Cast copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Height 39 cm, diameter 16 cm.","method_for_datation":"The piece was dated by means of studying its style and shape and looking at the casting technique used to produce it.","method_for_provenance":"It is likely that this piece was made in Jerusalem where such banners were widespread. There are still some families in Jerusalem who make similar pieces.","provenance":"Probably Jerusalem.","obtention":"The piece was transferred at an unknown date, from the Haram al-Sharif to the Islamic Museum.","bibliography":"Tamari, V., “Two Ottoman Ceremonial Banners in Jerusalem”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem,* London, 2000.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Banner: apex","crown","Nabi Musa","pilgrimage"],"materials":["Cast copper."]},"4c5ec9e7-571c-57c0-a345-64717d007c10":{"name":"*Nazareth School*","short_description":"Pictured here is the Nazareth School, founded in 1868 by Mother Pauline de Vaux, Superior General of the Congregation of the Ladies of Nazareth. The decision to found this school was supported by the Bishop Vallegra, in Rome. It was first located in a large house in the European quarter of Beirut, nicknamed \"The Blue Castle\". However, with the number of students rapidly growing, the school had to relocate. In 1877 the new convent was opened for this purpose on St. George Hill, bought by the *firman* of Constantinople. The building is U-shaped and made of stone, with white cloisters and surrounded by a huge garden.","type":"Photograph","holder":"Nazareth School","dates":"1877","location":"Beirut","author":"Hady El Hajj, Jennifer Harb, Cynthia Karaki","copy_editor":"Flaminia Baldwin","keywords":["School","Education","Nazareth","Beirut"]},"4cff674a-5737-5495-a700-496faacc7750":{"name":"Prayer rug with multiple prayer niches (fragment).","description":"This carpet fragment is the preserved part of a considerably larger prayer rug featuring multiple prayer niches. The carpet features a row of six red niches of various widths that are closed at the top by dark-blue arches. The sixth niche on the left-hand side is only a half-niche as the carpet was cut at this point and the border repaired. The niches are separated using fine green lines that run down to the bottom and which could be interpreted as substitute columns. The carpet’s narrow border consists of a double-edged, reciprocal pattern of alternating light-blue and yellow crenellations. The wider, less complete, border has a single row of crenellations, yellow alternating with blue.  \nThe particular clarity of the carpet’s design and its use of colour demonstrate the Ottoman understanding of the decorative arts and their practice. Unlike most of the other known multiple prayer-niche carpets, this one is very simple, in that nowhere is it overly decorated; however even in its simplicity, it still follows a systematic composition of ordered patterns covering the surface, as can be seen repeatedly within Ottoman art from as early as the AH 9th / AD 15th century. Its simplicity, vibrant colours and the combined overall impact it creates would definitely have appealed to middle European tastes. Followers of the Islamic faith would have prayed on multiple prayer-niche carpets placed parallel to the *qibla* wall in the mosque. Admittedly, the rows of niches on this carpet merely refer to its function or use, because, essentially, each clean surface acts as a pad on which to pray. The narrowness of each niche on the carpet hints that a believer would have required more space in which to pray than that afforded by the narrow niches on the carpet.","short_description":"This carpet with its pattern of multiple niches is part of a once much larger rug. It was probably made for use in a mosque. It is unique because the design does not include the usual complicated patterns but instead makes a strong impact through its plain vibrant colours.","type":"Ottoman textile, carpet","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"O. Bernheimer Collection, Munich","dates":"Hegira 11th century / AD 17th century.","location":"Berlin","dimensions":"Length 128 cm, width 329 cm.","method_for_datation":"The carpet has been dated on the grounds of its pattern, colours and knot-technique to be from the 11th / 17th century.","method_for_provenance":"The carpet belongs to a group of Ottoman carpets that are referred to as the Ushak Group.","provenance":"Ushak region, western Turkey.","obtention":"Obtained in 1961 from the O. Bernheimer Collection, Munich.","bibliography":"Arseven, C. E., *Les Arts Décoratifs Turcs*, Istanbul, 1952.  \nErdmann, K., *Siebenhundert Jahre Orientteppich*, Herford, 1966, p.108, plate 9.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, no. 4.  \nSpuhler, F., *Die Orientteppiche im Museum für Islamische Kunst Berlin*,Berlin, 1987, no. 18, plate 18.  \n*Weltkulturen und Moderne Kunst*, Catalogue,München, 1972, pp.99–100, no. 291.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["knot carpet","Ottoman","prayer rug"],"materials":["Wool, maroon and white, knotted."]},"4ee7fe82-e416-5820-a768-7626a3306e3b":{"name":"Daghestan prayer rug","description":"With a few notable exceptions, Daghestan rug motifs are field repeats. Many of the field repeats are used under *mihrab*s in prayer rugs. White-field prayer rugs of this same design were woven with little obvious change for over a century.  \nIn the prayer niche, as the field repeat motif, there are “floral lattice” motifs on the white background. The bird-like figures are palmettes. In the *mihrab* arch there are small florets, half of the stepped medallion and two small square motifs. The arch is a field with a red meander on a light green background. The central field is framed with three borders. The main floral border is decorated with polychrome floral motifs. Minor borders are “floral meander” on light blue ground in the inner border and floral meander on a dark blue background in the outer border. Floral meander is a very common major and minor border in Caucasian rugs.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 161cm, W: 89cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Caucasus","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Caucasus","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"4ee99078-4b66-5d16-830e-595e4da0246e":{"name":"Mosque Lamp","short_description":"This vase-shaped lamp belongs to a well-established lamp type made in the Mamluk workshops of Syria and Egypt, both great centres of glass making. The colourful palette of blue, red, green, yellow, and white with gilding remains subtle due to a considered distribution. Green and yellow, for example, are restrained, creating bright spots. The layout of calligraphy, from strong scrolls to arabesque and delicate lotus flowers, reflects precise planning in the layering clear in details such as the leaves that spread over the letters, themselves positioned over an arabesque background. The pseudo-*kufic* compositions, painted in blue and brick-red, placed prominently on the body of the lamp, are an original feature which creates a complementary visual contrast with the *thuluth* script (on the neck of the lamp), which reads: “mimma umila bi-rasm al-maqarr al-‘ali al-mawlawi al-‘amiri al-kabiri al-maliki\" (What was made for his Excellency, the Elevated, the Servant of the Lord, the Great Amir, the Possessor). This lamp was commissioned by an unknown prince, likely intended to decorate the interior of his mosque or madrasa.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height: 27.8cm, Diameter (from handle to handle): 25.9cm","provenance":"Egypt or Syria","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand: Masterpieces from the Museum of Islamic Art in Doha*, Milan, Musée du Louvre Editions / Five Continents Editions, 2006: 78-79.  \nCarboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 44-47,6.  \nSchmoranz, Gustav, *Old Oriental Gilt and Enamelled Glass Vessels*, London: G. Norman and son, 1899.","dynasty":"Mamluk","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"50b6f8e1-16d0-5432-9b45-cc0512192157":{"name":"Double niche ‘Transylvanian’ carpet","description":"The term “Transylvanian” rug refers to 17th- and 18th-century rugs preserved in large numbers in Transylvanian Saxon churches, and once considered to have been made in Transylvania, whereas in fact they were produced in western Anatolia. Certain Transylvanian rugs have a *mihrab* design, typical of prayer rugs; others, such as the present one, feature two opposing arches. The shape of this double niche and its undecorated beige ground are characteristic of later “Transylvanian” rugs, while the border of alternating polygonal cartouches and octagons can also be found in earlier examples. Several technical imperfections such as the inaccurate rendering of space, which accounts for the incomplete motifs in the main border, and the lack of left–right symmetry though indicative of a modest workshop, retain a certain appealing charm.","type":"Carpet","holder":"The National Museum of Art of Romania","dates":"Late 17th–early 18th century","location":"Bucharest","dimensions":"H: 180cm, W: 125cm; knot density ver. 33/dm; hor. 29/dm; 957/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 11.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"51e979e1-5041-52d1-b9e1-0d200f1af77f":{"name":"Monstrance from Kopřivná","description":"The pedestal of this monstrance, with its relief and shell-like ornamentation, is decorated with angels’ heads, their eyes turned to heaven. The stem is a simply rendered figure of the Virgin Mary standing on a crescent moon and globe, encircled by a serpent. The spiral kinesis is enhanced by the modelling of clouds, corn stalks and grapes on a casket crowned with the figure of God the Father and an angel adoring a cross decorated with red glass.  \nThe uniquely shaped monstrance with the Virgin Mary Immaculata was designed by Franz Ignaz Günther as part of his decoration of the Church of the Holy Trinity in Kopřivná. The church was built by Jan Ludvík of Žerotín-Lilgenau on the border between north Moravia and Silesia as a memorial pilgrimage site. The monstrance was made to fit the high altar tabernacle, below Günther’s statue of the Immaculata.  \nThe composition drew on Günther’s design of a copper monstrance for Munich, as well as on Egid Quirin Asam’s design of a monstrance for the Church of St. John of Nepomuk, also in Munich. All of these were preceded by a diamond monstrance in the Loretto, Prague, which was made in Vienna and designed by Johann Bernard Fischer of Erlach.  \nThe silversmith who executed the design participated in the creation of the Holy Trinity Column, Olomouc and the tomb of Olomouc Bishop Schrattenbach (Kroměříž, Church of St. Mauritz). Günther arrived in Olomouc after journeyman service in Augsburg, Nuremberg, Frankfurt, Linz and Vienna and worked for the Count of Žerotín. In 1757 he studied at the Vienna Academy in Munich, where he settled, becoming one of the most influential Bavarian sculptors of the 18th century.  \nDuring the Baroque period, the monstrance became a decorative object worthy of adoration, apart from its practical use of carrying the Holy Communion.","short_description":"A uniquely shaped monstrance with the Virgin Mary Immaculata it was created in an Olomouc metal workshop to the design of later famous Munich sculptor, Franz Ignaz Günther. It was part of his overall decoration for the Church of the Holy Trinity in Kopřivná, on the border between north Moravia and Silesia.","type":"Applied arts","holder":"Archdiocesan Museum","owner":"Roman Catholic Parish of Hanušovice u Šumperka","initial_owner":"Kopřivná Church","dates":"1752–1753","location":"Olomouc, Moravia","dimensions":"H: 67 cm; w: 34 cm","place_of_production":"Olomouc","method_for_datation":"The monstrance is marked with three hallmarks one of which is the master’s mark of Simon Forstner.","provenance":"Kopřivná Church","obtention":"The monstrance is on long-term loan to the Archdiocesan Museum, Olomouc from the parish office administering the Kopřivná Church.","bibliography":"Gregor Wolný, *Kirchliche Topographie von Mähren* I/IV, Brno, 1862, p. 162.  \nGerhard Woeckel – Erich Herzog, Ignaz Günthers Frühwerk in Kopřivná (Geppersdorf), *Pantheon* XXIV, 24, 1966, pp. 217–220.  \nBohumil Samek, *Umělecké památky Moravy a Slezska I, A–I*, Prague, 1994, pp. 487–488.  \nMiloš Stehlík, in Ivo Krsek –­­ Zdeněk Kudělka –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, ed. Zdeněk Kudělka, Prague, 1996, p. 607, cat. 307–308.  \nDana Stehlíková, in Jiří Kroupa (ed), *Dans le mioir des ombres. La Moravie a la age baroque 1760–1790*, Paris – Rennes – Brno, 2002, pp. 270–271, cat. 108.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["cut","figural decoration","glass","grape design","Madonna","Memoria","pilgrimage","religious object","vegetal decoration","zoomorphic imagery"],"materials":["Partially gilded silver and coloured cut glass"]},"529e4353-d9fb-5895-a243-1a19e6cb982c":{"name":"Kula prayer rug","description":"The rug-weaving areas of Anatolia are conventionally divided into western, central and eastern regions. Western Anatolian centres such as Uşak, Ghiordes, Kula and their vicinity have a long tradition of carpet and rug production. Carpets from these centres were very popular in Europe. The town of Kula lies southeast of Ghiordes. The most notable of its varied weaves is a type of prayer rug formerly considered as among the most successful Anatolian town and village weaves. Characteristic of Kula rugs are mellow and subdued colours of yellow and brown, and more solemn shades of red, blue and green. The cross panel is usually found only above the arch.  \nIn the central field there is a *mihrab* (prayer niche) with field repeat motifs organized in three rows. An interesting fact is that all motifs are faced in the opposite direction from the *mihrab* arch. Motifs in the central row resemble motifs on the so-called cemetery carpets. This motif has its origin in pictorial landscapes of the Turkish Baroque period beginning in the second half of the 18th century. The other two rows have vase with stylized flower motifs. Such a large repeating hanging floral ornaments are typical for mid-nineteenth century Kula carpets. Above the spandrel there is oblong field with a dragon and phoenix motif. The central field is framed with six rows of *sobokli* border and two minor borders with a dragon motif. The *sobokli* border is common in prayer rugs. It is made up of narrow stripes, usually seven, which symbolize seven steps of paradise.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 188cm, W: 124cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia","Ghiordes","Kula","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"53de341b-560c-5d23-b886-5d480f725f2c":{"name":"Seal of the Dome of the Rock.","description":"A circular seal made of copper with incised lines that demarcate a square, the corners of which are cut along the circumference of the piece. In the middle of the seal there is a horizontal depiction of the Dome of the Rock, octagonal in form, and in the middle of which is a circle. Portrayed within the circle is what is considered to be the footprint of the Prophet Muhammad, and inscribed below it the words: “Foot of the Prophet”.On top of the carving designated as the footprint of the Prophet, is the Dome of the Rock crowned by a crescent. Within the circle on each side of the Dome building, there is a tree resembling a palm. It is not known whether the two palms have symbolic meaning, perhaps they were drawn simply to fill empty space. Between the middle circle and the octagon there are eight arched niches, designating the interior octagon of the Dome of the Rock. Above the upper side of the octagonal is the façade of the Dome of the Rock, composed of the drum and the dome, and topped by a relatively large crescent. The horizontal depiction of the Dome of the Rock and the Dome's façade is surrounded on three sides by buildings; three portrayals of arcades appear, again surrounding the Dome of the Rock. These are likely to be depictions of: the southern arcade, which opens out in the direction of al-Aqsa Mosque; the south-western arcade, which opens out in the direction of the Bab al-Silsila (Gate of Chains) and the eastern arcade, which opens out in the direction of Bab al-Rahma (Gate of Mercy). The northern arcade, however, hidden by the portrayal of the Dome and its crescent, does not appear. The names of the buildings appear beside the illustrations of them, including the Dome of the Rock and the names of its four gates: Bab al-Janna (The Gate of Heaven), Bab al-Salaam (The Gate of Peace), Bab al-Sakhra (Dome of the Rock Gate), and Bab al-Mizan (the Balance Gate). Similar captions appear beside the illustrations of the Dome of the Mi'raj, the Minbar al-Sharif (Minbar of Burhan al-Din), Qubbat al-Arwah (Dome of the Spirits) and Qubbat al-Silsila (Dome of the Chain). Depicted on the eastern side of the Dome of the Rock is an illustration of a plant that resembles a flower, which is not present to the east of the Dome of the Rock. Historically, there was a dearth of plants in the surrounding environs of the building.  \nIt is possible that the seal was used as authorisation to enter the Dome of the Rock. Or perhaps, it was used to seal the papers of visitors who hoped to be blessed by such an image, or to commemorate their visit to the Dome of the Rock. It might also have been used as some form of shorthand guidebook for the visit.","short_description":"This is a circular copper panel in the middle of which is a layout of the Dome of the Rock. It also shows the surrounding buildings and the staircases which lead to the plaza of the Dome.  It might have been used as authorisation to enter the Dome or perhaps to seal papers of visitors to take home as a blessing or as a souvenir of their visit.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Diameter 16 cm.","method_for_datation":"The piece was dated based on a comparison with another seal which bears the names of holy places in Palestine and the date of which has been narrowed down to the 13th / 19th century.","method_for_provenance":"Jerusalem was narrowed down as the place of production for the seal; the images on it were probably implemented in the area.","provenance":"Jerusalem.","obtention":"The piece was transferred at an unknown date from the Haram al-Sharif to the Islamic Museum.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","seal"],"materials":["Engraved copper."]},"556ddc9e-29c0-523e-bb8e-eb53f4c45d06":{"name":"Ablutions basin.","description":"This parallelepipedic tank marked with plain striations on the inside, the short sides and the corners, was beautifully adorned on the outside, and almost all of the decoration has survived on two sides. The design on the decorated face, whose inscription has been destroyed, is divided into two styles. The first one, rising from the base, consists of a large frieze of grooved foliage, dotted with buds and rosettes and wide-veined plain palms with calyxes, and double ones with acanthus leaves and buds. The second comprises a strip in relief with two lines of grooved intersecting knotwork, one curved and the other straight, bearing fleurons and veined palms. It is framed by an edge, set back, formed by vegetal knotwork accentuated with small stylised palm leaves in the shape of six-pointed stars.  \nThe short side is occupied by two identical animal scenes, sculpted on two vertical panels separated by an empty space. On each panel, there is an eagle spreading its tail, carrying two quadrupeds on its wings and two gazelles from its claws. Two winged ibex confronting each other on either side of a fleuron finish the scene in the lower part.  \nMost of the ornamentation on the other two sides has been destroyed, leaving only the text in *kufic* characters sculpted in relief on the rim and the decoration of the framing ribbon on the large side, which consists of a frieze of aquatic birds and fish alternating on a plant background.  \nThe surviving elements of the inscription that crowned the entire rim of the tank include the last digit of the hegira date (300), and the name of the patron, 'Abd al-Malik, *hajib* (chamberlain) of Hisham II.  \nThe design and animal scenes of this beautiful example of Caliphate artwork are reminiscent of the tank at al-Mansur and would appear to be from the same Madinat al-Zahira marble workshop in Córdoba.","short_description":"This basin is the work of a marble workshop in Madinat al-Zahira, Córdoba, the princely city built by al-Mansur. It was brought to Marrakesh by 'Ali ibn Yusuf and placed in the ablutions room of the Great Mosque.","type":"Basin, marble","holder":"Dar Si Saïd Museum.","dates":"Hegira 381–98 / AD 991–1008 (when 'Abd al-Malik served as *hajib*).","location":"Marrakesh.","dimensions":"Height 70 cm, length 155 cm, width 82 cm, depth 50 cm, thickness of sides 10 cm, thickness of base 20 cm.","method_for_datation":"1\\. The inscription, partially destroyed, sculpted on the upper rim of the tank reads '(the year) three hundred, in the name of God! God's blessing. Victory and divine assistance to the Hajib \\[followed with his honours\\] Abu Marwan 'Abd al-Malik ibn Amir (…), this is part of what he commissioned (…)'.  \n2\\. We know that 'Abd al-Malik was appointed *hajib* of Hisham II between 381 and 398 / 991 and 1008) by his father al-Mansur.","method_for_provenance":"Although it was discovered in the Ibn Yusuf Madrasa in Marrakesh, which belongs to the Sa'did period (10th / 16th century), the name of the patron and the comparative study with the al-Mansur basin in the National Archaeological Museum in Madrid suggest that it was originally from Madinat al-Zahira in Córdoba.","provenance":"Córdoba.","obtention":"As state property from a historical monument.","bibliography":"Deverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nDeverdun, G., *Inscriptions arabes de Marrakech*, Rabat, 1956.  \nGalloti, J., “Sur une cuve de marbre datant du Khalifat de Cordoue”, *Hespéris*, III, fasc. 3, Rabat, 1923, pp.363–91.  \nLévy-Provençal, É., *Histoire de l'Espagne musulmane*, Vol. III, Paris, 1953.  \nPigeon, G., *Manuel d'art musulman*, Vol. I, Paris, 1927.","workshop":"Madinat al-Zahira workshop, Córdoba.","dynasty":"Umayyad Caliphate of Córdoba; reign of Hisham II (AH 366–99 / AD976–1009)","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","figurative decoration","floral decoration","geometric decoration","religious object","vegetal decoration","water"],"materials":["Sculpted white marble."]},"55ec1f26-ba55-52bc-a1b6-556c48ff41e4":{"name":"A bronze Greek cross.","description":"The Christian cross is a familiar religious symbol. Its significance lies in the belief that the governor of Judea executed Jesus Christ on a large wooden cross. The cross was the first of the instruments of the passion that came to be venerated in the form of a relic.  \n  \nThis bronze cross is of Greek form, decorated with concentric incised circles on each arm and on both faces of the cross. Two of three iron nails are still preserved on the vertical arm while the third, at the bottom, is missing.  \n  \nIt seems that this cross was nailed to a wooden box as a reliquary in the Church of St Stephen at Umm al-Rasas. The upper part of the vertical arm is broken into two pieces and has been mended recently.  \n  \nThe importance of this cross is linked to its discovery at the Church of St Stephen, which was paved with mosaic floors in AH 138 / AD 756, according to the dedicatory inscriptions on either side of the altar. The inscription is significant because it indicates that there was an active Christian community present at Umm al-Rasas six years after the end of the Umayyad period and after more than a century of Islamic rule in the region.","short_description":"A bronze cross of Greek form from the Church of St Stephen at Umm al-Rasas, decorated on both faces. This cross was probably nailed to a wooden box by three iron nails, two of which are still preserved on the vertical arm.","type":"Cross, Greek, metalwork","holder":"Madaba Archaeological Museum.","dates":"Hegira, first third of the 2nd century / AD first half of the 8th century.","location":"Madaba","dimensions":"Height 8 cm, width 6 cm.","method_for_datation":"The cross was dated by a dedicatory inscription discovered at the Church of St Stephen.","method_for_provenance":"The cross was discovered at Umm al-Rasas during archaeological excavations but where it was originally manufactured is uncertain.","provenance":"Unknown.","obtention":"The cross was acquired by the Museum as a result of an archaeological excavation carried out at Umm al-Rasas by the Studium Biblicum Franciscanum, on-going since 1986.","bibliography":"Desreumaux, A., et Humbert, J. B., *Khirbet es-Samara. Contribution à l'épigraphie syro-palestinienne*, Annual of the Department of Antiquities of Jordan XXV, 1981, p.50, type Ec, Pl. XVI.  \n  \nPiccirillo, M., and Alliata, E., *Umm al-Rasas Mayfa'ah I: Gli scavi del complesso ecclesiastico di Santo Stefano*, Jerusalem, 1993.","dynasty":"Umayyad","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["bronze","Christian community","Cross","Dedicatory inscription","Greek form","incised","religious object","religious symbol"],"materials":["Cast bronze."]},"5656dd0b-ba48-5ef4-a959-1d9718ee9e56":{"name":"Ablutions font.","description":"Ablutions font with a circular bowl, formed with eight lobes in the style of a flower. It has a unique decoration on the outside of the rim, a band in relief bearing an epigraph. Water has worn this away, obliterating the letters on the outer curves, with just a few remaining on the corners where the lobes meet. On one of them it is possible to read the beginning of the *Basmala* (first verse of the Qur'an) and everything leads us to suppose that this was completed with a quotation from the Qur'an, as was common on facilities of this kind related to ritual ablutions at the entrances to mosques. Another specimen of similar characteristics and probably from the same period is known in the Lisbon area.","short_description":"Almohad ablutions font decorated on the outside of the rim with a band inscribed in relief with the beginning of the *basmala*, which suggests that it also included a Qur’anic inscription. This piece was probably related to the ablutions ritual practised when entering a mosque.","type":"Font, marble","holder":"National Museum of Archaeology.","dates":"Hegira 6th century / AD 12th century.","location":"Lisbon.","dimensions":"Height 18 cm, diameter 53.5 cm.","method_for_datation":"The style of lettering dates it to the Almohad period.","method_for_provenance":"Dr José Leite de Vasconcelos left notes in the National Museum of Archaeology to the effect that it belonged to the collection of Estácio da Veiga and that it probably came from Cacela.","provenance":"Cacela (?) (Faro).","obtention":"It was probably taken to the National Museum of Archaeology by Dr José Leite de Vasconcelos.","bibliography":"Borges, A. G. M., “Pia de Abluções”, in *Portugal Islâmico*, Lisbon, 1999, p.265.  \nLabarta, A. and Barceló, C., “Inscripciones Árabes Portuguesas: Situación Actual”, *Al-Qantara*, 8, 1987, p.404.  \nNykl, A. R., “Arabic Inscriptions in Portugal”, *Ars Islamica*, 11–12, 1946, p.173.  \nNykl, A. R., “Inscrições Árabes no Museu Etnológico do Dr. José Leite de Vasconcelos”, *Ethnos*, 2, Lisbon, 1942, pp.27–8.  \nVasconcelos, J. L., *Etnografia Portuguesa: Tentame de Sistematização*, Vol. 4, Lisbon, 1982.","dynasty":"Almohad","linkcatalogs":"IAM_PT_EN_001","author":"Artur Goulart de Melo Borges","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Almohad","Basmala","Font","marble"],"materials":["Sculpted marble."]},"56ae89a4-e69e-5467-915e-b99f5b5f752d":{"name":"Panorama: al-hujjaj bi-mina yawn al-‘id al-akbar (‘The pilgrims at Mina on the day of the big feast’)","description":"Muhammad Sadiq Bey was the first person to take photographs of Mecca, Medina and the Hajj. An Egyptian army engineer and surveyor, he was also the treasurer of the Egyptian Hajj caravan, travelling numerous times to the Hijaz. Using a technique first invented in the 1850s, Sadiq Bey took his first photographs in 1861 using glass plate negatives, especially useful for large-format frames. His most important photographs, of both the buildings and interiors of the sanctuaries at Mecca and Medina, as well as sites at Arafat and Mina, were taken in 1861, 1880 and 1881. For the first time, the pilgrimage and the holy cities were precisely and realistically documented.","type":"Photograph","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1880","location":"London","dimensions":"Height: 15,5 cm; Width: 42cm","place_of_production":"Mina, Saudi Arabia","dynasty":"Ottoman","artist_birthdate":"1822 or 1832","artist_birthplace":"Cairo, Egypt","artist_deathdate":"1902","artist_deathplace":"Cairo, Egypt","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/panorama-al-hujjaj-bi-mina-yawn-al-id-al-akbar-arc-pp-0254-3/","keywords":["documentation","Mina","Ottoman","photography","pilgrimage"]},"56bb796e-7473-5c75-af83-c44e76fe7578":{"name":"Prayer carpet '*sajada*'","short_description":"A highlight of the Khanenko Museum's Islamic collection is an Ottoman carpet dating to AD late 17th–first half of the 18th century. The carpet belongs to the traditional type of \"*sajada*\", or prayer, carpets, with composition based on a stylized picture of *mihrab* - a prayer niche in a mosque indicating the direction where Muslims turn during the prayer. The composition and motifs of the carpet, particularly the central niche coloured in plain dark blue and crowned with arch of an acute stepped shape as well as a peculiar geometrized carnation pattern above and below the niche, suggest that the item was manufactured in workshops of Giordes or Kula, two leading centres of Turkish carpet-making in the 17th–18th centuries. Numerous narrow ornamental borders that fringe the central arch add a specific elegance to the piece of art.","type":"Applied arts; Carpet","holder":"The Khanenko Museum","dates":"AD late 17th–first half of 18th century","location":"Kyiv","dimensions":"Lenght: 190cm, Width: 130cm","method_for_datation":"Stylistic analysis by Yu Miller (examination, 1961,  date, origin), Hanna Rudyk and Antonina Makarevych (examination based on B. Biedronska-Slotowa publication, 2019, date and origin specified).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Turkey, Giordes or Kula","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Biedrońska-Słotowa, B., *Kobierce Wschodnie T.III.: Kobierce Tureckie 1*, Kraków: Muzeum Narodowe w Krakowie, 1983.  \nBilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nDimand, M.S., *Oriental Rugs in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1973.  \nRudyk, H., \"Islamic art in the Khanenko Museum collection\", *Islamic art in the museums of Ukraine*, Proceedings of the Vyazmitina Research Seminar, (2017): 39-45.  \nRudyk, H., \"Ottoman Collection in The Khanenko Museum\", *Chronicles-2000*, 1: 95 (2013): 479-495.","dynasty":"Ottoman","author":"Antonina Makarevych, Hanna Rudyk","copy_editor":"Janice Medina","keywords":["carpet","Ottoman","prayer rug","Turkey"],"materials":["'ghiordes' knots","Wool (warp, weft and pile)"]},"56be57e8-2f07-5969-a236-a5ddc30a31cd":{"name":"Lamp.","description":"Bronze lamp consisting of various elements supported by a central rod. First, four spherical parts arranged in ascending order of size with a central fretwork border and *naskhi* inscription. Next, an eight-sided prismatic element with vegetal fretwork decoration. The lamp is completed by a truncated pyramid in the shape of a four-sided bell, decorated with plant motifs and two inscribed cartouches, one at the top and one at the bottom, with the emblem of Muhammad III: 'There is no conqueror but God. The Most Exalted'. There is another inscription in the bronze on the border, with a series and blessings and titles, as well as the date of manufacture.  \nThere is a convincing hypothesis as to the placement of the holders for the lights: the lamp arrived at the Museum with its hinged arms badly damaged; these arms would open out around the truncated pyramid section into a circle, some of which has survived. There were two arms per side, making a total of 16 arms and between 48 and 64 glasses that produced light without being obscured by the body of the object.  \nWe know that the Royal Alhambra Mosque was constructed at the behest of Muhammad III, and therefore the lamp would have hung in the central nave before the *mihrab* (prayer niche), the appropriate place for an object bearing the sovereign's emblem. It is logical to assume that the founding sovereign would have also provided the fixtures.","short_description":"A masterpiece of Andalusian metalwork for the exquisite fretwork decoration on the body, this lamp was commissioned by Muhammad III for the mosque in the Alhambra, according to its inscription. The body still bears the hooks for the arms that would have held the glass bowls for the lights.","type":"Lamp, metalwork","holder":"National Archaeological Museum.","initial_owner":"Following the conquest of Granada in AH 898 / AD 1492, the lamp was removed from its fixing and taken to Oran. Eventually it became part of the collection of Cardinal Cisneros, who deposited it with San Ildefonso College in Alcala de Henares, from where it passed to the University.","dates":"Hegira 705 / AD 1305.","location":"Madrid","dimensions":"Total height 230 cm, height of truncated pyramid 54 cm, diameter 79 cm.","method_for_datation":"The lower edge of the lamp bears a *naskhi* inscription with the year 705 / 1305.","method_for_provenance":"Despite the damage to the lower part of the lamp, the titles that appear in the inscription around the edge allow us to attribute it to Muhammad III (r. 702–9 / 1302–9), who would have commissioned it for the Alhambra mosque.","provenance":"Mosque of the Alhambra, Granada, Spain.","obtention":"The piece was assigned to the National Archaeological Museum as part of the organisation of the State collection on 20 March 1868.","bibliography":"Amador de los Ríos, R., “Lámpara de Abu 'Abdil-lah Mohammad III de Granada, Apellidada Vulgarmente Lámpara de Orán, y Custodiada Hoy en el Museo Arqueológico Nacional”, *Museo Español de Antigüedades*,Vol. II, Madrid, 1876, pp.466–91.  \nFernández Puertas, A., “Tipología de Lámparas de Bronce de al-Andalus y el Magreb”, in *Miscelánea de Estudios árabes y Hebraicos. Sección árabe-Islam*, 48, Granada, 1999, pp.379–92.  \nLévi-Provençal, E., *Inscriptions Arabes d'Espagne*, Paris, 1931, p.185, no. 192.  \nZozaya, J., “Lámpara”, in *Arte Islámico en Granada. Propuesta para un Museo de la Alhambra*,Granada, 1995, p.434, no. 187.","dynasty":"Nasrid","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Alhambra","bronze","Cisneros","Granada","Lamp","Mosque","Mosque interior decoration","naskhi","religious object"],"materials":["Bronze","casting."]},"5830662b-6f93-5e08-826b-c8179eb39b3c":{"name":"Crescent from the Dome of the Rock.","description":"A large copper crescent moon that once crowned the dome on the Dome of the Rock, removed in AH 1317 / AD 1899. The crescent consists of five parts: the first is the fluted base that takes the form of an inverted cup, and which was affixed to the apex of the dome. The base is connected by means of a small cylindrical neck to a second part, which consists of a large undecorated mass resembling a sphere. Next is a small cylindrical neck, on top of which is a ring, which transfers it to the third section consisting of a fluted and elongated ovoid form. This part ends with a ring, similar to the former. Adjacent to it is a cylindrical neck that is connected to the fourth part. This consists of a small spherical mass reminiscent of the sphere (the second part). On top of this section is a cylindrical neck, which forms the zone of transition to the fifth and final part of the section, the crescent.  \nThe crescent consists of a circle whose diameter measures 90 cm, and which takes a principal position. It is thickest at its lowest part, tapering in along the two sides to reach, at its height, its thinnest form. This crescent is considered one of the largest used on any building in the Islamic world, and on account of what we know about the singularity of its size, it may be the largest acquired by any museum. The Islamic Museum in Jerusalem acquired two other great crescents, which were brought from the Dome of the Rock and al-Aqsa Mosque respectively. The crescent shown here is in good condition and is undecorated as the crescent was placed at such lofty heights that no eye could possibly discern or distinguish any decorative detail.","short_description":"This large copper crescent crowned the apex of the Dome of the Rock. It has a circular ribbed base in the form of an inverted cup and continues in a number of forms to end with a large circle whose diameter measures 90 cm. This crescent is considered one of the largest in the Islamic World, and is probably the largest housed in a museum.","type":"Metalwork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock, Jerusalem.","dates":"About hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 490 cm, diameter (of crescent) 90 cm.","method_for_datation":"The crescent was dated based on a comparison with similar pieces whose dates are agreed.","method_for_provenance":"Jerusalem was narrowed down as the place of production because such a large object as this would probably have been made on site.","provenance":"Jerusalem.","obtention":"The piece was transferred following its removal from the Dome of the Rock to storage facilities at the Agency of Islamic Awqaf in the Haram al-Sharif; it was transferred to the Islamic Museum in around 1923.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","crescent"],"materials":["Crescent forged, assembled."]},"58467eac-791f-5968-9787-74e5c5043757":{"name":"Large pitcher","description":"This pitcher is inscribed in Ottoman Turkish with the following text:  \n  \n*\"Bu güğümden su içene şifalar olsun; eğer dahi kâfir içerse İslamla müşerref olsun. Tarih 1266’dır, cümle hakkında hayr olsun.\"*: “May those who drink water from this ewer be granted healing; and if an unbeliever drinks, may he be honored with Islam. The date is \\[AH\\] 1266; may it bring goodness to all.\")  \n  \nIt also reads *\"Fet oğlu Hüseyin Ağa, tûl-i ömrü ile muammer olsun.\"*: \"May Hüseyin Ağa, son of Fet, live a long and prosperous life.\"","type":"Pitcher","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 40cm","place_of_production":"Anatolia","method_for_datation":"Its date was determined by Islamic metal artefacts expert Güner Liman.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.","provenance":"Kastamonu","obtention":"Purchased.","dynasty":"Ottomans","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["Blessing","Copper","Ottomans","pitcher","water"],"materials":["Copper"]},"5a261785-3c23-5c9b-b6cc-bbab118fe4a4":{"name":"*Angel I*","description":"This monumental figure of an angel is part of the sculpted decoration of the Minorite Church in Znojmo, only fragments of which have survived. The sculpture with its preserved polychromy, gilded robe and wings has retained its expressive air despite the loss of its former link with the architecture of the altar retable. Despite its larger-than-life size it features precise carving, full volume and a reduced means of expression: an elegant gesture of the hand and decoratively sculpted locks. The face has Heinz’s original trademark modelling of the nose, arches above the eyes and, in particular the chin. The figure testifies to the sculptor’s sense of monumentality. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. His first experience as a sculptor was under the tutorage of Jan Sturmer in Olomouc and then in the circle of Matyáš Bernard Braun; he also collaborated with Severin Tischler. The decoration of the garden and funeral chapel in Velké Losiny Chateau exhibits the influence of Baltasar Permoser. Heinz first lived in Olomouc and travelled in Moravia. In 1755 he joined the Dominican Monastery in Znojmo. Whilst there he produced statues for the grounds and decorated altars predominantly in the Znojmo area (Lechovice, Louka, Šatov).","short_description":"The *Angel* figure testifies to the sculptor's sense of monumentality for retable compositions. Heinz was among only a few sculptors in Moravia whose starting point was the Czech Radical Baroque style. The sculpture features precise carving, full volume and a reduced means of expression.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Museum of South Moravia, Znojmo","initial_owner":"Minorite Church, Znojmo","dates":"Before 1750","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 220 cm","place_of_production":"Znojmo","provenance":"Church of St. Anne, Znojmo","obtention":"The sculpture comes from the decoration of a Franciscan (originally Minorite) Monastery. Around 1843 part of the interior was transferred to the Church of St. Anne, Znojmo, from whence it passed to the Museum of South Moravia, located on the premises of the former Minorite Monastery.","bibliography":"Miloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 176–177, cat. 53.  \nHelena Zápalková (ed), *Oltář Nejsvětější Trojice z kostela Nanebevzetí Panny Marie v Uničově. Restaurování 2003*–*2005*, Olomouc, 2005.  \nMiloš Stehlík, Matyáš Bernard Braun a Morava, in Miloš Stehlík, *Barok v soše*, Brno, 2006, pp. 65–70.","artist_birthdate":"1698","artist_birthplace":"Svitavy","artist_deathdate":"1759","artist_deathplace":"Znojmo","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Polychrome wood","Radical Baroque","retable","sculpted wood"],"materials":["Wood, polychromy and gilding"]},"5b39f275-54df-59e1-af9d-1758c033e5d5":{"name":"Printing block (stamp) listing holy places in the region of Palestine.","description":"A printing block (stamp) composed of a simple copper panel that is rectangular in shape. It is devoid of decoration except for the inscribed record on its surface. A frame encompasses the list on all four sides, composed of straight lines engraved into the copper with the exception of the lower line, which takes the form of an undulating wave. There are two curved forms on both edges of the last line. The block holds an engraved Ottoman Turkish inscription that names the principal holy places in Palestine, such as al-Aqsa Mosque and the Dome of the Rock in Jerusalem, as well as al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil). The block also includes the names of the tombs of some of the prophets, including that of Moses located on the road leading to Jericho; the tomb of David, located outside the walls of the Old City of Jerusalem and the tombs of Ibrahim (Abraham) and Isaac as well as Jacob, and their wives, in al-Haram al-Ibrahimi and the tomb of al-Khadir. In addition, the block records the names of a series of sites and shrines that include: the Mihrab of Zakariya in the Haram al-Sharif;the site of Abu 'Ubaida 'Amar bin al-Jirrah in 'Amwas (Nicopolis); the Tomb of Mary at the foot of the Mount of Olives in Jerusalem;the Qubbat al-Mi'raj (Dome of the Mi'raj); Qubbat al-Arwah (Dome of the Spirits); al-Buraq al-Sharif (Sanctuary of al-Buraq) in the Haram al-Sharif; the Qubbat Rahil (Rachel's Tomb) in Bethlehem; the tomb of Joseph in Halhul and al-'Ais in Sa'ir. The block also contains the names of the great saints of the Sufi paths, among whom are Muhammad al-Khalili (d. AH 1146 / AD 1734), who was one of the *'ulama of the Bait al-Maqdis* (scholar of the Bait al Maqdis) and Muhammad al-Budairi (d. AH 1220 / AD 1805) who was another scholar of the *Bait al-Maqdis*. The inscription ends with the word “Opening”.  \nIt is possible that the printing block gave authorisation to enter the holy places named, or perhaps it was meant to be a list of places a Sufi should visit in the region of Palestine. It is likely that it was used to print on paper and then distributed to an interested public.","short_description":"A rectangular copper panel devoid of decoration. It is inscribed with a list of the most important sites and shrines in Palestine. It might have been authorisation to enter these places, or a list of places that one should visit, or merely places where one could be blessed. It was probably stamped on paper to be distributed to interested parties.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 31 cm, width10 cm.","method_for_datation":"The piece was dated by ascertaining the life-spans of the pious men who are mentioned (Sheikh Muhammad al-Khalili and Sheikh Muhammad al-Budayri).","method_for_provenance":"It is likely that this printing block was made in Palestine, as there were a number of copper workshops producing a variety of copper objects In Jerusalem. In addition, the names of the sites detailed on the printing block are all in Palestine, which strengthens the hypothesis that it was made locally.","provenance":"Jerusalem.","obtention":"The printing block was transferred on an unknown date from the Haram al-Sharif to the Islamic Museum in Jerusalem.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","Entrance authorisation","inscription","list of holy places","list of shrines","printing block"],"materials":["Forged, hammered and engraved copper."]},"5c13ad64-b549-5470-8c28-60447c1829ab":{"name":"Christ in Majesty","description":"This icon, known as Christ in Majesty, was once part of the Deesis tier as well as the centerpiece of an iconostasis, a wall of icons separating the nave from the sanctuary in an Orthodox church. An icon of the Mother of God would have hung to the right and an icon of John the Baptist to the left. The Deesis tier usually extends outward on either side with Archangels Michael and Gabriel and the apostles facing Christ. This image represents Christ’s Second Coming and Last Judgment. He is seated on a throne surrounded by seraphim and cherubim angels in a scene of glory based on visions of the Old Testament prophets. Christ’s radiance illuminates the whole scene. The corners depict the symbols of the four evangelists, Matthew, Mark, Luke and John. Christ bestows a blessing with his right hand and in his left holds the Bible open to the passage, “Come to me all ye that labor and are heavy laden and I will give you rest” (Matthew 11:28-29). The Greek letters in three sections of Christ’s halo represent the oneness of the three-part Trinity. At the very top of this icon are the letters IC and XC, representing the first and last initials of the Greek name for Jesus Christ.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1580","location":"Clinton, Massachusetts","dimensions":"Height: 166cm, Width: 128.3cm, Depth: 14cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from the Temple Gallery, London, in 2009. Gifted by Gordon Lankton to the Museum of Russian Icons in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"5cdd4963-ab03-5834-84db-f850572ca208":{"name":"Maronite Benevolent Catholic Society of New York rule book","short_description":"A copy of the book of regulations for the Maronite Benevolent Catholic Society of New York, a charitable society aimed at helping the needy within the Maronite community. It provided financial support for the poor and free medication for the sick, and financially supported burial of the deceased. The book outlines the objectives, rules and structure of the association.","type":"Print; printed book; booklet","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1895","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Society","Social institution","Association","Immigrants"],"materials":["Paper, ink"]},"5cf8b622-bc23-5c90-a393-46a79bb0514b":{"name":"Reliquary of St-George Chiopolites from Aivali","short_description":"The reliquary contained the head of George Chiopolites, who was martyred in Aïvali / Kydonies in 1807. The container made for the head has intricate rococo decoration with ribbons, bows, roses, blank heraldic shields and St George holding the attributes of a neomartyr under the imposing two-headed eagle of ecclesiastical authority. From the mid-eighteenth century, thanks to special administrative treatment or privileges, the inhabitants of Aïvali transformed what had been a small fishing village into a flourishing commercial centre on the Aeolian coast. The inscription on the reliquary refers to the goldsmith and to the Guild of Soap-Makers, which was one of the biggest trade associations in the town. It also refers to Sophronios, who oversaw the commissioning, and has been identified to the parish priest and a close relative of Theophilos Kaïris, a teacher at the Academy of Kydonies who was later expelled from the Church under the free Greek state for his revolutionary ideas and was to die in prison, the last ideologue of the Enlightenment.","type":"Metalwork","holder":"Benaki Museum","dates":"1816","location":"Athens","dimensions":"16 cm","author":"Ballian 1992, 84, no. 44","keywords":["relic","rococo"],"materials":["Parcel guild silver"]},"5d100163-7783-5d0b-b8a8-5ee5feece0df":{"name":"Candlestick","short_description":"The candlestick was dedicated by the Mamluk sultan Qaytbay to the shrine at Medina in 1482. Monumental inscriptions whose letter-ends curve to form tongs enclosing small palmettes, occupy almost the entire height of the base. The sultan Qaytbay had the mosque of the Prophet restored in 1480 and offered to it at least five candlesticks, of which another two have survived and are now in Cairo.","type":"Candlestick, metalwork","holder":"Benaki Museum","dates":"Hegira 886 / AD 1482","location":"Athens","dimensions":"Height 46 cm.","provenance":"Egypt","dynasty":"Mamluk","keywords":["Candlestick","metalwork","Sultan Qaytbay"],"materials":["Brass inlaid with black organic material"]},"5d377e78-b054-59b0-820b-7328307c7e77":{"name":"Brass head of flagpole","short_description":"A crescent shape made of casted brass fixed on a pointed piece of copper with a hole at the bottom to install a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["crescent shape","casted brass","wooden staff"],"materials":["Brass; casting"]},"5d81f529-0519-5b10-ba1c-6c8d92b01735":{"name":"The Battle between the Novgorodians and the Suzdalians","description":"This icon type, among the first to depict an event from Russian history, illustrates the 1169 battle in which the Suzdalians besieged the city of Novgorod. During the siege, Archbishop Ilya of Novgorod ordered that an icon of the Mother of God be brought out from the Church of the Transfiguration to give the Novgorodians courage. According to legend, the icon was displayed on the city walls where it was struck by a Suzdalian arrow. The icon miraculously began to weep, and through the intercession of the Mother of God, the Novgorodians defeated the Suzdalians. This image is particularly rich in its narrative and compositional details.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1790","location":"Clinton, Massachusetts","dimensions":"Height: 28.6cm, Width: 24.5cm, Depth: 3.8cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 1995. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"5d9bc47e-05b8-5889-945e-09b9078e013b":{"name":"Mihrab","short_description":"A mihrab is a characteristic architectural element in mosques and other places where Muslims worship. It serves to emphasize the direction of Mecca, toward which all prayer is oriented. Shaped like a niche, the mihrab is usually concave, but flat examples also occur, as here. This mihrab, which represents only the upper central panel of what was undoubtedly a larger ensemble, is inscribed with a passage from the Qur'an (15:45–47) that refers to Paradise, suggesting that it may have once graced a funerary monument.","type":"Architectural Elements","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira early 8th century / AD early 14th century","location":"Los Angeles","dimensions":"102.9 x 119.1cm","method_for_datation":"This mihrab relates to several dated luster mihrabs, including one from the shrine at Qom from Hegira 734 / AD 1334 now in the Iran Bastan Museum in Tehran (3270). Such tile mihrabs and related tile ensembles were likely produced in Kashan rather than in situ. Luster tile production in Kashan seems to have come to an end around 1340, providing an approximate terminus ante quem.","method_for_provenance":"Kashan was a major site of ceramics production in the 12th- 14th centuries (with a break during the Mongol invasions).","provenance":"Iran, Kashan","obtention":"Kevorkian Collection (sale, Parke-Bernet, New York, December 18, 1970). Collection of Nasli M. Heeramaneck (1902-1971), New York, until 1973 (sold to); LACMA, The Nasli M. Heeramaneck collection, gift of Joan Palevsky.","bibliography":"Komaroff, 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: 2, 17, 18  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Los Angeles: Museum Associates, 2005: Title page.  \nPal, Pratapaditya (ed), *Islamic Art: The Nasli M. Heeramaneck Collection*, Los Angeles: Museum Associates, 1973: 46, 47, cat. no. 70.","dynasty":"Ilkhanid","author":"LACMA Staff","keywords":["architectural element","ceramic","cobalt","funerary architecture","Ilkhanid","Iran","Kashan","lustre","overglaze-painted","panel","Paradise","Qur'an","Qur'anic inscriptions","tilework"],"materials":["Fritware, overglaze luster-painted, with cobalt and turquoise"]},"5d9fc24f-9c51-56b2-a925-33389c038005":{"name":"Paper crown for *Maulid an-Nabi*","short_description":"In Egypt, houses are festively decorated for the Prophet's birthday, the *Maulid an-Nabi*, and the mosques are brightly lit. Jugglers, fire-swallowers and dancing Sufis fill the streets and squares of Cairo. Processions snake through the streets. Children are treated to carousel rides. Merchants appear and sell a variety of figures made out of sugar, wrapped with coloured paper; that are particularly popular with children. Another hit amongst the children is a birthday crown, made out of cardboard, printed tissue paper and wire, on the forehead of which is displayed a paper image, cut out of a newspaper, of an *ʿud* (lute) player, or a famous star from film and television. Gifts given at the festival of *Maulid* are made of ephemeral, perishable materials such as paper. These are small works of art full of poetry and definite meaning. *Ephemera* are intended for shortterm use as they are unsuitable for prolonged use in daily life.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1976","location":"Vienna","dimensions":"Diameter: 17cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1976.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["Cardboard, paper, pigment, wire"]},"5dd25402-aa83-5544-9e46-d6ccfe8b2a79":{"name":"Small magic cup","description":"Religious formulas or numbers written on magic bowls are used to compensate for medicine’s limitations. Liquid that comes into contact with these formulas acquires their curative property. The centre is decorated with a representation of the *Ka'ba* on top and a six-pointed star on the reverse.","type":"Copperware","holder":"Museum of the Arab World Institute","dates":"Hegira 10th-11th century / AD 16th century","location":"Paris","dimensions":"Height: 4.5cm, Diameter: 20.5cm","provenance":"Near East","obtention":"Purchased at auction on advice of François de Ricqlès, 2001.","translator":"Judy Harter","materials":["Copper alloy with engraved decoration"]},"60db83b0-e090-5ad3-b467-090f3263e0b9":{"name":"Single Niche 'Transylvanian' Prayer Rug","description":"A characteristic type of Ottoman rugs is the \"Transylvanian\" double niche rug. Several variants of the type fashionable for over two centuries are known. Its common feature is the hexagonal medallion filling the central field created by mirroring the original *mihrab* (prayer niche) of the traditional prayer rug across the central axis. The carpet is a fine example of the rare single niche version of \"Transylvanian\" rugs. Its red *mihrab* (prayer niche) is filled with a floral-foliate scroll symmetric about the long axis, and a mosque lamp hangs from the peak of the *mihrab*. The spandrels are decorated by a large rosette and serrated leaves on a dark blue field. In the border, \"Transylvanian\" cartouches alternate with eight-pointed stars.","type":"Carpet","holder":"Museum of Applied Arts","dates":"First half of 17th century","location":"Budapest","dimensions":"Height: 206cm, Width: 122cm, Knot density: 1,365/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"West Anatolia, Turkey","obtention":"Acquisition unknown","bibliography":"Batári, Ferenc, *Ottoman Turkish Carpets: The Collection of the Museum of Applied Arts, Budapest I*, Budapest–Keszthely: Museum of Applied Arts, 1994: 60, no. 65 and 154, figure.  \nÖlçer, N., and Enderlein, V., and Batári, F., and Mills, J., *Turkish Carpets from the 13th–18th Centuries*, Istanbul: Ahmet Ertuğ, 1996: 211, plate 151 \\[Ferenc Batári\\].  \nPásztor, Emese (ed), *'Transylvanian ' Turkish Rugs: Tracing the Ottoman Rugs from the 1914 Exhibition in the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2020: 164–165, no. 80 and figure \\[Emese Pásztor.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts: In Memoriam Ferenc Batári*, Budapest: Museum of Applied Arts, 2007: 120–121, no. 27 and figure.","dynasty":"Ottoman","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Alan Campbell","keywords":["mihrab","Ottoman rug","prayer rug","wool"],"materials":["Pile: wool","Symmetrical (Turkish or Ghiordes) knot"]},"6131fb50-04d3-542e-b078-c6c43dfd4c0a":{"name":"Chasuble (Mass vestment for the Catholic liturgy) made of decorative velvet and silk weave","short_description":"The chasuble is a *pasticcio* consisting of an older Italian decorative velvet and a chasuble cross of Ottoman silk. The latter silk has a pattern of large lancet ovals filled with tulips, pinks and floral scrolls, a decoration typical of Ottoman silk weaving of the time. This combination of textiles for a chasuble demonstrates that there were no reservations about using a textile from Islamic regions for the Christian liturgy on account of its impressive appearance.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"Velvet: 15th century;  \nSilk: 2nd half of the 16th century","location":"Vienna","dimensions":"H: 104cm, W: 64cm","provenance":"Velvet: Italy;  \nSilk: Ottoman Empire, Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97542","author":"Martina Dax","keywords":["floral decoration","liturgical vestment","Ottoman Silk","textile","trade","tulip","Velvet"],"materials":["Lampas broché, lancé","Silk","Velvet broché"]},"618bc97a-0543-5e59-aeff-839fc23ec12e":{"name":"*Sitara* for the *rawda* of the Prophet’s mosque in Medina","short_description":"That this curtain was intended for the *rawda* is suggested by the text in the large medallion at the top. It consists of a *hadith* of the Prophet, *ma bayna qabri wa minbari rawda min riyad al-janna* (‘Between my tomb and my minbar is one of the gardens of Paradise’). The same text appears above the *mihrab* in the *rawda*.  \nSultan Mahmud II is known to have practised the art of calligraphy and a number of *sitara*s commissioned by him for the Prophet’s mosque bear his pear-shaped signature cartouche which reads, *katabahu al-‘abd Mahmud bin ‘Abdulhamid khan* (‘written by the servant \\[of God\\] Mahmud, the son of ‘Abdulhamid Khan’).","type":"Textile; *rawda* curtain; *sitara*; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1808–39  \n  \nwith the signature cartouche of Sultan Mahmud II","location":"London","dimensions":"280 x 163cm","method_for_datation":"The date is based on the presence of the *tughra* and signature cartouche of Sultan Mahmud II.","provenance":"Turkey, Istanbul; commissioned by Sultan Mahmud II and with his signature cartouche","bibliography":"al-Mojan, M.H., “The Textiles Made for the Prophet’s Mosque at Medina: A Preliminary Study of their Origins, History and Style”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 184–94.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","Curtain","Dedicatory inscription","embroidery","Hadith","hajj","Hijaz","Mecca","Medina","mihrab","Minbar","Ottoman textile","pilgrimage","Prophet’s mosque","Rawdah","Religion","religious object","silk","silver","textile"],"materials":["Red silk, heavily relief-embroidered in silver and silver-gilt wire over card and cotton thread padding"]},"61f8f6ec-92d5-556e-b7d6-2e874ba81191":{"name":"Hanging","short_description":"This prayer rug is woven with a triple arcade, hanging lamps, vases with bunches of flowers and large flower scrolls. The pastel pinkish colours and the band woven with a flower scroll are typical of Chian silks. A famous one dated 1742 is kept in the monastery of Nea Mone on Chios. The export of Chian silks is recorded from the 15th century when the island was under Genoese rule and continued when the island passed into Ottoman hands in 1566.","type":"Silk, gilt metallic thread","holder":"Benaki Museum","dates":"Hegira 11th century / AD 17th century","location":"Athens","dimensions":"Height 262 cm  \nWidth 187 cm with lining","provenance":"Chios (Sakiz)","dynasty":"Ottoman","keywords":["Chian Silks","floral decoration","floral motifs","Hanging Lamp motifs","Ottoman textile","textile"],"materials":["Silk, gilt metallic thread"]},"63d7eb6d-8326-5395-9279-d48a47c2abba":{"name":"Pair of *mihrab* candlesticks.","description":"Each candlestick has a round base, a bell-shaped body, a cylindrical neck with a ring, and a wide candleholder. At the top and bottom of the body is a band of heart-shaped motifs with palmettes at their centres, a border repeated at the bottom of the neck. On the ring of the neck are large leaf motifs in relief. The neck itself is decorated with wavy lozenges featuring *hatayi*\\-style (peony) motifs shown both frontally and in profile. The candleholder is decorated with interlacing cartouches with inscriptions. The main part of the body is decorated with a wide inscription band on a background of peonies and spiralling tendrils. The inscription in Persian is a poem praising the light of the candlestick; the Arabic inscription reads: 'May Sultan Bayezid be preserved from calamities'; the inscription in Ottoman Turkish informs us that the candlesticks were made for the mosque of Sultan Bayezid II in Edirne. Both candlesticks are entirely gilded. The forms of these candlesticks recall Mamluk candlesticks.","short_description":"When Ottoman sultans commissioned the construction of their mosques, they also ordered the production of candlesticks to be placed on both sides of the *mihrab*. These candlesticks were made for the Mosque of Bayezid II in Edirne and the inscriptions offer good wishes for the sultan.","type":"Bronze","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Sultan Bayezid II (r. AH 886–918 / AD 1481–1512).","dates":"Around hegira 894 / AD 1488.","location":"Sultanahmet, Istanbul.","dimensions":"Height 89 cm, diameter (of base) 73 cm.","method_for_datation":"The mosque of Bayezid II in Edirne, named on the inscriptions of the candlesticks, was completed in 894 / 1488. Thus the candlesticks must have been produced at about the same time.","obtention":"The candlesticks were transferred to the Museum in 1911 from the Selimiye Mosque in Edirne.","bibliography":"ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.247.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, pp.441–2.","dynasty":"Early Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","mihrab","Mosque interior decoration"],"materials":["Bronze, decorated with engraving and gilding."]},"65786a69-ccf0-52e9-acec-40d5ded53000":{"name":"Covered al-Buzuriyya Market","description":"Before the celebrations of Mawlid al-Nabawi (Feast of the Birth of the Prophet), shops in the historic Buzuriyya market in Damascus are filled with many types of sweets and chocolates. The most important sweet for Aid al-Mawlid is the *Mulabbas*, which consists of roasted almonds coated with a thin layer of sugar mixed with rose water. The shopkeepers arrange the various sweets inside the shops, while they place large bags of *Mulabbas* at the entrance to attract customers. The mosques organise the Mawlid celebrations, which take place between the Maghrib and Isha prayers in the evening, and a number of women like to host a Mawlid party in their homes. During the celebration of Mawlid, *Mulabbas* are distributed to all celebrants. Damascenes believe it is important to cook white food or serve white sweets on religious occasions, in order to greet the coming days with optimism symbolised by the colour white.","holder":"Museum for Islamic Art","owner":"Karin Pütt","initial_owner":"Karin Pütt","dates":"Hegira 1408 / AD 1988","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus” in Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili. “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["Colour photography"]},"665aed9d-195b-51b5-8961-06a52dfd6aab":{"name":"Piece of the *kiswa* (cover) of the Ka’ba.","description":"A piece of the Ka'ba *kiswa* (cover) which was probably produced in Syria, and was sent as part of the *Shami mahmal* (the Syrian Caravan carrying gifts for the Ka'ba) to Mecca to re-adorn the Ka'ba. Such a ritual occurred every year before the season of the Hajj, and included a venerated ceremony at which the commencement of the Hajj season was officially announced. It was and still is the case that the Ka'ba is washed, perfumed and purified every year and is then covered with a new *kiswa*. The fragmentexhibited here is made from red silk and embroidered with silver silken thread. The design includes two undulating bands which assume the form of a continuous chain made up of number “7”s. Both bands run from the beginning to the end of the cloth. Small, dispersed decorative elements are scattered between the two borders, as well as between the two undulating bands. Written inscriptions appear, the most prominent being: “There is no God but God and Muhammad is his Prophet”, repeating in the middle of the *kiswa* between the two zigzag bands. The two expressions, “Ya Mannan” (“Oh Merciful”) and “Ya Hannan” (“Oh Compassionate”) are also repeated, and consist of flowery forms running along both edges. On the upper undulating band, there is a verse from the Qur'an, “al-Baqara” (“the Cow”, 2: 144). The lower undulating band holds another chapter from the Qur'an: Surat Al 'Imran “the Family of Imran” (3:96). At the top and the bottom of the piece there are two expressions: “Dhu al-Jalal” (“Possessor of Majesty”) and “Dhu al-Ikram” (“Possessor of Honour”). One can conceptualise the size of the complete *kiswa* by bringing to mind the enormous scale of the Ka'ba. It is likely that the forms and inscriptions on this piece were repeated on the *kiswa* in its entirety. The name of the donor, the date of production and the emporium where it was produced is not recorded; the evidence has probably been cut off.  \nIt is worth mentioning that once used to cover the Ka'ba, the *kiswa* was cut into small pieces and sent as gifts to different capitals and cities in the Islamic world to bestow blessing on them. Ruling palaces and councils contained pieces of the *kiswa,* which were used to confer legality and sanctity.","short_description":"Every year the Ka’ba is washed and covered with a *kiswa* (cover) marking the beginning of the Hajj season. This piece is of red silk and embroidered with silver silk forming fragmented zigzags that repeat from the beginning of the piece to its end. Small forms are scattered in different places within inscription bands.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 142 cm, width 68 cm.","method_for_datation":"This fragment was dated based on comparison with similar pieces in the museums of Istanbul, whose dates had been narrowed down to around the 13th / 19th century.","method_for_provenance":"It is likely that this piece was made in Syria, since it is reminiscent of other pieces in the museums of Istanbul known to have been produced in the region.","provenance":"Probably Syria.","obtention":"Al-Sayyid Tahir Sayf al-Din, about whom nothing is known, donated the *kiswa* fragment to the Islamic Museum in 1937.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["cloth","embroidery","kiswa of the Ka’ba","silk","silk textile","textile"],"materials":["Silk embroidered with silk thread."]},"66e2c06b-b34a-553e-b816-006fc1ef7ffe":{"name":"Engraving","description":"Engraving from the late AH 13th / AD 19th century showing a fountain alongside an area for prayer.","type":"Engraving","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th–14th century / AD 19th–20th century","location":"Istanbul","dimensions":"Height: 10cm, width: 20cm","place_of_production":"Europe","method_for_datation":"Date and origin are written on the piece.","obtention":"Purchased.","dynasty":"Ottomans","author":"Ercan Topçu, Barış Topçu","copy_editor":"Alvaro Miranda","keywords":["engraving","fountain","prayer","water"],"materials":["Print on paper"]},"694dde47-bada-58b2-bcc0-6d5bd86a4ac0":{"name":"Great lantern of al-Mu‘izz.","description":"The lantern is made up of a bronze hook supporting a shallow-domed hemispherical basin with an outwardly inclined upper rim. Attached to the six-faceted outer sides of the basin are three perforated chains with geometric and stylised floral decoration in the form of tracery and tri-lobed leaves. This is a common type of decoration in Middle-Age Kairouan. The chains support the large hammered-brass basin, which is shaped like a circular vase and allows light to shine through the myriad perforations. At the lowest point of the basin a six-point star has been punched out. This is surrounded by three inscriptions, one around the collar; another between the ring supports and a third circling the star. On the first strip, *kufic* calligraphy proclaims: 'Praise be to God … May he bestow blessings, good fortune, happiness, success, prosperity, health and glory on all who embrace Him.' On the circumference of the base is inscribed: 'The work of Muhammad son of Ali al-Qaysi al-Saffar \\[the metalworker\\] for al-Mu'izz.' This lantern closely resembles a mosque lamp kept at the Chicago Art Institute and a lantern of Persian origin belonging to the David collection in Copenhagen (Denmark). Both date from the AH 4th or 5th centuries (AD 11th century). All the evidence suggests that the lantern of al-Mu'izz, which lit up the Great Mosque of Kairouan, is an example of Byzantine–inspired craftsmanship, which was in vogue throughout the Arabic-Islamic world during the AH 4th and 5th centuries (AD 10th and 11th).","short_description":"Used to light the Great Mosque of Kairouan, this lantern is an example of Byzantine-inspired craftsmanship fashionable in Arab-Islamic society in the AH 4th–5th / AD 10th–11th centuries. A bronze hook supports a shallow basin from which three chains suspend a large circular brass basin perforated with holes for light.","type":"Lantern, metalwork","holder":"Museum of Islamic Art.","initial_owner":"Prince al-Mu’izz ibn Badis.","dates":"Hegira 424–43 / AD 1032–51.","location":"Raqqada., Kairouan.","dimensions":"Height 118 cm, diameter (max) 51.5 cm.","method_for_datation":"The last inscription states that the lantern was a gift from the Zirid prince, al-Mu'izz ibn Badis (r. 406–54 / 1016–62) to the Great Mosque of Kairouan. This donation could be contemporaneous with the legacy of the *Mudawwana* volumes, the work of the great Sunni legal expert Sahnun ibn Said (160–240 / 777–855), from the same prince to the Great Mosque of Kairouan in 424 / 1032. It was certainly before the Hilalian invasions of 443 / 1051.","method_for_provenance":"This lantern was part of the furniture of the Great Mosque of Kairouan. It was specially made by a lamp-maker for the reigning Zirid prince, so it was probably fabricated in a Kairouanese workshop.","provenance":"Kairouan.","obtention":"After the founding of the Museum of Islamic Art at Raqqada in 1986 it was decided to return this lantern, which was on display at the Bardo Museum, to its original location.","bibliography":"Marçais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.411–33.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.218.  \nWard, R., *Islamic Metalwork*, Milan, 1993, pp.11, 68.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","dynasty":"Fatimid–Zirid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","furnishing"],"materials":["Moulded, perforated bronze."]},"6952044c-cc8b-5648-b20d-435ae6281ac3":{"name":"Niche or prayer carpet","description":"This is the first carpet purchased by the MAK after its founding. Together with numerous embroideries, it was bought in 1868 from the Mechitarist congregation based in Vienna and formed the start of the MAK’s internationally notable carpet collection. It supposedly came via Iran to Vienna. If one compares it with the pictorial carpets containing landscapes and pairs of birds, one clearly recognises the further development of the Mughal style: away from the naturalistic depictions towards the detailed *mille-fleur* design of the centre field and the integration of vegetal elements into the architecture, such as the flanking cypresses. The carpet displays a flora made of fine Pashmina wool, which allowed especially detailed lines.","type":"Carpet","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"First half of the 18th century","location":"Vienna","dimensions":"H: 171cm, W: 112cm; knot density 7,300/dm2","method_for_datation":"Research and documentary evidence","method_for_provenance":"Research and documentary evidence","provenance":"North India, Kashmir, or Lahore","obtention":"Purchased in 1868 from the Mechitarists, Vienna","bibliography":"Völker, Angela, *Die orientalischen Knüpfteppiche das MAK*, Vienna: Böhlau, 2001: 324–5.","dynasty":"Mughal","author":"Angela Völker, Barbara Karl","copy_editor":"Mandi Gomez","keywords":["carpet","floral design","mille-fleur","Mughal","silk","textile","wool"],"materials":["asymmetrical knot","knotted","Silk warp and weft","wool (Pashmina)"]},"696eb90a-0ce9-5dba-973b-b54eeda3a5ad":{"name":"Miniature Folding Iconostasis","description":"Miniature and folding iconostases were used starting in the 16th century, both by priests who traveled to rural areas and domestically by the Russian people. These icons, which vary in size and composition, are scaled-down versions of the partitions found in an Orthodox church and were largely used as a way to bring faith into the home. This icon consists of 15 parts and depicts the Deesis, festival and prophet tiers. The Mother of God is pictured in the center of the top row, flanked by unidentified saints.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1800","location":"Clinton, Massachusetts","dimensions":"Height: 52.1cm, Width: 154.9cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Simon Morsink, Amsterdam, in 2008. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"69a554fe-128c-59b5-a563-4ccb1cd627fe":{"name":"Anatolian prayer rug","description":"Anatolian prayer rugs with two columns in the central field can be found in the west (Ghiordes and Kula rugs) and central (Ladik rugs) parts of the region. The spread of common design features makes it at times difficult to determine just which pieces are from which part of the region. It is very difficult, e.g. to determine the exact origin of this particular rug. The two column *mihrab* (prayer niche) resembles, with its geometrical decorated columns, some 19th century Kula prayer rugs. Palmettes in the border resemble some Caucasian palmette designs. The colours of the carpet are vibrant shades of red and blue that can be seen on Ladik rugs. The *mihrab* arch consists of a series of step-like progressions towards the top, which is also a characteristic of Ladik rugs.  \nThis Anatolian prayer rug was a gift to Izidor Kršnjavi, former director of the Museum of Arts and Crafts, from Ćiro Truhelka, former director of the National Museum of Bosnia and Herzegovina in Sarajevo. In the central field, on red background, there are two columns of geometric blue and white motifs. The border is decorated with rosettes, palmettes and octagons on the blue background. In the upper left corner there are two medallions with an inscription. In the upper medallion there is the Hegira 1190 /AD 1776. In the lower medallion there is the name of the weaver: Insuf.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"1776","location":"Zagreb","dimensions":"H: 145cm, W: 115cm","method_for_datation":"By stylistic analysis and inscripted year","method_for_provenance":"By stylistic analysis","provenance":"Anatolia","obtention":"Donated by Ph. D. Truhelka","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia, inscription band","Ghiordes","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"6c834b03-f120-537f-ad07-f35c0f191253":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","short_description":"The interior walls of the Shrine of the Prophet in the Madina were traditionally honoured with elaborate hangings. During the Ottoman period, it was customary for the Sultan to send hangings for the shrine  on the occasion of his ascension to the throne or when wear and tear demanded them to be replaced. The old  hangings were returned to Istanbul.Judging by their inscriptions, it has been suggested that  black-grounded Ottoman textiles like this one may have been commissioned specifically to cover the tomb of the Prophet (pbuh). In addition to qur'anic inscriptions, the calligraphic panels include a large green medallion with a hadith of the Prophet: ‘ (For) whosoever may visit my grave, my intercession will become an obligation’. Below, elaborate arabesque scrolling surrounds the emblem or tughra of the sultan Abd al-Hamid II (1293 H/1876 AD – 1327 H/1909 AD), who commissioned this hanging.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira mid 13th century / AD mid 19th century","location":"Sharjah","dimensions":"2560 mm x 1370 mm","provenance":"Egypt","author":"Ulrike Al-Khamis","keywords":["tughra","tugra","sitara"],"materials":["Silk, cotton, silver and gilt silver metal thread"]},"6d56bfde-b2d7-5b3d-b418-0b9d3e98d0e8":{"name":"Qur’an Cabinet","short_description":"This Qur’an cabinet from Istanbul would embellish rooms in private homes, mosques, *madrasas* (Islamic education centres), and mausoleums. Crafted in the Ottoman style, the box stands on four legs, mother-of-pearl inlaying, geometric patterns and calligraphy.  \n  \nThis rare type of Qur’an cabinet (called *sunduq* or *kursi*) attracts with an unusual form several compartments for religious items and scripts, and the dome-shaped cover. The calligraphy in *Diwani* style reads *Al Fatiha* (the opening chapter of the Qur’an) and *Al Zalzalah* (the 99th chapter).  \n  \nIn the 19th century, the mother-of-pearl style called Damascene became increasingly popular in Ottoman Turkey. Artisans arranged precious materials including mother-of-pearl, tortoiseshell, metals and ivory into interlocking asterisks, octagons and hexagons.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"20th century","location":"Shahaniya","dimensions":"Length: 163cm, Width: 52cm, Height: 52cm","place_of_production":"Turkey, Istanbul","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and style.","provenance":"Turkey","obtention":"Purchase","bibliography":"Hattap, E. S., \"Geometric Patterns and the Art of Kundekari in Traditional Turkish Woodworking\", *Digital Wood Design*, (2019): 463–478.  \nJames, D., *Qur’ans of the Mamluks*, London: Thames and Hudson, 1988.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Istanbul","Ottoman","Quran Box","Quran Cabinet","Turkey"],"materials":["Inlaying","Wood, mother of Pearl"]},"6da483f8-19ce-5f70-9bd8-3d093b8b1250":{"name":"Carpet","description":"The field of this knotted-wool carpet is decorated with a prayer niche (*mihrab*) whose centre features a willow flanked by two pear trees upon which birds are perched. Snakes coil themselves around the branches, while two lions lie at the foot of the trees. Deer on fields of red adorn the upper corners. The cartouches on the side-borders show birds in pear trees, while those on the horizontal borders depict doves or rabbits. The warp and weft yarns are in cotton. The three-millimetre-high wool knots – the rug has 4,030 of them per square decimetre – are asymmetrical. The motifs are in a wide array of colours: pink, red, yellow, green, orange, blue and brown.","type":"Carpet","holder":"Montreal Museum of Fine Arts","dates":"Late 19th or early 20th century","location":"Montreal, Quebec","dimensions":"391.2cm x 231cm; knot density 4,030 dm2","method_for_datation":"Stylistic and comparative analyses","provenance":"Iran, Kirman","obtention":"Adaline Van Horne Bequest  \nBequeathed in 1944 by Adaline Van Horne, who inherited the textile from her father, William Van Horne, who died in 1915.","bibliography":"Edwards, Arthur Cecil, *The Persian Carpet*, London: Duckworth, 1953: 205.  \nIttig, Annette, *Rêves tissés: tapis d’orient de la collection du Musée des beaux-arts de Montréal / Woven Dreams: Oriental Carpets from the Collection of the Montreal Museum of Fine Arts*, Montreal: Montreal Museum of Fine Arts, 1994: 52.  \nNeff, I. C., and C. V. Maggs, *Dictionary of Oriental Rugs*, Capetown: Ad Donker, 1977: 35‒6.","dynasty":"Qajar (1779/96–1925)","author":"Shirin Shafiee","copy_editor":"Mandi Gomez","keywords":["knotted carpet","Persian carpet","prayer rug","Qajar art"],"materials":["asymmetrical knot","Wool, cotton"]},"6ef65cc3-4c33-56d6-9397-2ea841e48bc8":{"name":"Carpet","description":"Carpets had a number of functions in Central Asia, dictated by the specific way of life in this part of the world. The nomadic tribes wove smaller carpets, while the population in large settlements mostly used larger carpets. These carpets retained a great number of traditional patterns since they were less exposed to foreign influences. A strictly geometric pattern is always used in composing the design and flowers are skillfully stylised into geometric shapes. In prayer rugs, the top of *mihrab* or prayer niche is slightly emphasised. The central field is most often filled with geometric shapes – octagons, rhombi or stars. The rhombi are sometimes graduated and sometimes filled with hook motifs. Motifs taken from nature most often take on an octagonal shape. We also encounter dogs and camels, faithful companions of the nomads. Carpets belonging to this group are always distinguished by a central field and borders, usually three borders of which the middle border is most accentuated. The so-called *ensi* rugs have a central field within a frame or cross, which are filled with decorative patterns. The colours are mainly dark, mostly different shades of red, from brown to purple. The borders and central field are always the same colour, which may vary in tone. The individual patterns are blue, green, yellow and white. The warp is traditionally wool, and the weft and pile material fine sheep’s or goat’s wool, sometimes even camel hair. The carpets are usually made by knotting and the asymmetrical knot is almost always used. The central field of this carpet is divided into patterned strips with four mini-fields and at the centre of each of them is the *tree of life*. The main field has six borders of which two narrow ones are repeated, while the other four are different. The third border from the edge is the widest and is filled with geometric shapes in the form of squares. The overriding colours are dark red, blue, white and brown.","type":"Carpet","holder":"Museum of Applied Art","dates":"19th century","location":"Belgrade","dimensions":"H: 158cm, W: 122cm","method_for_datation":"Ref. Stojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","provenance":"Balucistan","obtention":"Obtained through the restitution after the Second World War","bibliography":"Vitković-Žikić, M., \"Odsek za tekstil i kostim\", in I. Zorić (ed.), *55 godina Muzeja primenjene umetnosti: 1950–2005*, Belgrade: Muzej primenjene umetnosti, 2005: 97–121.  \nStojanović, D., *Orijentalni tepisi i ćilimi* \\[Summary in English\\], Belgrade: Muzej primenjene umetnosti, 1971.","keywords":["asymmetrical knot","Baluchistan","carpet","tree of life","wool"],"materials":["asymmetrical knots","wool"]},"6f7fa000-1d38-5400-8b90-6b15054dd8a3":{"name":"Inscription recording the presentation of a new rain spout for the Ka‘ba","short_description":"The inscription, which is written out at full size, is the first of three lines inscribed on the Mizab al-Rahma – the rain spout on the Ka‘ba – which was commissioned by the Ottoman sultan ‘Abdulmajid I in 1856 and installed in 1859.  \nThe present inscription, with its masterly interweaving of the letter forms, testifies to the skill of the master calligrapher, ‘Abdallah Zuhdi, who was known as katib al-haramayn (‘the calligrapher of the two Holy Sanctuaries’). Sultan Abdülmecid also commissioned ‘Abdallah Zuhdi in to re-design the inscriptions in the Prophet’s Mosque in Medina. He began his work there in 1856 and the task took him seven years to complete. Zuhdi spent the latter part of his life in Cairo, where he re-designed the inscriptions on the various embroidered textiles sent from Cairo to Mecca with the *kiswa*.","type":"Calligraphy; record of presentation; *thuluth* inscription","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1855–6","location":"London","dimensions":"20.5 x 155cm","method_for_datation":"The date and attribution are based on images of the rain spout and its inscriptions published by Ibrahim Rif‘at Pasha.","provenance":"Turkey, Istanbul","bibliography":"Rif‘at Pasha, Ibrahim, *Mir’at al-haramayn*, vol. 1, Cairo: Dar al-Kutub al-Misriyya, 1925: 275–6, and fig.105.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.283, pp.248–9.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Dedicatory inscription","hajj","Hijaz","Holy place","Ka‘ba","manuscript","Medina","Mizab","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Rain spout","Religion","thulth"],"materials":["Ink and gold on paper, edged with silk","thuluth script"]},"6fa63cbf-0340-5e3e-8071-e07e6642fc87":{"name":"Bib for the camel of the Egyptian *mahmal*","short_description":"The camel destined to carry the Egyptian *mahmal* was specially chosen for its appearance as much as for its strength. It was looked after by a special employee in Dar al-Kiswa, and was caparisoned in richly embroidered textiles while being paraded through the streets of Cairo and major cities on its way to Mecca and back.  \n  \nThe Qur’anic inscription, *sura al-Nahl*, verse 7, is apposite. It reads, ‘And they carry your heavy loads to lands that you could not otherwise reach except with souls distressed. Truly, your Lord is full of Kindness, Most Merciful.’  \n  \nThe cotton lining bears a stamped trade mark of a firm in Manchester, England, consisting of an open hand bearing a name, possibly Abraham Harawi, in Arabic.","type":"Textile; bib; *mahmal* camel; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 19th century","location":"London","dimensions":"53 x 100cm (maximum, excluding tassels)","method_for_datation":"Dated on stylistic grounds, and by comparison with photographic evidence.","provenance":"Egypt, Cairo, Dar al-Kiswa","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["banner","camel","Ceremonial object","cotton","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["cotton lining","Red silk, relief-embroidered in silver and silver-gilt wire over cotton thread padding","silk tassels","silver sequins"]},"70e81fc7-992c-56d9-a3b4-5af8b1052c23":{"name":"Prayer pulpit (*minbar*).","description":"This *minbar* features seven steps that are held up by two pentagonal sides, decorated with triangular, square and trapezium-shaped panels that have been joined through tenons and mortises. An interrupted horseshoe arch is positioned at the foot of the steps on two supports that are ornamented with vegetal decoration. This structure is linked at its sides by two lateral arches of the same height, which are likewise resting on two supports, their upper parts interlinked by a banister. The upper section of this entrance is adorned with candleholders.  \nThe panels are sculpted in bas-relief, embellished with floral or geometric decoration; the frontal arch features floral decoration, and, embracing the shape of the arch, a *kufic* inscription reads, rising from the right-hand side, 'In the name of Allah, the Merciful Benefactor. This pulpit was created'; sideways: 'The first of the month of Rajab; and rising from the left, 'of the year 490 \\[AD 1097\\]. The work of Muhammad'.","short_description":"This seven-stepped pulpit with side panels bears geometric and floral motifs, and a *kufic* inscription dating the object and naming its maker. The first step is covered by a pointed horseshoe arch.","type":"Woodwork, minbar, prayer pulpit, wood","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 490 / AD 1097.","location":"Algiers","dimensions":"Height 230 cm, length 264 cm, width 73 cm.","method_for_datation":"The inscription that features *kufic* characters on the arch preceding the steps of the *minbar* holds the date 490 (AD 1097.","method_for_provenance":"The *minbar* had been used in the Great Mosque of Algiers.","obtention":"Donation from the Religious Affairs Ministry; a ministerial decision taken in 1998 entrusted the *minbar* to the National Museum of Antiquities and Islamic Arts.","bibliography":"Bourouiba, R., *L'art religieux musulman en Algérie*, Algiers, 1973.  \nBourouiba, R., *Les inscriptions commémoratives des mosquées d'Algérie*, Algiers, 1984.  \nMarçais, G., *L'architecture musulmane d'Occident*, Paris, 1954.  \nMarçais, G., *Manuel d'art musulman,* Paris, 1927.  \nMarçais, G., “Note sur la chaire à prêcher de la Grande Mosquée d'Alger”, *Hespéris*, 1926, pp.419–22.","dynasty":"Almoravid","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Almoravids","Ascencion","calligraphy","engraving","floral and geometric adornments","floral decoration","geometric decoration","Great Mosque of Algiers","heaven","inscription","interior design","kufic","lettering","Minbar","Mosque","Mosque interior decoration","Muhammad","prophet","pulpit","religious objects","spiritual objects","stand","wood"],"materials":["Wood assembled through tenons and mortises, bas-relief carving and marquetry."]},"718b2755-b86b-5577-8fe4-dae39544ddbd":{"name":"Scenes from the Life of John the Baptist","description":"John the Baptist was the cousin of Jesus Christ and preached in the Judean desert. He lived a life of self-denial by wearing camel hair clothing and eating only locusts and wild honey. The people of the region came to him to be baptized in the Jordan River. When Jesus asked to be baptized, John proclaimed that he was not worthy of such a task and that Christ should baptize him. Christ insisted, however, and during the baptism the Holy Spirit descended and a voice from heaven proclaimed, “This is my beloved Son in whom I am well pleased” (Matthew 3:17). John got into trouble when he criticized King Herod’s marriage to Herodias, who had a child from her previous marriage to Herod’s brother. Herod’s stepdaughter, Salome, convinced him to arrest John and demanded his head on a silver platter. Granting her wish, Herod ordered John beheaded.  \nThis icon shows several scenes from John the Baptist’s life in a single frame. At the top left, John is depicted in the wilderness, surrounded by animals. He receives inspiration from God in the form of flames. At the bottom, John is seen baptizing followers in the Jordan River while more followers prepare for baptism or don the white clothes of the newly baptized. In the top right corner of the icon, people stream out from the city while members of the aristocracy look on from above. The three figures in the central arch could be King Herod, his wife and stepdaughter, all of whom were responsible for John’s martyrdom.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 39.4cm, Width: 32.4cm, Depth: 4.3cm","provenance":"Russia","obtention":"Purchased by the Museum of Russian Icons from a private collection in 2010.","workshop":"Mstera","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"71d27a74-72e5-584a-a669-aeffec6787d6":{"name":"Prayer rug (fragment)","description":"Although less than half the size of the original rug, the fragment is still one of the most remarkable textiles of the Islamic art collection in the Museum. Following the latest research, the original rug was reconstructed based on several well-preserved details (see the virtual reconstruction of the original design, ill. 1a). The *mihrab*, an essential element of the mosque architecture represented on prayer rugs, has been replaced here with a triple arch reminiscent rather of a gateway or the cross section through a mosque; the dome over the centre arch in the original design supports this hypothesis. The coupled-column motif could be traced back to the architecture of Muslim Spain, and was apparently disseminated by Sephardic Jews. Similar columns, whose bases are rendered in linear perspective, feature on 16th-century Ottoman prayer rugs some of which were imperial court commissions produced in Istanbul; others, as is the case here, were made in Cairo, where the tradition of Mamluk workshops continued long after the Ottoman conquest (1517). The asymmetrical knot is characteristic of Mamluk carpets, whereas the decorative repertoire is typical of Ottoman art. The original rug may have served as a prototype for “Transylvanian” coupled-column carpets dating back to the 17th and 18th centuries, which only comes to highlight the historical significance of this fragment.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 16th–early 17th century","location":"Bucharest","dimensions":"H: 154cm, W: 62cm; knot density ver. 53/dm; hor. 62/dm; 3,286/dm2","method_for_datation":"Stylistic and technical analysis","provenance":"Egypt, Cairo","obtention":"Purchased from the owner (Teodor Tuduc)","bibliography":"Beattie, May H., “Coupled-Column Prayer Rugs”, *Oriental Art*, vol. XIV, no. 4 (1968): 243–58.  \nBoralevi, Alberto, “Column Rugs”, in Stefano Ionescu (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 156–7.  \nDenny, Walter B., *The Classical Tradition in Anatolian Carpets*, Washington DC: The Textile Museum, 2002: 50–5.  \nDunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 1.  \nDunca, Mircea and Gherghinescu, Luiza, “Tuduc’s Coupled-Column Prayer Rug Fragment: A Virtual Reconstruction of the Original Design”, *Oriental Carpet and Textile Studies VII, International Conference on Oriental Carpets, Selected Papers from ICOC X, Washington 2003 & ICOC XI (Istanbul, 2007)*: 133‒8, ICOC, 2011.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["court rug","Ottoman Cairo rug","prayer rug"],"materials":["asymmetrical knot","knotted","wool"]},"72ba3bfe-0cc8-514d-9707-7a480f54966b":{"name":"Prayer rug","short_description":"This is one of approximately 90 prayer or niche rugs often known as a ‘Salting’ group which are now generally accepted as having been woven in Iran sometime in the 16th or 17th century. Many are believed to have come from the Topkapi Palace Museum (which still holds some 35 examples), sold off during the economic crisis resulting from the Russo-Turkish war of 1877–8. It is very likely that they were a diplomatic gift and that they entered the Topkapi Palace sometime before 1680, as a treasury ledger of that year mentions Persian prayer rugs with embroidered inscriptions in metal thread. It has been suggested that they may have remained unused in the Palace stores due to the presence of inscriptions integral to Shi‘i daily prayers on some of them, which may account for the bright colours and often remarkable condition of many examples, including this one.  \n  \nThe inscriptions on this carpet consist of the *Ayat al-Kursi* (‘Throne verse’), *sura* *al-Baqara*, (II), verse 255, in the outer border and *sura* *al-Ahzab* (XXXIII), verse 56, in the inner one. The corner medallions enclise the phrase, ‘Glory to my most high Lord, and to His praise’. A pair to this carpet, previously known as the ‘Perez’ prayer rug, is in a private collection in Italy.","type":"Rug; carpet; prayer rug","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD 16th or 17th century; C-14 dating: 1474 –1667 (95% confidence)","location":"London","dimensions":"164 x 102cm","method_for_datation":"Date and provenance are based on stylistic and technical analysis, as well as C-14 dating.","provenance":"Iran","obtention":"Formerly A.M. Indjoudjian, Paris; Deroyan, Paris.","bibliography":"Canby, S., *Shah ‘Abbas. The Remaking of Iran*, exhibition catalogue, London: The British Museum, 2009: 80–81 (the pair to this carpet).  \nCoulter, J., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part Two. \\[In preparation/ forthcoming\\]  \nEiland, M.L., and Pinner, R. (eds), *Oriental Carpet and Textile Studies. The Salting Carpets*, vol. 5, Part 2, Danville, CA: International Conference On Oriental Carpets, 1999: no.24, pp.88–9 and Appendix C.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.398, p.335.","dynasty":"Safavid","author":"Nahla Nassar","keywords":["carpet","diplomatic gifts","inscription","Iran","metal thread","prayer rug","Safavid","silk","Warp","weft","wool"],"materials":["metal-thread weft brocading","wool pile, in asymmetrical knot","Yellow silk warps and wefts"]},"73c04230-63e1-510e-98c5-207e053e23cf":{"name":"Chaplet of an Ottoman dervish","short_description":"The Austro-Hungarian troops who joined the Ottoman forces in 1915 performed their service very close to the Allies, but were never put under the administrative control of the Ottoman Empire, as the German soldiers were. Souvenirs of this very exotic mission during World War I were in high demand and were brought back to Austria after the end of the war.","type":"Stonework","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Sufi","Bosnia","Sufi Hadschi Loja","religious object","souvenirs","war","warfare"]},"74a9ac30-d924-5b63-8349-21d424570c93":{"name":"Covered al-Buzuriyya Market","description":"During the Prophet’s birthday, the historic Buzuriyya Market in Damascus is crowded with people buying the necessities for the occasion, such as sweets and chocolate. The celebration usually takes place in the evening after Maghrib prayers in many mosques. The Mawlid opens with a short recitation of the Holy Qur’an, then comes the “Mawlid Recitation”, which is a narration of the Prophet’s biography recited in a special style. After that, specialised chanting groups perform religious songs and praise of the Prophet, and the Mawlawiyya dance to their music. The ceremony concludes with the Isha prayer and the distribution of sweets.","holder":"Museum for Islamic Art","owner":"Rania Kataf","initial_owner":"Rania Kataf","dates":"Hegira 1438 / AD 2017","location":"Berlin","place_of_production":"Damascus/Syria","method_for_provenance":"Direct contact","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus”, Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., Mevlid Kandili, “La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["Digital photo"]},"75647d49-efe8-541c-828b-b58acf35195a":{"name":"God Rested on the Seventh Day","description":"In this icon, God reclines on a bed, illustrating the part of the creation story that reads, “On the seventh day He rested” (Genesis 2:2). Angels hold his bed and the temporarily vacant throne aloft while the Holy Spirit, represented by a dove, flies above them. All this takes place within a circle featuring the archangels, the evangelists, Christ and the Mother of God. Meanwhile, scenes from the rest of the creation story take place below. Labels on the back of this icon reveal that it was sold by Gimbels department store in the late 1930s, suggesting that it once belonged to William Randolph Hearst. Hearst was a newspaper entrepreneur who famously sold off large parts of his immense art collection during the Depression.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1550","location":"Clinton, Massachusetts","dimensions":"Height: 27.5cm, Width: 23.5cm, Depth: 2.5cm","provenance":"Russia","obtention":"Sold at \"Exhibition of Russian Icons Arranged by Hammer Galleries\", New York City, in 1937. Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Biblical stories","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"757957ce-46d4-5799-8792-5f05be3e1e3f":{"name":"Hanging (*sitara*) for the Mosque of the Prophet, Medina al-Munawwarah","short_description":"This green and black silk textile is richly embroidered with silver and gilt metal threads. The centre displays six cartouches with thuluth inscriptions, followed below by a black niche with a central lamp motif. A border with trefoil scrolling surrounds the central panel. The inscriptions used on this textile clearly indicate that this textile was intended for the Prophet’s Mosque in Madina. The four main cartouches contain verse 56 from chapter 33 (Al-Ahzab) of the Holy Qur’an: ‘Allah sends His Salat (merciful blessings) on the Prophet Muhammad (pbuh), and also His angels. O you who believe! Send your Salat on him and greet him with the Islamic way of greeting’. The inscriptions in the two cartouches below state that this curtain was ordered by the Ottoman sultan Abd al-Hamid II (1293 H/1876 AD – 1327 H/1909 AD) and renewed by Efendi Abbas Hilmi, the last Khedive Pasha of Ottoman Egypt (1291 H/ 1874 AD – 1350 H/ 1931 AD) in 1321 H/ 1903 AD.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Hegira 1321 / AD 1903","location":"Sharjah","dimensions":"2260 x 1150 mm","provenance":"Egypt","author":"Ulrike Al-Khamis","keywords":["thuluth","Khedive","sitara"],"materials":["Silk, cotton, silver and silver gilt metal thread"]},"7b36747d-dca7-598b-b985-ad4799a191fe":{"name":"The Mother of God of the Burning Bush","description":"The Mother of God is shown in the center of this icon surrounded by rays of light that extend outward to form an eight-pointed star. Angels, archangels and symbols of the evangelists are pictured both in and around the star. This icon is a reference to a passage from the book of Exodus in which Moses saw the burning bush unconsumed by fire. Moses and other prophets are often interpreted as foretelling the coming of Christ while the unburnt bush serves as a symbolic representation of the Virgin Mary.  \nIn this icon, the four evangelists are represented by four winged figures. The angel represents Saint Matthew, the lion stands for Saint John, the ox symbolizes Saint Luke and the eagle is associated with Saint Mark. These symbols are based on the biblical interpretations of Saint Irenaeus (130-202).","type":"Icon","holder":"Museum of Russian Icons","dates":"1700s","location":"Clinton, Massachusetts","dimensions":"Height: 92.4cm, Width: 77cm, Depth: 10cm","provenance":"Russia","obtention":"Purchased by the Museum of Russian Icons from ArtVKG, New York City, in 2012.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"7bcc1f68-b1fc-5f4e-9ba9-572b00e46c54":{"name":"Qur’anic Manuscript","short_description":"Interlocking circles, often punctuated by circles or dots, are used in conjunction with squares, rectangles, diamonds or triangles to form the basis of intricate geometric patterns. Interlocking circles grace doors and windows, prayer niches and arches as an architectural ornament. Silver and gold jewellery and musical instruments also incorporate patterns based on interlocking circles. With such a broad range of applications, the scale of the patterns varies dramatically. For example, a pattern stamped in gold leaf for the decoration of a Qur’an case necklace can measure as little as few millimetres in diameter, while an identical pattern used in stucco or plaster that serve to adorn the interior of a prayer hall can be exponentially larger.","type":"Manuscript","holder":"National Museum Oman","dates":"2 Jumada al-Ula 1291 AH / June 1874 AD","location":"Muscat","dimensions":"Length: 34.6cm, Width: 24.5cm, Weight: 2395.2g","provenance":"Oman","obtention":"Ministry of Heritage and Culture Collection","dynasty":"Al-Busaid","scriber":"Suleiman bin Muhammad al-Wa'eli","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Qur'an"],"materials":["Ink on paper"]},"7f0081a0-67a5-56a0-9212-f80fe70cbeec":{"name":"Mosque lamp.","description":"An enameled glass and gilt mosque lamp with a wide flaring mouth and a squat globular body, a steeply sloping shoulder and flattened base. The body rests on a tall pedestal foot. Six applied loop handles are placed around the shoulder at regular intervals. The lamp holds extensive enamelled decoration on the mouth, body and foot, enhanced by gilding; the mouth having a large Qur’anic inscription in *thuluth* script executed in blue enamel and outlined in red. The inscription is interrupted by three roundels containing a *fleur-de-lys* blazon in red against a white background. The base of the mouth shows a delicately drawn scroll-band interrupted by cusped floral cartouches.  \nThe top of the shoulder displays a narrow band with cusped floral medallions, while the main part of the body has a wide inscription band in *thuluth* script that reads, translated: ‘This is one of the objects made for his most noble and high Excellency, the learned, the just, the administrator, the councilor, the regent, the vizier Najm al-Din Mahmud ibn Ali ibn Shirwin, the officer of al-Malik al-Muzaffar (Hajji), regent of the noble Islamic provinces, may Allah the Exalted make his victories glorious’. The inscription, set against a blue background, is interrupted by six lozenge-shaped areas that hold the trailed suspension loops.  \nThe underside of the body has further *fleur-de-lys* roundels and floral detailing. The foot (half of which is a replacement) holds a succession of five horizontal bands filled with abstract scrolling that alternates, linearly, with thickly drawn detailing. The horizontal bands are interrupted by three lozenge-shaped medallions that hold abstract vegetal motifs.  \nThe lamp dates exactly to AH 746–7 / AD 1346–7, during the short reign of al-Malik al-Muzaffar Hajji. Interestingly, the donor Najm al-Din Mahmud ibn Ali ibn Shirwin, did not begin his career as a slave contrary to usual practice. It is known that he arrived in Cairo in AH 737 / AD 1337, having been a vizier (a minister) in Baghdad. The red *fleur-de-lys* on his lamp is his heraldic device. Najm al-Din’s lamp is especially important because it appears to be the earliest example of a *fleur-de-lys* used as the badge of an official, a motif previously reserved only for sultans.","short_description":"Glass mosque lamps with enamelled decoration were commissioned in large numbers by the Mamluk elite in Egypt and Syria. Decorated with Qur’anic inscriptions and the titles of the patron, they were destined for the numerous mosques and *madrasas* endowed by the Mamluks throughout Cairo and the empire.","type":"Glasswork, enameled","holder":"National Museums of Scotland (NMS).","initial_owner":"Najm al-Din Mahmud ibn Ali ibn Shirwin.","dates":"Hegira 746–7 / AD 1346–7.","location":"Edinburgh, Scotland","dimensions":"Height 38.10 cm, diameter 26.04 cm.","method_for_datation":"The lamp was commissioned by an officer of al-Malik al-Muzaffar Hajji, who reigned for less than two years between 746–47 / 1346–7.","method_for_provenance":"Mamluk mosque lamps of this type are generally ascribed to Syria, where they were made for export to Mamluk Egypt.","provenance":"Syria; made for export to Egypt.","obtention":"Purchased by the NMS from the Major W. J. Myers Collection in 1900.","bibliography":"Carboni, S., *Glass from Islamic Lands,* London, 2001 (for discussion on related mosque lamps and Mamluk glass).  \nCarboni, S., and Whitehouse, D., *Glass of the Sultans*, New York, 2002 (for discussion on related mosques lamps and Mamluk glass).  \nEremin, K., and Al-Khamis, U., ‘Mamluk and Pseudo-Mamluk Glass in the National Museums of Scotland’, in *Annales du 15e Congrès de l’Association Internationale pour l’Histoire du Verre, New York, 2003.*  \nPiotrovsky, M. B., and Vrieze, J., *Earthly Beauty – Heavenly Art: Art of Islam, exhibition catalogue* Amsterdam, 1999, p.75 cat. no. 10 ( for another mosque lamp attributed to al- Muzaffar Hajji).","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["al-Malik al-Muzaffar Hajji","blazon","calligraphy","coat of arms","glass","Mosque interior decoration","Mosque Lamp","Najm al-Din Mahmud ibn Ali ibn Shirwin","Thuluth"],"materials":["Enamelled glass and gilt."]},"80275793-c91b-5334-93ac-d4126f4e645c":{"name":"Prayer rug","description":"Gördes prayer rugs of the 18th and 19th centuries were much appreciated in Western Europe as well as in Romania, where they have been preserved in large numbers. Here, the stepped arch of the niche is featured on a white ground; the floral and geometric motifs of the *mihrab* field are reminiscent of a mosque lamp. A tiny brown mosque lamp appears as such in the centre of the composition, hardly discernible amid stylised flowers and stars. The elaborate decoration, with a wealth of floral motifs on the inner edges of the niche, is a recurrent feature of 19th-century Ottoman carpets at a time when architectural motifs derived from courtly art were gradually losing their original shape and meaning. The cross panels featured above and below the niche are decorated with Chinese cloudbands. The main border is made up of seven narrow bands on white and red ground, sometimes associated with the seven heavens, while the secondary borders contain flowers connected by wave scrolls.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 176cm, W: 121cm; knot density ver. 53/dm; hor. 34/dm; 1,802/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, western Anatolia, Gördes","obtention":"Transfer from the Kalinderu Museum, Bucharest","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 32.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 6.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Ghiordes","prayer rug"],"materials":["knotted","symmetrical wool and cotton knots","Wool warp, cotton weft"]},"81099b4c-753f-53ba-9785-217e53613a49":{"name":"Madonna and Child","description":"It was not roses that guarded the sleep of the enthroned Madonna with the Child, but human bones. And her sleep lasted not for a hundred years, but for several centuries. The sculpture was piously buried in the charnel house of the church of Raron according to a custom prevalent in Europe at the time, and gradually vanished beneath the skulls and bones of the dead. The reason for burying the wooden figure was provided by the rebuilding of the parish church between 1510 and 1515. The Romanesque Madonna had fallen out of fashion and was no longer needed. The person who finally kissed her awake again was not Prince Charming, but a tradesman from the canton of Valais. During restoration work on the charnel house of Raron in 1924, he was told to clear out the bones – and so he stumbled upon several sculptures, including the most significant example of Romanesque art in Switzerland.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around AD 1150","location":"Zurich","dimensions":"H: 90,5cm, W: 25cm, Depth: 33cm","method_for_datation":"Stylistic analysis","provenance":"Switzerland, probably Sion, Canton Valais","obtention":"Found in Raron. Bought in 1924","keywords":["Child","Madonna","Raron","sculpture","Vallais"],"materials":["Carved in the round, limewood, polychromy"]},"825bbc31-2ea9-5983-a4b5-235679be04cb":{"name":"Niche of al-Uweyna Mosque","short_description":"The 10th century AH/16th century AD is considered the richest period for production of *mihrabs* (mosque niches), known for the work of masters like Abdullah bin Qasim al-Manahi and the family of Mushmil al-Manahi who lived during this time. Talib bin Mushmil al-Manahi, who built the niches of the Grand Mosque in Nakhl and as-Saruj Mosque in Samail, also made the niche of al-Uweyna Mosque in 970 AH/1562 AD. The niche on display is covered with geometrical decorations, fine inscriptions, quotes from the Holy Qur'an and inscriptions documenting the names of the builder, designer and the patron.  \n  \nThe Islamic *ash-shahadatan* (Declaration of Faith) is written in *kufic* inscription at the upper part of the niche and the outer rectangular frame contains 30 seals with floral decoration. The niche itself sits in the cove of the inner frame with a rectangular shape above it baring inscriptions in two triangles and three plates of glazed Chinese pottery in the centre.","type":"Architectural Artefact","holder":"National Museum Oman","dates":"970 AH / 1562 AD","location":"Muscat","dimensions":"Height: 350cm, Width: 280cm","provenance":"Saih al-Hail village (ash-Sharqiyah North Governorate)","dynasty":"Al-Yarubi","copy_editor":"Valerie Pulsifer","keywords":["Declaration of Faith","geometric","kufic","mihrab","niche"],"materials":["Stucco"]},"82850beb-2fc7-5463-8d56-45c22b84b71b":{"name":"Carpet with triple-arch design","short_description":"This carefully drawn, subtly coloured carpet is among the finest of all Ottoman weavings. One of the earliest carpets to include a triple-arched gateway, its design probably originated in the Ottoman imperial workshop. The hanging lamp in the centre arch recalls verses from the Qur’an that liken God to the light of a lamp placed within a niche. The combination of this carpet’s imagery, high quality, and relatively small size suggest that it was used as a prayer rug by a member of the Ottoman courtly elite.","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira late 10th century / AD c. 1575–90","location":"New York","dimensions":"Rug: L: 172.7cm, W: 127cm; Mount: L: 180.3cm, W: 136.5cm, D: 9.2cm, Wt: 12 lbs/54.4kg","provenance":"Probably Istanbul, Turkey","obtention":"The James F. Ballard Collection, Gift of James F. Ballard, 1922  \nFormer owner: Edouard Chappey, Paris (until 1907; sale, Galerie Georges)  \nFormer owner: Félix Doistau, Paris (from 1907)  \nFormer owner: James F. Ballard, St. Louis, MO (until 1922; gifted to MMA)","bibliography":"Atil, Esin (ed), *Turkish Art*, Washington D.C/New York: Smithsonian Institution Press, 1980: 338, ill. fig. 192 (b/w).  \nAtil, Esin, *The Age of Sultan Süleyman the Magnificent*, Washington DC: Harry N. Abrams, Inc., 1987: 226–27, no. 159, ill. pl,. 159 (colour).  \nBerinstain, Valerie, *Great Carpets of the World*, New York: Vendome Press, 1996: 58, ill. pl. 58 (colour).  \nBreck, Joseph and Morris, Frances, *The James F. Ballard Collection of Oriental Rugs. The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1923: 16, no. 24, ill. (b/w).  \nBurn, Barbara (ed), *Masterpieces of the Metropolitan Museum of Art*, New York; Boston: The Metropolitan Museum of Art, 1993: 86–87, ill. 87 (colour).  \nDenny, Walter B., *How to Read Islamic Carpets*, New Haven/London: The Metropolitan Museum of Art, 2014: 46–47, ill. fig. 32 (colour).  \nDimand, Maurice S., *A Handbook of Mohammedan Decorative Arts*, New York: The Metropolitan Museum of Art, 1930: 264, 270, ill. fig. 162 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art, 1944: 309, ill. fig. 204 (b/w).  \nDimand, Maurice S. and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1973: 158–59, 233, no. 105, ill. fig. 188.  \nEkhtiar, Maryam, Canby, Shelia 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: 5, 287, 332–33, no. 237, ill. 332 (colour), fig. 10 (b/w).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators*, New York: The Metropolitan Museum of Art, 2012: 130–31, ill. pl. 24 (colour).  \nEllis, Charles, *Oriental Carpets in the Philadelphia Museum of Art*, Philadelphia: Philadelphia Museum of Art, 1988: 80.  \nImbrey, Jai (ed), *Mosques: Splendors of Islam*, New York: Rizzoli, 2017: 31, ill.  \nJenkins-Madina, Marilyn, \"Collecting the \"Orient\" at the Met: Early Tastemakers in America\", *Ars Orientalis*, 30 (2000): 81, ill. fig. 13 (b/w).  \nde Montebello, Philippe and Howard, Kathleen (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 1992: 326, ill. fig. 35 (colour).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 122–23, ill. fig. 92 (colour).","dynasty":"Ottoman","copyright":"The Metropolitan Museum of Art, The James F. Ballard Collection, Gift of James F. Ballard, 1922","keywords":["Anatolia","architectural motifs","column","column capital","Corinthian","Istanbul","light verse from the Qur'an","Mosque","Mosque Lamp","Ottoman","Ottoman carpet","Ottoman religious interior","silk","Turkey","wool","worship"],"materials":["asymmetrically knotted pile","Silk (warp and weft), wool (pile), cotton (pile)"]},"8483f56d-4097-5e63-a47a-8a53aa99f289":{"name":"*Hilye*","short_description":"Despite the steady advance of western-style artworks, traditional Ottoman arts and crafts did not disappear entirely. This hilye or word portrait of the Prophet Muhammad (pbuh) has been rendered on tripartite, foldable cardboard, decorated on the outside with elaborate ebru paper marbling. Its composition follows a layout current since the 11th/17th century when it was devised by the famous Ottoman calligrapher Hafiz Osman (1052-1110 H/1642-1698CE). Traditionally, the hilye presents Hadith recounting the noble physical and spiritual attributes of the Prophet Muhammad (pbuh), often embellished with rich illumination. A large oval cartouche, with the hadith in black naskhi, appears in the centre, surrounded by four roundels naming the four rightly-guided caliphs Abu Bakr, Umar, Uthman and Ali. Above the cartouche, the Bismillah is written in thuluth style. Below, a verse from the Holy Qur'an (68:4) is followed by the last lines of the hadith, a prayer, the names of the artist and two individuals certifying his work, and the date. All calligraphic elements are set against a stippled gold background enhanced with European-style floral elements.","type":"Oil on board","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira 1295 / AD 1878","location":"Sharjah","dimensions":"Length 386 mm x 182 mm","provenance":"Ottoman Turkey","author":"Ulrike Al-Khamis","keywords":["ebru","hilye","Hafiz Osman","Bismillah"],"materials":["Black ink, pigments, gilding on board; ebru (marbling)"]},"8485bf89-aab8-53ff-a59e-03b0ed9c4935":{"name":"The Last Judgment","description":"The Last Judgment is a common topic in Christian art. It combines biblical and apocryphal stories into a unified account of the end of times, of Christ coming to judge the world and of the afterlife. Typically, Russian Orthodox icons that depict the Last Judgment show Christ enthroned with a scale and an open Gospel. He is often flanked by the Virgin and Saint John the Baptist, who intercede for humankind. Adam and Eve are frequently seen kneeling at Christ’s feet. In Russian Orthodox iconography, the “serpent of suffering” is often depicted as well. Originally, the serpent was viewed as the instigator of original sin, seducer of Adam and Eve and the embodiment of evil. In this icon, 20 sins are depicted along the body of the snake in order of severity. They are as follows: (1) lying, (2) greed, (3) tale-telling, (4) idle talk, (5) anger, (6) blasphemy, (7) gluttony, (8) drunkenness, (9) slander, (10) foul language, (11) adultery, (12) fornication, (13) rape, (14) vanity, (15) money-mongering, (16) self-love, (17) despair, (18) murder, (19) self-glorification and (20) pride.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 155cm, Width: 122cm, Depth: 7cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Biblical stories","Jesus Christ","Religious iconography"],"materials":["Egg tempera on wood"]},"84dd3553-46ec-5600-8a2a-e99eb0f50285":{"name":"Three choir stalls.","description":"Three surviving seats from the choir stall. The arms, elaborately carved, mimic smooth timber columns with finely worked capital and base. The separators between the seats have been hollowed out and outlined to form mixtilinear arches with a strong Almohad influence. There are wheels in relief on the spandrels. There is now practically no colour left, with the exception of the persistent red and a few other traces from which a painted lion can be made out, already quite deteriorated when the piece was acquired. The dominant decorative elements are plant arabesques and the polychromy of the heraldic motifs relating to the kingdom of León.  \nThis piece is noteworthy not just for its intrinsic quality, but also because it demonstrates the importance of León in the emergence of Mudéjar carpentry. This low stall, along with the Astudillo stall also held at the National Archaeological Museum, is one of the most exceptional examples of this type of carpentry in this Mudéjar style.","short_description":"Mudéjar craftsmen were sometimes used to work on choir stalls in churches and monasteries, and they brought their own techniques and decorative motifs. These stalls from the Monastery of Santa María de Gradefes in León are particularly noteworthy for the excellence of the joinery and their rich decoration of plant arabesques.","type":"Woodwork, stall, pine","holder":"National Archaeological Museum.","dates":"1230–50.","location":"Madrid","dimensions":"Height 150 cm; width 70 cm.","method_for_datation":"From its typical characteristics. The earliest document on the monastery dates from 1140.","method_for_provenance":"From existing documentation. It remained in the monastery until its sale in 1874.","provenance":"Monastery of Santa María de Gradefes, León, Spain.","obtention":"The piece was purchased for the National Archaeological Museum from José Gil Dorregaray on 13 March 1874.","bibliography":"Calvo, A., *El Monasterio de Gradefes. Apuntes para su Historia y la de Algunos Otros Cenobios y Pueblos del Concejo*, León, 1936–45; facsimile edition, Leon, 1984.  \nFranco Mata, A., “Arte Medieval Cristiano Leonés en el Museo Arqueológico Nacional”, *Tierras de León*, 71, Leon, 1988, pp.54–5, no. 19.  \nGarcía Gutiérrez, A., *Noticia Histórico-Descriptiva del Museo Arqueológico Nacional*, Madrid, 1876, p.108.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, *Ars Hispaniae*, Vol. IV, Madrid, 1949, p.401.  \n  \n*Mudéjar Art: Islamic Aesthetics in Christian Art*, pp.66–8.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["carving","Choir stalls","Gradefes","Leon","Mudéjar","religious furnishing","wood"],"materials":["carving.","Pine"]},"87cd43a9-2f34-5603-8fcc-c5f26dd19789":{"name":"Noble Qur'an Manuscript","short_description":"Literally meaning \"the recitation\", the Noble Qur’an is the central religious text of Islam. It was revealed to the Prophet Muhammed (Peace be upon him) from Allah verbally through archangel Jibril (Gabriel) over a period of twenty-three years (609–632 AD).  \n  \nThe Qur’an is comprised of 114 *surah*s (chapters) classified into two types, *Makki* and *Madani*, depending on whether their *avat* (verses) were revealed before or after the Hijrah (the Prophet’s migration from Makkah to Madinah). The Qur’an is arranged in 30 *juz* (parts).  \n  \nMuslims regard the Qur'an as proof of Muhammed’s prophethood and the culmination of a series of divine revelations from Adam, the first prophet, and continuing with the Scrolls of Suhuf Ibrahim (Abraham), the Torah or *Tawrat* (Pentateuch) of Moses, the Book of Zabūr (Psalms of David, and the *Injil* (Gospel) of Jesus.","type":"Manuscript","holder":"National Museum Oman","dates":"20th Safar 1332 AH / 17th January 1914 AD","location":"Muscat","dimensions":"Length: 31.3cm, Width: 21.5cm, Weight: 1641.7g","obtention":"Ministry of Heritage and Culture Collection","dynasty":"Al-Busaid","scriber":"Muhammed bin Udai al-Battashi al-Wardi","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Noble Qur'an"],"materials":["Ink, gold leaf and opaque watercolour on paper"]},"88a1a2c9-da3a-59b6-88ec-2a538e5b82e2":{"name":"*Flügelaltar (Winged Altar)*","description":"The creator of this triptych, which was intended as a small travel altar for private prayer, was Jan van Eyck, the most important representative of Old Netherlandish painting. Characteristic features of his new artistic style are the miniature-like, extremely realistic rendering of details and the use of brilliant colours. Enthroned in the centre of the Basilica is the Madonna with her son, the infant Christ. Stretched out at her feet is a precious woven carpet. It has a rhombic pattern featuring eight-pointed stars set in circles. Its intense colours contrast with the muted hues of the ingeniously patterned floor tiles.","type":"Painting","holder":"Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Dresden State Art Collections","dates":"1437","location":"Dresden","dimensions":"Central Panel: Height: 33.2cm, Width: 27.2cm; Left Wing: Height: 33.2cm, Width: 13.9cm; Right Wing: Height: 33.2cm, Width: 13.7cm","method_for_datation":"Artist signature: \"Johannes de eyck me fecit et c(o)mplevit Anno Dm M• CCCC• XXXVII• ALC• IXH• XAN\"","method_for_provenance":"Research and documentary evidence","provenance":"Dutch","obtention":"This travel altar is known to have been in Dresden since it was first mentioned in the 1754 inventory-where it was still recorded as a work of Dürer.","bibliography":"Campbell, Lorne, “Jan Van Eyck. Dresden and Bruges”, *The Burlington Magazine*, 148. 1235 (February 2006): 138–140.  \nKetelsen, Th., and Neidhardt, U., et al. (eds), *Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden* exhibition catalogue, München et al.: Deutscher Kunstverlag, 2005: 177ff.  \nMarx, Harald (ed), *Gemäldegalerie Alte Meister*, 2 vols, Köln: Buchhandlung Walther König, 2005/07: vol. 1, p. 386f., vol. 2, p. 244, gallery n. 799.  \nNeidhardt, U.,“The Development Process of the Dresden Triptych. News and Questions”, in Ch. Currie (ed), *Van Eyck Studies: Papers presented at the eighteenth symposium for the study of underdrawing and technology in painting*, Paris et al.: Peeters Publishers, 2017: 351–366.  \nNeidhardt, U., and C. Schölzel, “Jan van Eyck’s Dresden Triptych.”, in S. Foister et al. (eds), *Investigating Jan van Eyck*, Turnhout: Brepols, 2000: 25–39.","artist_birthdate":"1390","artist_birthplace":"Maaseik","artist_deathdate":"1441","artist_deathplace":"Bruges","author":"Bettina Forger","copy_editor":"Janice Medina","keywords":["Bibel","carpet","Christianity","Madonna","painting"],"materials":["Oil on wood"]},"892929c1-c076-5866-8b6c-b938d759084c":{"name":"La Marche de la Caravane du Grand Caire pour la Mecque","description":"‘The march of the caravan from Cairo to Mecca’ is an illustration (page 130 ) from volume II of Troisième voyage du sieur Paul Lucas, fait en M.DCCXIV, & c. par ordre de Louis XIV dans la Turquie, l’Asie, la Sourie, la Palestine, la Haute et la Basse Egypte, & c., by Paul Lucas. It is the earliest printed European depiction of the mahmal procession.","type":"Illustration","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1719","location":"London","dimensions":"Height:16 cm; Width: 35,7cm","place_of_production":"Printed in Rouen, France","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-la-marche-de-la-caravane-du-grand-caire-la-mecque-arc-pt171/","materials":["Engraved print"]},"8965ef4e-0491-5348-8ff0-02681f79580f":{"name":"Woman’s court robe (*conteş*)","short_description":"This *seraser* silk was discovered in the latter half of the nineteenth century in a monastery located in the historical region of Oltenia (southwestern Romania), probably at Bistriţa, where it was preserved as an ecclesiastical cope. A hundred years later, following ample restoration undertaken at the Museum, it regained its original form, namely that of a woman’s court robe. It can be assumed that the robe had been donated to the monastery by a boyar’s family, which testifies to the wealth and refinement of the Romanian aristocracy in the sixteenth century, given the fact that *seraser* silk was by far the most precious Ottoman textile, covered ‘from end to end’ with silver and silver-gilt thread. The robe features a design of large palmette garlands, outlined with green silk, each of which encloses a circular motif and a crescent. Between the garlands, circular motifs surrounding a star.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 151cm (from collar to hem on the back)","method_for_datation":"Stylistic analysis, comparison with related objects; technique","method_for_provenance":"Stylistic analysis","provenance":"Bursa or Istanbul, Turkey","obtention":"Transferred from the collection of the Commission on Historical Monuments in 1949.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W. and Tezcan, H., *Ipek. Imperial Ottoman Silks and Velvets*, London: Azimuth Editions, 2001: 259, fig. 179.  \nLăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 127-128, cat. no. 49.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 35, cat. no. 4, fig. 11-14.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Seraser"],"materials":["Woven silk, silver and silver-gilt thread"]},"89b49f74-0b20-58b1-a4a0-9699eb76d737":{"name":"Caucasian prayer rug","description":"In Caucasus there is a great variety of motifs due to artistic exchange among ethnic groups. Different classifications of carpets are based on the weaver's ethnicity and the geographic origin of the carpet or the carpet structure. No system of classification is based on design or motifs. Therefore it is difficult to establish the origins of this peculiar rug.  \nIn the prayer niche there is a diagonally placed polychrome (white, yellow, blue and green) of small hooked medallions on a red background. These medallions resemble an *aina kochak* motif. In the upper part of the *mihrab* (prayer niche) there are two larger medallions which resemble hooked diamond medallions. The central field is framed with three borders. The main border is a “floral vine” border in red, blue and green blossoms (possibly carnation) on a white background. This type of border can be found in Kuba, Seishour and other rugs of the Caucasus. It may be used as either the main or a minor border. Two minor borders are *laleh abbasi* (abbasi tulip).","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 144cm, W: 93cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Caucasus","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Caucasus","medahil","prayer rug"],"materials":["knotted carpet","symmetrical knots","wool"]},"89f81d78-7886-5bf1-850f-f11ee861c1ae":{"name":"Qur’an Pages with Case","short_description":"Single pages of the Qur’an from Granada remain inside this box stitched of brown, black, red and white leather. Two leather covers without a spine mantle 1,172 loose paper sheets.  \n  \nFloral and geometric patterns in red and yellow ink surround the *ayah* (verses) in Arabic calligraphy. The Mudejar and Morisco read and wrote scriptures in Arabic as well as Spanish as distinct interpretations of the Qur’an.  \n  \nSince the forced expulsion of Muslims in the 15th century, very few complete samples of Qur’ans from Andalusia still exist. While Arabic calligraphy expresses a religious devotion as the worldly form of God's word, a gradual disappearance of Islamic schools in the Iberian Peninsula limited access for Muslims to study the Arabic language.","type":"Manuscripts","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"15th century","location":"Shahaniya","dimensions":"Length: 17.5cm, Width: 12cm, Height: 5.5cm","place_of_production":"Spain, Grenada","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscriptions.","provenance":"Spain","obtention":"Purchase","bibliography":"Ekhtiar, M., *How to Read Islamic Calligraphy*, New York: The Metropolitan Museum of Art, 2018.  \nGonzalez, V., \"THE HERMENEUTICS OF ISLAMIC ORNAMENT: THE EXAMPLE OF THE ALHAMBRA\", in S. Schmidtke (ed), *Studying the Near and Middle East at the Institute for Advanced Study,* New Jersey: Gorgias Press, 2018: 375–388.  \nLopez-Morillas, C., \"The Genealogy of the Spanish Qur’an\", *Journal of Islamic Studies*, 17: 3 (2006): 255–294.  \nOmran, Z., *Applied Art ornamented by Arabic Calligraphy in the Iberian Peninsula (10th-15th centuries)*, Doctoral dissertation, 2021.","dynasty":"Mudejar","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["calligraphy","Granada","Quran","Spain"],"materials":["handwriting","Paper"]},"8a101d28-6d11-5832-8d73-47c11308f989":{"name":"Letter from Father Joseph Yazbek to the Maronite Patriarch Yuhanna el-Hajj","short_description":"A small but growing Maronite community settled in the Chinatown area of Boston in the 1890s. In 1893, the Archbishop of Boston, John Williams, assigned F. Gabriel Korkemaz as the first Maronite priest. He was succeeded by his cousin, F. Stephan Korkemaz, two years later, and shortly afterwards by F. Joseph Yazbek. At the time, the hundred-or-so families that formed Boston's Maronite community worshiped at the St. James' Church on Harrison Avenue. Father Yazbek later bought a four-storey building on Tyler Street, which he remodelled to include a chapel, social hall, and priest's residence. This letter is a copy of a letter sent by Father Yazbek to the Maronite Patriarch Yuhanna el-Hajj, inviting him to the ceremony dedicating the Syro-Maronite chapel to Our Lady of the Cedars of Lebanon.","type":"Print; letter; correspondence","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"24 December 1898","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Letter","Church dedication","Immigrants"],"materials":["Paper, ink"]},"8b569dc5-e1b2-50a0-b4d0-c169fc260f13":{"name":"Engraved rock","description":"This engraved rock bears an inscription of a poem consisting of 12 verses composed by Khalfan bin Rashid. The prose documents the completion of a well in the Wilayat of al-Hamra for the Governor Saif bin Muhammad ibn Sayyar in AH 1177 / AD 1763, during the reign of Imam Ahmad bin Said al-Busaidi, the founder of the al-Busaid Household.  \n  \nThe poem reads as follows:  \n  \nThe Almighty granted the efforts with success  \nThe well has been built with mold and rocks.  \nIts omens were like a magic,  \nThe area around seems heavenly, a garden full of trees bearing fruits.  \nWhat a garden that burying sadness, with its flourishing beauty  \nBlessed be its owner, the builder and those who dwelled in it.  \n  \nHe , who had been freehanded to build the well, is Saif, son of Mohammad ibn Sayyar,  \nAnd is the wise Wali of Oman, and the best leader.  \n( )  \nMay the Almighty Allah protect him from the enviers, and those who are disloyal  \nThe best we conclude is by prayers upon the prophet Mohammad (Peace be Upon Him) as much of rainy clouds and more.  \nIn AH 20 Safar 1177, was written by (), Khalfan bin Rashid, ().","type":"Engraved rock","holder":"National Museum of Oman","owner":"National Museum of Oman","dates":"Hegira 20 Safar 1177 / AD 29 August 1763","location":"Muscat, Oman","dimensions":"Length: 52cm, width: 25cm","place_of_production":"Wilayat of al-Hamra (ad-Dakhiliyah Governorate)","method_for_datation":"Found on the gravestone.","provenance":"Local acquisition – Purchased 2020 from Badar bin Mohammed bin Hamed al-Sinani","obtention":"Local acquisition.","dynasty":"al-Busaid","scriber":"Khalfan bin Rashid","copy_editor":"Alvaro Miranda","keywords":["al-Busaid","gravestone","water"],"materials":["Schist rock"]},"8c4c25d1-c138-5454-9937-8a71723f3492":{"name":"Prayer rug","description":"The singular shape of the *mihrab* on Milas prayer rugs with its two side indentations can be traced back to 17th- and 18th-century Ottoman carpets. Here, a triangular indentation has been added at the bottom of the niche. The red ground of the *mihrab* is decorated with parallel rows of small red or white floral motifs. The inner side of the niche is edged all around with tiny blossoms. Different coloured stylised flowers identical in shape cover the white area of the spandrels. The rather unusual decoration of the wide border includes eight-pointed stars separated by red octagons. The warm colour scheme dominated by a strong red is typical of 19th-century Milas carpets.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"First half of the 19th century","location":"Bucharest","dimensions":"H: 160cm, W: 110cm; knot density ver. 42/dm; hor. 35/dm; 1,470/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, southwestern Anatolia, Milas","obtention":"Purchased (art trade)","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 42.  \nDunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 4.  \nTuna, Ali Riza, “Later Ottoman Rugs”, in Stefano Ionescu (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 220–1.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug"],"materials":["knotted","symmetrical knot","wool"]},"8de9b633-bd8a-5dc3-8bc1-cea21fc40ec5":{"name":"Seljuq Rug","description":"This is an outstanding example of the “Konya Group”. It is considered one of the earliest Turkish rugs found in the Konya Aladdin Mosque in Anatolia. The main border bears large stylized green *kufic* letters which are contoured with white on a dark blue background. This design gives a monumental image to the rug. Such monumental *kufic*script borders are characteristic of Seljuq rugs. The thin border framing the main border inside and out has eight‒cornered dark blue crosses. The stylized double diamond infinity motifs are a dark red on a light red background. One end of the double diamond motif is open and looks like tongs. The motifs have blue dots in the middle.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 285cm, W: 520cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatının Bin Yılı*, Istanbul: Eren Yayınları, 1987: 18.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007, s.23, Kat.no.1.  \nErdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","dynasty":"Anatolian Seljuq","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Seljuq Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"8fd8864e-24a3-584e-8096-e0df273d81e1":{"name":"Hanging lamp.","description":"A ceramic lamp with bulbous body and flaring neck, painted blue-and-white. The neck bears an inscription in angular *kufic* script between friezes of geometric knotted designs. Small split-palmette tendrils emanate from some of the letters. The words are illegible but may derive from the phrase 'wa-asu Sahwan' ('and they grieved distractedly'). Around the main body is a scroll of lotus blossoms with the distinctive 'tadpole' leaf common to a number of blue-and-white ceramics of this period. The row of elongated pointed panels around the shoulder of the lamp is a design that is also found on Ottoman silverware, and a motif that recalls Balkan silverware. This presents an interesting example of the innovative exchange both artistically and culturally that saw shapes, designs and patterns shift between different materials and between the cultures of Europe and Asia.","short_description":"Around the neck of this blue-and-white ceramic lamp is a *kufic* inscription of illegible words. Although modelled on a glass prototype, this ceramic lamp would clearly give little light. Its function must have been more symbolic or decorative than functional.","type":"Blue-White ceramic","holder":"The British Museum.","dates":"About hegira 917 / AD 1512.","location":"London, England","dimensions":"Height 22.7 cm.","method_for_datation":"It is thought that this lamp came from the Turbe of Bayezid II (d. 917 / 1512), because of its close resemblance to a group of four lamps made for this building.","method_for_provenance":"Iznik was the main centre of production for ceramics of this quality in Ottoman Turkey.","provenance":"Iznik, Turkey.","obtention":"Bequeathed to the British Museum by John Henderson 1878.","bibliography":"Atasoy, N., and Raby, J., *Iznik: The Pottery of Ottoman Turkey*, London, 1989, no. 109.  \n  \nCarswell, J., *Iznik Pottery*, London, 1998, pp.41–3, plate 23.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["blue-and-white","Mosque interior decoration"],"materials":["Blue-and-white underglaze painted ceramic."]},"90125812-6d25-5c71-907f-5f0277cdf7b9":{"name":"Mosque Lamp","short_description":"Enamelled and gilded mosque lamps are a well-established type of glass vessel made in workshops of Syria and Egypt, both important centres of glass making during the Ayyubid and Mamluk periods. This Mamluk mosque lamp has a globular body, a long-flared neck and a splayed foot. Six small loop handles are applied around its body. On the neck, two narrow horizontal bands with sketchy vegetal motifs outlined in red frame a broad register with red and white enamelled floral decoration on a blue background accented by three circular medallions with a badge that usually would refer to the donor. The body of the lamp shows another wide register containing a red outlined inscription on a blue background. The *thuluth* inscription reads: “izzli-mawlana al-sultan, al-malik, al- alim, al’adil\" (Glory to our Lord, the Sultan, the King, the Wise, the Wise, the Just). The underside of the body shows the same floral pattern as the broad band on the neck. This mosque lamp probably belonged to a Cairene mosque as a donation from an unknown ruler, sultan or high officer. The floral decoration of the mosque lamp, however, is very similar to other mosque lamps belonging to the Complex of Sultan Hassan (r. 748-752 and 756-762 AH / 1347-1351 and 1355-1361 AD).","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD mid-14th century","location":"Doha","dimensions":"Height: 26.5cm, Diameter (widest point): 17.5cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 40-43, 5.","dynasty":"Mamluk","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","gilded","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with tooled, enamelled and gilded decoration","glass"]},"90a1aa86-0d15-5967-aec3-c44d24bea557":{"name":"*The Kiss of Judas*","alternate_name":"*The Treason of Judas*","description":"The sculpture represents a scene from the Gospel of St. Matthew (26:49) when Judas, one of the apostles, marks Christ with a kiss as the man who should be arrested and tried. As in the sculptures featuring Christ parting with Mary in the Heiligenkreuz Monastery Museum, Austria, and in the Bratislava City Museum, Slovakia, in *The Kiss of Judas* Giuliani concentrates – in the encounter of two figures – on the motif of instant motion typical of the work of Giovanni Bernini, a key baroque sculptor. The dramatic subject of Judas's treason is conveyed by means of the medium as a contrast in the approach to both figures: the figure of Christ is self-absorbed, resigned to his fate, characterised by calm gestures and static drapery flowing in large forms, while Judas approaches Christ in an expressively captured haste which the sculptor has portrayed, aside from Judas's step forward, by a dramatic gesture extended into space, as well as by Judas's clothes floating around the body as if blowing in a wind.  \nThe sculpture is unique, in that no associates or assistants participated in its creation, as was the case with Giuliani's sizeable works.  \nGiovanni Giuliani was apprenticed in Venice, and later in Munich under Andreas II Faistenberger. From 1690 he worked in Vienna, particularly for the aristocracy, in Moravia for the Kounics (Slavkov) and many times for the Liechtensteins (Lednice).","short_description":"The sculpture depicting a dramatic scene of treason from the Gospel of St. Matthew exemplifies a typical baroque motif of instant motion. Giovanni Giuliani was apprenticed in Venice and later in Munich. From 1690 he worked in Vienna, particularly for the aristocracy in Austria and Moravia.","type":"Wood carving","holder":"Moravian Gallery, Brno","owner":"City Museum, Brno","dates":"Early 18th century","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 36 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The overall approach to shape in the figures is classic Giuliani. His authorship is confirmed by the execution of the faces as well as by the softly modelled and finely executed drapery of both figures, which complement not only the form but also become major interpretational elements of the content.","obtention":"The sculpture became part of the museum’s collections before 1962; its provenance is unknown.","bibliography":"Miloš Stehlík, Nuovi particolari sull´opera do Giovanni Giuliani, *Sborník prací filosofické fakulty brněnské univerzity* F14–15, 1970–1971, p. 225.  \nVlasta Kratinová, in Jiří Kroupa (ed), *V zrcadle stínů.* *Morava* *v době baroka 1760–1790*, Brno–Paris–Rennes, 2002, p. 165, cat. 40.  \nLuigi A. Ronzoni*,* *[Giovanni](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=0061F25094&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Giovanni+Giuliani+%281664%2D1744%29%2E%5C%5C%5C+Band+2%2C%5C%5C%5C+Katalog) Giuliani*, Johann Kräftner (ed), Munich, 2005.","artist_birthdate":"1633","artist_birthplace":"Venice","artist_deathdate":"1744","artist_deathplace":"Heiligenkreuz","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bernini","Christian themes","dramatic nature","gesture","religious object","sculpted wood","sculpture"],"materials":["Wood with traces of gilding"]},"91edb81f-fd53-5ef4-97f9-e53eac5c04c2":{"name":"Saint Nicholas of Mozhaisk with Scenes from His Life","description":"Saint Nicholas, a 4th-century bishop from modern-day Turkey, is one of the most venerated saints in Russia. Stories of Saint Nicholas giving gifts to the needy and protecting children spread far and wide as people traveled or emigrated from Russia to other countries. In this icon, a full-length statue of Saint Nicholas is set in a *kiot* (wooden box). Painted panels with images of Christ and the Mother of God were once affixed to either side. In the center panel, Saint Nicholas originally held a sword in his right hand and a church in his left hand; both are now missing. The doors are illustrated with important scenes from the saint’s life.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1750","location":"Clinton, Massachusetts","dimensions":"Height: 83.82cm, Width: 63.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Sotheby's Auction in 2005. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"9245b827-e2b3-5d39-ad6f-d1f2358eaffb":{"name":"Fatwa on water management","alternate_name":"Legal opinion on water rights; Islamic jurisprudence manuscript","description":"This manuscript presents a fatwa—an Islamic legal opinion—concerning the management and distribution of water in Moroccan society. Issued by a religious jurist (*faqih*) in Marrakech during the AH mid-14th / AD mid-20th century, it reflects the pivotal role of Islamic law (*fiqh*) in regulating access to water as both a natural resource and a sacred trust. The fatwa provides guidance on conflicts between water users, allocation of irrigation turns, and the religious duty of ensuring fairness and equity in distribution. Written in Arabic script in clear, formal calligraphy, the text embodies the enduring connection among law, faith, and environmental stewardship in Morocco. Such documents illustrate how water, a scarce and precious resource, was historically governed through ethical and religious frameworks, complementing customary practices and communal agreements. Today this manuscript serves as a testimony to the moral and spiritual dimensions of water management, highlighting how Islamic scholarship reinforced the idea of water as a collective right entrusted by God. The manuscript’s presence in the museum underscores the continuity of faith-based governance and its influence on Moroccan hydraulic traditions.","type":"Manuscript: religious and legal text","holder":"Mohammed VI Museum of Water Civilisation","owner":"Mohammed VI Museum of Water Civilisation","initial_owner":"Religious institution / private library (later transferred to museum)","dates":"AH 1370s / AD 1950s","location":"Marrakech","dimensions":"Folio (approx.): 30cm x 22cm","place_of_production":"Marrakech","method_for_datation":"Based on internal colophon, handwriting, and curatorial records.","method_for_provenance":"Museum documentation and historical context of religious endowments.","obtention":"Museum acquisition for permanent exhibition (details not available).","bibliography":"El Faïz, M., *L’eau et les hommes au Maghreb*, Rabat: L’Harmattan, 2002.","dynasty":"Post-colonial Morocco","scriber":"Traditional Islamic scholar (anonymous copyist)","author":"MUSEUM Staff, Layan Shahin","copy_editor":"Judy Harter","keywords":["fatwa","Islamic law","Marrakech","Morocco","religious manuscript","water rights"],"materials":["Arabic script in traditional calligraphy","Ink on paper"]},"92b6403f-d36a-550d-b953-dceb45d22cf5":{"name":"Key for the Ka’ba.","description":"A single key that was used for the *Ka'ba* (meaning literally cube in Arabic). It consists of a ring (the diameter 3.6 cm) that is attached to a moveable cube-like shape with bevelled edges, and which is linked to the handle of the key. The handle consists of three small cuboids that alternate with two baluster-shaped separators. The body of the key itself assumes the form of an elongated cuboid whose cross-section is small in relation to its length, measuring 13 cm. The body of the key terminates with four protrusions.  \nA number of inscriptions with religious, political and documentary significance ornament the key including a series of inscriptions written in *naskhi* script that appear on all three of the handle cuboids. The inscriptions, carved on four planes of the first, read as follows: 'It is He who has sent His messenger with guidance and the religion of truth to prevail it over all religion' (Qur'an: 'The Victory'; 48:28). The inscriptions written on the second are: 'By order of Allah, no God but Allah – Sha'ban ibn Husayn – in the year 765'; while the inscriptions on the third cuboid read: 'One of the things made for Bayt al-Haram (the Sacred House, the *Ka'ba*) during the reign of our lord the Sultan al-Malik al-Ashraf'. Thus, the inscriptions clearly indicate that the owner of the key was the Mamluk Sultan al-Ashraf Sha'ban ibn Husayn who began his reign on a Tuesday, the 15th day of the month of Sha'ban, in the year AH 764 (AD 1362), when he was 12 years old, and that he ruled Egypt and the Levant until his death in AH 778 / AD 1376. The key bears the date of manufacture, AH 765 (AD 1363).  \nOn the shaft of the key there are a number of inscriptions in Mamluk *naskhi* script, distributed over its four surfaces. These consist of the following Qur'anic verses: 'Verily We have granted thee a manifest victory: That Allah may forgive thee the faults of the past and those to follow; Fulfil his favour to thee and guide thee on the straight way. And that Allah may help thee with powerful help. It is He who sent down tranquillity in to the hearts of the believers to increase their faith'. ('The Victory'; 48:1–4). 'The first house \\[of worship\\] appointed for men was that at *Bakka* full of blessing and of guidance for all kinds of beings. In it our signs manifest; (for example), the Station \\[*maqam*\\] of Abraham; whoever enters it attains security; Pilgrimage thereto is a duty men owe to Allah – those who can afford the journey; but if any deny faith, Allah stands not in need of any of his creatures.' ('Al-Imran'; 3:96–7).  \nIt may be observed that the Qur'anic verses recorded on the body of the key complement the key's objective, and affirm the religious obligation of the *Hajj* (pilgrimage) on Muslims. In addition, the verses allude to the city of Mecca by the name 'Bakka' which is one of a number of names given to the city including, 'Umm al-Qur'a', 'al-Balad al-Amin' and 'al-Bayt al-Haram'. Likewise, the verses also point out the Station of the Prophet Abraham. According to Imam al-Bukhari, the intended meaning of the Station of Abraham is a rock, upon which Abraham is believed to have stood when he raised the building of the *Ka'ba*. The rock is located in proximity to the *Ka'ba* and is covered by a wooden dome, the interior of which is decorated with gilded ornamentation. The structure rests on stone supports, between which there are four iron windows.  \nEgypt used to send the keys of the *Ka'ba* with the *kiswa* (cover) every year to Mecca. Despite the fact that the keys were presented every year, those housed in museums today number very few, and date back to the Mamluk and Ottoman periods. The Topkapi Palace Museum in Istanbul has acquired most of the *Ka'ba* keys, while the Islamic Art Museum in Cairo houses only this one *Ka'ba* key.","short_description":"Sultans and amirs sent gifts to the holy sites in Mecca, Medina and Jerusalem. This key was a gift from Sultan Sha'ban to the Ka'ba. It is decorated with verses from the Qur'an, ornamentation and inscriptions. A *kiswa* (covering) for the Ka'ba was sent with the key every year in the pilgrimage season.","type":"Key, the Ka'ba,wood","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Ashraf Sha'ban ibn Husayn.","dates":"Hegira 765 / AD 1363.","location":"Cairo","dimensions":"Length 34 cm.","method_for_datation":"The key is accurately dated by the inscription recorded on it.","method_for_provenance":"It is likely that this key was made in Egypt since it carries the name of the sultan of Egypt at the time and the year of production. That this piece was made in Egypt is further supported by the fact that Egypt was responsible for despatching the *kiswa* along with the key each year to Mecca.","provenance":"Egypt.","obtention":"This object was purchased in 1945 from a dealer of antiquities, Ralph Harari.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nMajid, Abdel Al-Mon'em, “Mafatih al-Ka'ba \\[Keys of the Ka'ba\\]”, *Mijalat Kuliyat al-Athar* \\[*Journal of the Faculty of Antiquities*\\], Vol. 1, 1978, pp.108–9.  \nSayour, S., “Mafatih wa Kiswa al-Ka'ba \\[Keys and the Covering of the Ka'ba\\]”, *Prism Magazine* (Foreign Cultural Relations Dept., the Egyptian Ministry of Culture), No. 6, 2000, pp.29–32.  \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":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","hajj","in-lay","inscription","Ka’ba","Key","Kiswa","naskhi script","religious object"],"materials":["Copper inlaid with silver."]},"934df7dd-8577-516b-8cc1-6742a0d27a2d":{"name":"Mosque lamp.","description":"A large ceramic mosque lamp with a high flaring neck and a bulbous, almost pear-shaped body on a low foot. The lamp is divided into three registers by thin white bands. In the top register, around the neck, a Qur'anic inscription features part of the famous Light Verse (24: 35), which, because it likens the light of God to a lamp, was often used on mosque lamps. The lower two registers are decorated with floral motifs on the body which are painted under the glaze in turquoise, cobalt-blue, black, and red. Curiously, the floral motifs, most noticeably the large bisected quatrefoil motifs in red, do not line up between the middle and lower registers; perhaps the painter was working from a design not originally meant for an object of this shape. Around the middle of the lamp are large bosses alternating with handles, one of which is now missing. The loss of one handle may be the reason that the suspension chains have been riveted directly to the lamp's body.  \n  \nThis 'lamp' – which would have shed no light, being made of ceramic, and is thus clearly meant to be symbolic – is reputed to have been made for the mosque complex in Istanbul built by Sultan Süleyman 'the Magnificent'. This complex was an important act of architectural patronage which provided a major stimulus to the Ottoman ceramic industry, centred at Iznik. One result was the addition of a brilliant red to the colour range of Ottoman ceramics. The clearly tentative quality of the red on this lamp, the thin and uneven application of the pigment, indicates that it comes from the early phases of the Ottoman potters' experimentation with the colour.","short_description":"A ceramic ‘lamp’ with a bulbous body and flaring neck. Although clearly meant to hang from a ceiling like a regular lamp, it would have shed no light, and is thus clearly meant to be symbolic. It is reputed to have been made for the Süleymaniye mosque complex, which was completed in AH 963 / AD 1557.","type":"Ottoman ceramics, glazed, calligraphy","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Süleyman the Magnificent.","dates":"Around hegira 963 / AD 1557.","location":"London, England","dimensions":"Height 48 cm, diameter 31 cm.","method_for_datation":"The lamp is supposed to have been made for the mosque complex built by Sultan Süleyman in around 963 / 1557.","method_for_provenance":"Iznik was the centre of quality ceramic production in this period.","provenance":"Iznik, Turkey.","obtention":"Purchased by the Museum in 1885.","bibliography":"Atasoy, N., and Raby, J., Iznik: The Pottery of Ottoman Turkey, Istanbul/London, 1989, p.224.  \n  \nAtil, E., The Age of Sultan Süleyman the Magnificent, Washington, DC, 1987, pp.264–7.  \n  \nLane, A., Later Islamic Pottery: Persia, Syria, Egypt, Turkey, London, 1957, p.56.  \n  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.28, p.103.  \n  \nWatson, O., \"An Iznik Mosque-Lamp,\" Oriental Art 35:4, Winter 1989–90, pp.194-5.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","Mosque interior decoration","patronage","religious object"],"materials":["Painted and glazed ceramic."]},"93ee1091-8763-5b6d-885f-d833bd95f55d":{"name":"Incantation bowl","description":"The bowl is inscribed in Mandean script, in Aramaic Mandean dialect. The text spirals from the bottom of the bowl about fifteen times around. The beginning of the text is unreadable because of a crystal deposits and blackening. The name of the sponsor, the beneficiary of these incantations, which is typically stated at the beginning of the text, remains unknown here. The remaining lines consist essentially of a repetition of names of demons exorcised by linked formulas, including the female demon Lilith, her ancestors (“all her families and lineages”), and her offspring. The Aramaic communities of Mesopotamia are heirs to ancient beliefs dating back to the Akkadian and even Sumerian texts, according to which demons were of an inexhaustible variety. The Mandean, because of his dualistic faith, believes in evil spirits whose harmful actions he dreads. Magic is therefore an essential aspect of his religious life. This practice, consisting in burying the cups thus inscribed at the four corners of the house, was widely diffused among the various religious communities of Mesopotamia until the Muslim conquest and beyond.","type":"Ceramic","holder":"Museum of the Arab World Institute","dates":"Before Hegira 2nd-1st century / AD 6th-7th century","location":"Paris","dimensions":"Height: 6.4cm, Diameter: 19cm, Base diameter: 5.8cm","provenance":"Nippur (?), Iraq","obtention":"Purchased at Art Musulman gallery in 1984.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 295.  \n  \nMoulierac, J., et al., *Céramiques du monde musulman: collections de l'Institut du monde arabe et de J.P. et F. Croisier* , Paris: Institut du monde arabe, Paris, 1999: 151.  \n  \nSafadi, Y.H., *Calligraphie islamique*, Paris: Chêne, 1978: 6.  \n  \nRéunion des Musées nationaux, *Naissance de l'écriture: cunéiformes et hiéroglyphes*, Paris: Réunion des Musées nationaux, 1982: 113, 183, Fig. 73, 74.  \n  \nSoustiel, J., *La céramique islamique*, Fribourg: Office du Livre, 1985: 34, Fig. 16.  \n  \nTeixidor, J., \"The Syriac Incantation Bowls in the Iraq Museum\", Sumer,18 (1962): 51–62.","translator":"Judy Harter","materials":["inscription traced in black ink.","Unglazed ceramic"]},"940aec1c-3a64-5908-99a0-bb3d302b70cd":{"name":"The Noble Qur’an (single volume)","short_description":"The circle is an Islamic symbol of wholeness and unity and a quintessential element of Omani design. This is a recurrent theme throughout Islam culture as demonstrated by this example of the Noble Qur'an. Circular motifs and families of patterns are based on the mathematical division of circles into smaller geometric components. Hexagons, octagons, squares and triangles are used in combination with smaller circles and other geometric elements to form elaborate medallion-like designs known as 'roundels'. Roundels are featured in wood, plaster, copper and silver work and serve as a central motif on the *al-kummah* (men’s traditional embroidered cap). Contained entirely within a single circle, the roundel exemplifies the mathematical lucidity that characterises all Islamic art and architecture.","type":"Manuscript","holder":"National Museum Oman","dates":"Rabi al-Awwal 1295 AH / 6 March 1878 AD","location":"Muscat","dimensions":"Length: 33.4cm, Width: 24.3cm, Weight: 2212.7g","obtention":"Ministry of Heritage and Culture Collection","dynasty":"Al-Busaid","scriber":"Umar bin Salim bin Said al-Mahruqi","copy_editor":"Valerie Pulsifer","keywords":["manuscript","Noble Qur'an"],"materials":["Ink on paper"]},"94a5375c-0f26-51bb-b2ed-85c5c6b0cf18":{"name":"Portière (*kapı perdesi*)","short_description":"Used mostly to embellish garments, furnishings or household items, Islamic embroidery is also present on large textiles. The most important is *kiswa*, the cover enclosing the Ka'ba, which is sent every year to Mecca at the time of the pilgrimage. Over the door of the Ka'ba hangs an embroidery called *sitara*, decorated with inscriptions in different calligraphic styles. The present embroidery was probably destined to cover a mosque door. The rounded arch in the centre recalls the shape of the *mihrab* and its representation on prayer rugs. The entire surface of the cover, made from yellow, red, black, and turquoise pieces of silk, is decorated with cartouches and rosettes filled with vegetal and epigraphic motifs embroidered in the *dival* technique, i.e. over a base of paper or wool. The inscriptions, some of which were written in mirror-image, are illegible.","type":"Embroidery","holder":"The National Museum of Art of Romania","dates":"Hegira 13th century / AD 19th century","location":"Bucharest","dimensions":"Height: 317cm, Width: 209cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Transferred in 1949 from the Toma Stelian Museum in Bucharest.","bibliography":"Beldescu, A., *Broderii turceşti*, Bucharest: National Museum of Art of Romania, 1997: 14, cat. no.1.  \nDunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 66, cat. no. 40.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Mirror inscription"],"materials":["Silk embroidered with silver-gilt thread"]},"95f0e5c9-0936-55b5-ae88-631dafd406d1":{"name":"*Minbar*.","description":"The *minbar*, a raised wooden pulpit used for delivering the weekly oration, or *khutba*, during Friday communal prayers, is one of the earliest types of Islamic liturgical furnishings, introduced in the time of the Prophet himself. When Nur al-Din (d. AH 569 / AD 1174) came to rule Syria and al-Jazira, he commissioned several important *minbars* as part of his propagation of piety and *jihad*. He assigned the execution of these wooden *minbars* to the renowned carpenters of Aleppo.  \nThis *minbar,* now located in the Museum of Hama, was commissioned by Nur al-Din as part of a new mosque he constructed in Hama in AH 558 / AD 1163. It consists of a narrow staircase attached to a raised chair with a covered top. Although it has lost its original stairs and flanking walls, the upper structure is entirely original. The raised chair is square with three arched openings and a back rest. A richly engraved and domed entablature crowns the top. Vegetal and geometric arabesques demonstrate a high level of wood carving. It also contains two historical inscriptions along the friezes on either side of the balustrades. The left inscription, which has been removed and hung above the mosque's entrance, speaks of Holy War and Justice. The right inscription, still *in situ*, emphasises Piety and Humility. The cornice also bears a Qur'anic inscription describing the wonder of God's Creation and the Heavens, while the back of the chair is inscribed with the *Shahada*, or declaration of faith, written in two lines of large *thuluth* script within a cartouche.  \nClearly, the *minbar* re-affirms Nur al-Din's political and religious position, a stance which is reiterated on the inscriptions of the mosque as well. The importance of the *minbar* lies in its symbolism of authority. The inscriptions carved upon it and the speeches delivered from its platform are visible and aural manifestations of the community's leadership and vision. In Nur al-Din's case, historical records show that he was meticulous in organising what was said on his behalf in the many mosques built in his name. The image he projected was one of piety as opposed to magnificence, humility as opposed to wealth, and always dedication to Holy War.  \nNur al-Din's dream of liberating Jerusalem is expressed by a similar but more richly ornamented *minbar* he commissioned for the Aqsa Mosque in Jerusalem, prior to its reconquest from the Franks by Saladin. Sadly, this *minbar* was destroyed by fire in recent history (1969).","short_description":"Nur al-Din's *minbar* of Hama is an important example of Syrian woodcarving. Nur al-Din is known to have employed the most talented Aleppine carpenters to create a number of *minbars* which he distributed throughout the mosques of Syria in order to preach Holy War when the Crusaders took Jerusalem.","type":"Woodwork, minbar, wood","holder":"Hama Museum","initial_owner":"Nur al-Din Mahmud bin al-Zangi (r. AH 541–69 / AD 1146–74).","dates":"Hegira 558 / AD 1163","location":"Hama","dimensions":"Height (at highest point) 430 cm, length 320 cm, width 85 cm.","method_for_datation":"The inscription on the back of the chair reads “559” (1164).","method_for_provenance":"The pulpit was originally in the Nur al-Din Mosque in Hama which was constructed by Nur al-Din Mahmud bin Zangi in 558 / 1164.","provenance":"Hama, Syria.","obtention":"Although it was originally located in the Nur al-Din Mosque in Hama, the *minbar* is now in the Hama Museum.","bibliography":"Ettinghausen, R., Grabar, O., and Jenkins-Madina, M., *Islamic Art and Architecture 650–1250*, New Haven, 2001.  \nMoaz, A. R., “The Minbar of the Aqsa Mosque, Woodwork in 12th-Century Syria-Palestine”, *Islamic Arts and Crafts*, Istanbul, (in print).  \nTabbaa, Y., \"Monuments with a Message: Propagation of Jihad under Nur al-Din (1146–1174)”, *The Meeting of Two Worlds: Cultural Exchange between East and West during the Period of the Crusades.* (ed. Vladimir P. Goss), Michigan, 1986, pp.223–40; figs. 24, 25.","dynasty":"Atabeg/Zangid","author":"Waal Hafian","copy_editor":"Mandi Gomez","keywords":["carving","geometric decoration","geometric design","Hama","inlay","jihad","Mosque","Mosque interior decoration","Nur al-Din Mahmud bin al-Zangi","wood","zangids"],"materials":["Carved and inlaid wood."]},"9689a417-7d8e-5c3e-bb23-afdd8da1ff34":{"name":"Carpet","description":"The rug’s red-background, three-part prayer niche (*mihrab*) is supported by slender columns set on footings and arranged in a 1+2+2+1 formation. A carnation representing a lamp hangs from the peak of the central, higher arch and from each of the two outer, three-peak arches. The blue spandrels above the arches are decorated on each side by two arabesque-like curved leaves leaning towards each other and one serrated rosette; in the middle, the palmette growing out of the peak of the *mihrab* is surrounded by serrated leaves. The horizontal band, the frieze above the arch is filled with arabesque-like motives alternating with each other on a red ground.  \nThe main border contains undyed and red serrated rosettes sting along an undulating stem on ochre ground. The inner secondary border consists of small flowers of alternating orientation and colours. The outer secondary border is a succession of rosettes alternating with tree-of-life on a red ground.  \n  \nThe provenance of the rugs is still uncertain, and so they are found referred to under a variety of names in the literature. Ernst Kühlbrandt, and later Emil Schmutzler mentioned this group of rugs as Säulenteppich (Kühlbrandt 1911, Schmutzler 1933), but later scholars, identifying their place of manufacture as the town of Ladik, designated them Ladik prayer rugs. In a 1968 publication, May H. Beattie called the Ladik origin into doubt and traced the six column type to 16th century Ottoman Court rugs, naming them, after the double column supporting the three-span vault, coupled column prayer rugs (Beattie 1968). Beattie classifies six column prayer rugs by the decoration in the spandrels above the arches. Ferenc Batári also considered there were insufficient grounds for asserting that the rugs came from the town of Ladik, he used the title ‘Ladik type prayer rugs’ (Batári 1994). Stefano Ionescu adopts the Beattie classification and maintains that the technical execution of the rugs is close to the other types found in Transylvania. He classifies column rugs by the number of columns, i.e. two, three, four, five and six column “Transylvanian” rugs (Ionescu 2007, p. 67–68). (Pásztor 2007, 137.).","type":"Prayer rug","holder":"Eszterháza Kulturális, Kutató- és Fesztiválközpont","owner":"Eszterháza Kulturális, Kutató- és Fesztiválközpont, Fertőd-Eszterháza","dates":"Hegira 11th century / AD 17th century","location":"Fertőd-Eszterháza","dimensions":"L: 189cm, W: 132cm, warp: 76/dm, weft: 38/dm; knot: 37/dm; knot density: 1406 /dm2","method_for_datation":"The six-column prayer rug, a version of Ottoman Turkish prayer rugs was very popular during the 17th century. Their general characteristic is a prayer niche (*mihrab*) whose background colour is red or ochre (and rarely ivory or blue), divided into three parts by slender columns in a 1+2+2+1 distribution.","method_for_provenance":"The carpet was exhibited at the 1914 Turkish Carpets from Transylvania exhibition in the Museum of Applied Arts in Budapest, it appeared under catalogue number 284. (Csányi 1914, 81). The carpet was published by Végh 1925, 24. Since then until xxxxxx the carpet's whereabouts were unknown. This carpet was the prototype of many  copies or forgeries made at  the Tuduc worshop in Rumania between 1925-1940. (Ionescu 2012, 94.)","provenance":"Turkey, Western Anatolia (Ladik ?)","obtention":"Purchased from XXXXX in XXXX. Formerly at the collection of Mrs József Keszler, née Irma Reich, Budapest","bibliography":"Csányi, K. (with Csermelyi, S. and Layer, K.), *Erdélyi török szőnyegek kiállításának leíró lajstroma* (Exhibition of Turkish Carpets of Transylvania. Descriptive catalogue), Budapest, Országos Magyar Iparművészeti Múzeum (National Hungarian Museum of Applied Arts) 1914, no. 284, p. 81.  \nVégh, J. - de-Layer, Ch., *Tapis Turcs provenant des eglises et collections de Transylvanie*, Paris n.d. (1925) pl. 24.  \nIonescu, S., *Handbook of Fakes by Tuduc *(World's most famous rug forger, Berlin: fourth edition published on the occasion of the Volkmann-Treffen Symposium, October, 2012, p. 94. Pásztor, E., *Ottoman Turkish Carpets in the Collection of the Budapest Museum of Applied Arts*, Budapest, Museum of Applied Arts 2007.**","dynasty":"Ottoman","author":"Emese Pásztor","keywords":["Ottoman carpet","prayer niche","prayer rug","Warp","wool"],"materials":["Wool, Gördes knot"]},"96998c67-dbae-5a23-8da5-21ca0231218d":{"name":"Mosque lamp.","description":"Lamp in the form of a jar with six rings for suspending it and a tall truncated cone-shaped foot. It has an inscription in duplicate on the neck and on the rounded part with the following text: 'This is one of the objects made for the mausoleum of Amir Alan al-Din Ali, son of his Excellency Sayf al-Din Baktamur, *al-hajib* (chancellor), may God grant him mercy.' Three blazons divide the inscription on the neck into equal parts, while another three blazons alternate with stylised arabesques around the lower section of the rounded part. The tall foot has three medallions with simple trefoil motifs. The circular blazon is divided into three fields: the upper and lower areas are white, while the central field contains the image of a horse with a structure in the form of a cupola on its back.","short_description":"The lamp’s inscription dates it to c. AH 721 / AD 1321: ‘This is one of the items made for the mausoleum of Amir Alan al-Din Ali, son of his Excellency Sayf al-Din Baktamur, *al-hajib* (the chancellor), may God grant him mercy’. The shape and decoration of the lamp are typical of the Mamluks.","type":"Lamp, glass","holder":"Calouste Gulbenkian Museum.","initial_owner":"Amir Alin ibn Baktamur.","dates":"Later than Hegira 23 Muharram 721 / AD 21 February 1321.","location":"Lisbon.","dimensions":"Height 31 cm, diameter (of rim) 21 cm, diameter (max.) 20.5 cm, diameter (of base) 13.5 cm.","method_for_datation":"Dated, according to the inscription, a short time after the death of the Amir Ali ibn Baktamur, on 21 February 1329.","method_for_provenance":"By expert examination, stylistic and comparative analysis and published catalogues.","provenance":"Egypt or Syria.","obtention":"It came from the collection of Baron Gustave de Rothschild, purchased from Philip Sassoon through Joseph Duveen, in London, on 8 November 1919.","bibliography":"*Arte do Oriente Islâmico. Catálogo*,Lisbon, 1963.  \n*Museu Calouste Gulbenkian. Catálogo*, Lisbon, 2nd edition 1989.  \n*Only the Best: Masterpieces of the Calouste Gulbenkian Museum, Lisbon*, exhibition catalogue, New York, 1999.  \nRibeiro, M. Q. and Hallet, J., *Os Vidros da Dinastia Mameluca no Museu Calouste Gulbenkian*, Lisbon, 1999.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Maria Queiroz Ribeiro","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Alin ibn Baktamur","blown glass, Mamluks","Egypt","Lamp","Mosque interior decoration","Syria"],"materials":["Honey-coloured blown glass with gilded decoration and enamelled in blue, red, pink, green, yellow and white."]},"96b73ca3-92f9-5650-8a53-7c417d5387ad":{"name":"Mosque lamp.","description":"An enamelled glass mosque lamp with a flaring mouth and squat body standing on a low foot. The glass is brownish, with decoration in blue and white enamelling, and highlights in red, green, yellow and gold. The decoration consists almost exclusively of an inscription in majestic *thuluth* script, with additional bands of exuberant floral decoration around the neck and just above the foot. The inscription includes verses from the Qur'an (83:22, 24–5) and the phrase 'Glory to our lord, the Sultan, al-Malik al-Muzaffar, the learned, the just, Rukn al-Dunya wa'l-Din, may God grant him victory'. This refers to the Mamluk Sultan Rukn al-Din Baybars II, who ruled only for a short period, from AH 708–9 / AD 1309–10, before being overthrown and killed. He did, however, govern with a fellow officer as co-regents for the captive al-Nasir Muhammad Ibn Qala'un, beginning in AH 698 / AD 1299. He also built a fine complex in Cairo, containing his tomb as well as a lodge for Sufis, between AH 704–8 / AD 1306–9. Inscriptions in the building – immediately erased by his successor – referred to him even then as Sultan. Since the Qur'anic inscriptions on this lamp refer to the afterlife, it may have been intended to hang in the tomb chamber. The lamp's decoration is also similar to that found in a large Qur'an that Baybars had commissioned for the same complex, suggesting that there may have been a team of designers consciously working to give a unified look to the decorative programme there.","short_description":"An enamelled glass lamp of typical Mamluk form, whose decoration is almost exclusively calligraphic. It includes Qur’anic verses and praise of the short-lived Sultan Rukn al-Din Baybars II. The verses refer to the afterlife, implying that the lamp may have been intended for the sultan’s tomb.","type":"Glasswork, enameled","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Rukn al-Din Baybars II.","dates":"Between hegira 704 and 709 / AD 1306 and 1310.","location":"London, England","dimensions":"Height 29 cm, width 25.4 cm.","method_for_datation":"The lamp dates from the brief reign (708–9 / 1309–10) of the Mamluk Sultan Rukn al-Din Baybars II, to whom the phrase in the inscription, 'Glory to our lord, the Sultan, al-Malik al-Muzaffar, the learned, the just, Rukn al-Dunya wa'l-Din, may God grant him victory', refers.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1900.","bibliography":"Ayers, J., Oriental Art in the Victoria and Albert Museum, London, 1983, p.113.  \n  \nCarboni, S. and Whitehouse, D., Glass of the Sultans, New York, 2001, pp.230–2.  \n  \nLamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1929–30, pp.428-9.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["Enamelled glass."]},"97c84e4d-b5db-513a-8e7d-cfa06d0b62ff":{"name":"In Thee Rejoiceth","description":"This icon is based on a famous hymn written by 7th-century saint and theologian, John of Damascus, to the Mother of God. The hymn includes the following text:  \n  \nAll of Creation rejoices in thee, O full of grace:  \nthe angels in heaven and the race of men,  \nO sanctified temple and spiritual paradise,  \nthe glory of virgins, of whom God was incarnate  \nand became a child, our God before the ages.  \nHe made thy body into a throne,  \nand thy womb more spacious than the heavens.  \nAll of creation rejoices in thee, O full of grace:  \nGlory be to thee  \n  \nIn this icon, the images of the Mother of God and Christ are serene while the choir of saints and people depicted at the lower part of this icon are animated and immersed in song. The landscape, with green trees on a white background, is symbolic of paradise. The crowd at the bottom of the image represents humankind, and the domes signify the church.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 32.5cm, Width: 27.5cm, Depth: 2.6cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"99095f8b-3eac-55bd-8d83-8bd6a4a69678":{"name":"Qur’an","short_description":"This *juz'* is the final section of a 30-volume Qur’an from Morocco, written in brown ink using *maghribi* script, developed in AH 4th century / AD 10th century North Africa. Sura headings are in Kufic script, the word Allah is highlighted in gold through the text. Verses are marked by polylobed gold markers, while groups of verses are separated by teardrop and circular shapes. Copied by Ahmad ibn ‘Ali, it was dedicated to Abu Muhammad Sayyid ‘Abdallah al-Ghazwani, a Sufi saints of Marrakesh.","type":"Manuscript","holder":"Museum of Islamic Art","dates":"Hegira 1063 / AD 1653","location":"Doha","dimensions":"Height: 25.8 cm, width: 20.5 cm, depth: 3.3 cm","provenance":"Morocco","obtention":"Bernard Quaritch Ltd, until 1999; sold to Qatar Museums via Bonham's London","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \nHilloowala, Franak, *Reading Qur'anic Manuscripts*, Doha: Bloomsbury Qatar Foundation Publishing, 2011.","dynasty":"Alawite","author":"Mounia Chekhab-Abudaya","keywords":["Alawite","manuscript","Morocco"],"materials":["Illumination, Calligraphy, Bookbinding","Ink, Opaque Watercolour, Leather, Gilt Paint, Paper"]},"998a912b-36fb-51e9-9d23-92392129a07c":{"name":"Prayer rug.","description":"A rug produced by peasant weavers in Ghiordes, Anatolia, famous for their tightly woven work with a short, silky wool pile. Ghiordes was one of the major carpet-making centres during the AH 13th / AD 19th century and both the design and colour scheme of this rug, a deep-blue niche framed with elaborate spandrels and borders, is typical of Ghiordes rugs. The niche confirms that this is a prayer rug, used to provide a ritually clean place for the five daily prayers. The niche reflects the *mihrab* or prayer niche in an Islamic mosque, indicating the direction to Mecca, towards which Muslims turn in prayer. It may also symbolise the gateway to Paradise. The ornament suspended in its apex may have a spiritual meaning.","short_description":"Every household in Ghiordes, Anatolia, had a handloom for the womenfolk and girls to weave small carpets and prayer rugs on. This prayer rug is decorated with an elaborate central niche reminiscent of the architectural prayer niche found in Anatolian mosques.","type":"Wool, Knotted, Carpet","holder":"St. Mungo Museum for Religious Life and Art, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Length 183 cm, width 119 cm.","method_for_datation":"Artistic analysis: both the layout and weave of this rug resemble several other 13th- / 19th-century prayer rugs of this type, attributed to Ghiordes in Anatolian Turkey in particular.","provenance":"Gördes, Anatolia, Turkey.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Bennett, I., *Rugs and Carpets of the World*, London, 1977.  \n  \nScarce, J. M., 'Oriental Carpets: The Burrell Collection', *Arts of Asia*, May–June 1990, p.136.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["floral decoration","religious objects"],"materials":["Wool (warp and weft and pile) with cotton in parts","woven on a handloom."]},"998d3461-0770-50eb-a5de-123b9ad0c56d":{"name":"Healing basin","description":"The base is low, and the body is hemispherical. Both the bottom and the rim are flat, while the centre is slightly convex. The interior and exterior are inscribed. The inside of the healing bowl is divided into thirteen mihrab-shaped sections. The base bears the inscription \"Sahip Ali\" in Ottoman Turkish.","type":"Bowl","holder":"Edirne Museum Directorate","dates":"AH 13th / AD 19th century","location":"Edirne","dimensions":"Diameter: 16cm","dynasty":"Ottomans","copy_editor":"Alvaro Miranda","keywords":["bowl, healing","brass","Ottomans","Religion","water"],"materials":["Brass","incised, forged"]},"9a411d81-270a-514a-a9ac-3f661d8e4f3e":{"name":"Mosque lamp","short_description":"This hammered brass lamp is decorated with openwork pattern inlaid with silver and a black compound. It was commissioned for the mausoleum of Mamluk ruler al-Malik al-Zahir Baybars (AH 620-675 / AD 1223–1277), constructed in Damascus in AH 675 AH / AD 1277. The inscription carries the words that plead God to sanctify the sultan's spirit and illumine his tomb. A tray would have accompanied this lamp, which when filled with oil and suspended, would have projected the inscriptions across the mausoleum.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 7th century  / AD 13th century","location":"Doha","dimensions":"Height: 29cm, Diameter: 25.5cm, Circumference: 94cm","provenance":"Syria, Damascus","obtention":"Cornette de Saint-Cyr, Nouveau  \nDrouot, Paris, 26 May 1981, lot 89  \n(top; bottom acquired later in  \nDenmark); Jasim al-Humayzi  \nCollection until 1999; sold to Qatar Museums","bibliography":"Abdellatif, Rania, *Syria Matters*, Milano: Silvana Editoriale, 2018.  \n  \nAl Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection* London: Thames & Hudson, 2022.  \n  \nKomaroff, Linda, *The Gift Tradition in Islamic Art*, Los Angeles: Yale University Press, New Haven and London, 2012.","dynasty":"Mamluk","author":"Tara Desjardins","keywords":["calligraphy","inlay","Lamp","Mamluk","metalwork","Mosque","Syria"],"materials":["Brass, Silver, Black compund, Solder","Inlaying, Openwork, Gilding, Hammering, Soldering, Engraving"]},"9adcd1ba-69fc-5d1e-b977-f72226d33bb1":{"name":"Processional cross.","description":"A cross with *fleur-de-lys* outlines, with the upright and two arms intersecting inside a square, a flattened spherical node, and fitted into a tubular pole. The decoration of the field of the cross is formed by a continuous band which runs round the edge of the entire piece and contains lozenges and triangles inside it, filled with geometric and floral motifs. In the corners of the square into which the centre of the cross is inscribed there are four eight-leaved shapes. The reverse is similarly outlined by a band, with the branches and upright filled with plant-inspired geometric interlacing. A large circumference is formed in the centre, decorated with rather complex geometric interlacing, forming multiple centres, which are the most typical Islamic element of the decoration of the cross. The decoration and the strong likelihood that the metal was extracted from a North African mine suggest that this is the work of a craftsman of the Islamic peninsular communities, Christianised or otherwise, but obviously working for the Christian kingdoms of the Iberian peninsula.  \nThis type of cross had a twofold function: it served as a cross to be held aloft in processions and funerals, but was also able to be fixed to a base and used as part of the liturgical instruments on the altar.","short_description":"This cross of unknown origin would have been produced in the AH 8th / AD 14th century. The interlacing patterns, typical of Islamic art, at the centre of one side of the cross are particularly noteworthy. This piece would have been made by a Muslim artist working for a Christian patron.","type":"Cross, copper","holder":"National Museum of Ancient Art.","dates":"14th century.","location":"Lisbon.","dimensions":"Height 63 cm, width 37 cm, weight 1814.2 gr.","method_for_datation":"For stylistic reasons relating to the shape of the cross.","provenance":"Unknown.","obtention":"Purchased from a private individual in 1878 by the National Academy of Fine Arts, it was incorporated into the collection of the National Museum of Fine Arts and Archaeology, set up in 1884 as part of the Academy. The National Museum of Ancient Art took over this collection when it was created in 1911.","bibliography":"Cordeiro, M. I. G. M., 'A Arte do Ferro em Portugal', National thesis for Museum Curators, unpublished typed text, Lisbon, 1962.  \n*Inventário do Museu Nacional de Arte Antiga. Colecção de Metais. Cruzes Processionais – Séculos XII–XVI,* Lisbon, 2003.  \n*Portugal Islâmico: Os últimos Sinais do Mediterrâneo*, exhibition catalogue, Lisbon, 1998, p.302.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","author":"Joaquim Oliveira Caetano","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Cross","geometric decoration","Mudéjar","religious object"],"materials":["Incised and gilded copper."]},"9af64071-595d-57de-a710-92c27227476c":{"name":"*Antependium with the Tribute of Continents and Imperial Countries to the Holy Family*","description":"This colourful embroidery was executed as a “needle painting” and is set within an original gilded frame. An eventful scene opens out with a central motif of columned architecture with staircases and balustrades, and adoring female figures. At the bottom left, four girls kneel, with the coats of arms of the imperial Electors of the clergy who facilitated the foundation of the Franciscan Convent of St. Joseph in Brno. The Archbishops of Treves, Cologne and Mainz are represented by the coats of arms of Karel Kaspar von der Leyen (1652–1676), Maximilian Heinrich von Bayern (1650–1688) and Johann Philipp von Schönborn (1647–1673). Opposite, four girls kneel with the coats of arms of the imperial countries: Bavaria, Saxony, Brandenburg and Pfalz. In the centre are four female personifications of the continents, Asia, America, Africa and Europe, in precious attire. The women and a host of lay people of both sexes pay tribute to the Holy Family. The Virgin Mary is supervising the education of Jesus, while St. Joseph hands to the Pope – a personification of the Church – a sheet with the text *Ecclesiae Petenti Satisfiat*. The scene is crowned with the dove of the Holy Spirit. At the sides are monumental summerhouses with decorative vases and cartouches with the inscription *Ite ad Joseph* (Go to Joseph), while the Old Testament quotation (Gen 41:55) relates to the figure of St. Joseph of Nazareth. In combination with the text on the donated sheet, it elucidates the subject of the embroidered antependium emphasising the role of St. Joseph, patron saint of the Franciscan Convent of St. Joseph in Brno, as a righteous protector of the church and promoter of Divine will. Towards the horizon, various landscapes alternate on the antependium, valleys and hills dotted with dominant castles. The intricate layout of the embroidery may refer to a major event in the history of the Franciscan convent or it could commemorate the establishment and construction of the Convent Church of St. Joseph in 1651–1653.","short_description":"The subject of the technically and artistically remarkable antependium is derived from the legends of St. Joseph, a popular saint of the Baroque period. It is one of only a few examples of the use of figurative embroidery in sacred art during the first half of the 18th century, and a specimen of monastery art.","type":"Embroidery and painting in original gilded frame","holder":"Moravian Gallery, Brno","owner":"Czech-Moravian Province of the Roman Union of the Order of St. Ursula, Prague (OSU Prague)","initial_owner":"Franciscan Convent of St. Joseph, Brno","dates":"1710–1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 291 cm; w: 100 cm","place_of_production":"Brno","method_for_datation":"According to archival records, this embroidery – which is of extraordinary quality – was executed by Sister Marie Tekla Bittnerová of Glückstein who during 1705 and 1730 lived in the Franciscan Convent of St. Joseph, Brno, where she produced chasubles, as well as other antependia.","provenance":"Franciscan Convent of St. Joseph, Brno","obtention":"On long-term loan","bibliography":"Dana Stehlíková, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie à ľâge baroque 1670*–*1790,* Paris–Rennes–Brno, 2002, pp. 279–280, cat. 120.  \nDana Stehlíková*, Bohemia* *Sancta. Poklady křesťanského umění z českých zemí,* Caltanissetta–Syracuse–Prague, 2004.","artist_birthdate":"1675","artist_birthplace":"Vienna","artist_deathdate":"1730","artist_deathplace":"Brno","author":"Andrea Husseiniová","copy_editor":"Zora Wörgötter, Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Antependium","Christian themes","embroidery","figurative decoration","garden","personification","religious object","textile","vegetal decoration","zoomorphic imagery"],"materials":["decoration and painting in gouache on canvas and parchment.","Repp (warp of silk and weft of cotton","silver lamellas). Embroidery in silk and metal lamellas"]},"9b0fa536-0fe5-5f95-ba19-41b4f81e9fd4":{"name":"Brass head of flagpole","short_description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["casted brass","calligraphy","wooden staff"],"materials":["Brass; casting"]},"9b7f13f5-9188-59a0-bf2d-8b4f7c9b66cb":{"name":"Brass head of flagpole","short_description":"A cultic item with Arabic calligraphy mentioning God and his prophet Muhammad made of casted brass; fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized that would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["cast brass","calligraphy","wooden staff"],"materials":["Brass; casting"]},"9b960e40-8e8e-58fe-bdb1-3947c5bce14d":{"name":"Textile fragment with white ground with the Virgin Mary and the Christ Child, surrounded by angels, tulips, roses and honeysuckle","short_description":"The image on the textile is of Our Lady of Victories (*Nikopoia*); she is holding the Christ Child, who has his arms outstretched in a gesture of the Crucifixion. Fabrics with Christian motifs were woven in the Ottoman Empire for liturgical vestments of the Orthodox liturgy and exported, Russia being an example. The Christian motif is framed by plants of Ottoman origin, such s the tulip and the honeysuckle.","type":"Ottoman textile fragment, lampas, gold lamella, Liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"4th quarter of 16th century","location":"Vienna","dimensions":"H: 55cm, W: 58cm","provenance":"Ottoman empire, Istanbul or Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-92909","author":"Martina Dax","keywords":["Christian themes","liturgical vestment","Madonna","tulip"],"materials":["Lampas","Silk, gold lamella"]},"9d51960b-dfb8-57bd-aa72-d264926dc7d8":{"name":"The Presentation of the Virgin Mary into the Temple","description":"This icon shows the presentation, or entrance, of the Virgin Mary into the temple. The story derives from the apocryphal book of James and is one of the 12 major feasts of the liturgical year, celebrated on November 21. This icon shows the child Mary before the priest Zacharias, father of John the Baptist. Mary’s parents, Anna and Joachim, stand with a group of maidens who also serve in the temple. Mary is seen again in the sacristy being approached by an angel.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1650","location":"Clinton, Massachusetts","dimensions":"Height: 100.9cm, Width: 78cm, Depth: 6cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2007. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Biblical stories","Religious iconography"],"materials":["Egg tempera on wood"]},"9f677e6f-1913-5ba1-b196-5a3e7d1c4fc7":{"name":"*Pontifical Ceremonial Jug and Basin*","alternate_name":"*Jug and Lavabo*","description":"This oval basin, incised on its perimeter, is decorated with a strip of wrought ornamentation with festoons, grids, roses and a pair of *putti* heads. Its perimeter features a half-figure of St. John of Nepomuk, the patron saint of the person who commissioned the work. Opposite is a wrought oval label with a winged column representing the emblem of the Nová Říše Abbey, and engraved initials of the person who commissioned the piece, *N.A /W./P.N./C.G.* (*Nobilis Abbas \\[Johannes Nepomucenus\\] Wyminko, Praepositus Neureuschensis /C.G.*). Provost Jan Nepomuk Wyminko/Vejminko (c. 1683–1755) graduated from Hradisko, near Olomouc. He was provost of the Premonstratensian Abbey in Nová Říše from 1725 to 1732; in 1733 he was appointed the monastery's first abbot.  \nThe jug and basin are part of a luxurious set that included ceremonial cruets and a chalice (not preserved). The works, both in their shape and decoration, are derived from Augsburg models (for example, those created by masters of the Biller and Drentwett families). The jug serves for purification at the mass: the priest uses it to wash his hands before taking the blood and body of the Lord. Any spilt water is caught in the basin.  \nJosef František Rossmayer probably took his apprenticeship in Prague and after journeyman's service abroad was appointed master in Olomouc in 1730. He made, among other things, candlesticks “in the Augsburg manner” for the main altar of the Sv. Kopeček Church, near Olomouc, a chalice with enamel figures of Christ's relatives for Brno cathedral and bindings for missals for the cathedral in Olomouc, in which he combined Augsburg and French models known from prints.","short_description":"The jug and basin are part of a luxurious set that included ceremonial cruets and a chalice. The pieces, from an Olomouc workshop, are derived from Augsburg models both in shape and decoration (compare, for example, those created by masters of the Biller and Drentwett families).","type":"Applied arts","holder":"Moravian Gallery, Brno","owner":"Premonstratensian Abbey, Nová Říše","initial_owner":"Premonstratensian Abbey, Nová Říše","dates":"1732","location":"Governor’s Palace, Brno, Moravia","dimensions":"jug h: 22.4 cm, oval flap 9.9 cm x 8.1 cm; bowl 51 cm x 39 cm","place_of_production":"Olomouc","method_for_datation":"The objects feature four hallmarks, on the jug flap 1: an eagle in a circular label – Olomouc; 2: a partially blurred monogram *FR* in a cartouche – master's mark of *Fr. Rossmayer*; 3: partially blurred year in a label: *1732(*?); on the bowl edge: *1*–*\\-3*.; 4: re-hallmarked: *12.F* in a rectangular label; re-hallmarked Brno from 1806–1809; engraved initials *N.A /W./P.N./C.G.*","provenance":"Premonstratensian Abbey, Nová Říše","obtention":"The set remains at and originated from the Premonstratensian Abbey, Nová Říše.","bibliography":"Miloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 600, cat. 301.  \nDana Stehlíková, in Jiří Kroupa (ed), *Dans le miroir des ombers.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 266–267, cat. 105.  \nDana Stehlíková, *[Encyklopedie českého zlatnictví, stříbrnictví a klenotnictví](http://tinweb.moravska-galerie.cz/tw.exe?ST=03&SID=008AF3E757&L=00&KOD=04&PZ=10&JAK=V&KDE=016&RET=Encyklopedie+%9Fesk%82ho+zlatnictv%A1%2C+st%FD%A1brnictv%A1+a+klenotnictv%A1)*, Prague, 2003.","artist_birthdate":"After 1700","artist_birthplace":"Prague","artist_deathdate":"1751","artist_deathplace":"Olomouc","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["ceremony","coat of arms","Enamel","figurative decoration","incision","religious object","vegetal decoration","workshop"],"materials":["Silver (wrought, damascened and gilded)"]},"9f83d7a3-3fef-5717-a3ed-b729ae98a77b":{"name":"Ship’s commode/oratory","alternate_name":"Cómoda Papeleira Oratório para navio","description":"Oratories commonly belonged within a domestic context but an oratory desk was used either as a portable piece of furniture for religious purposes or as a cabinet-on-a-stand for reading. This particular oratory was used on board a ship and is the result of a cumulative commercial exchange among merchants who travelled via existing Portuguese trade routes to overseas colonies and ports or to north or north-western Europe. This is why it is probable that the ship's commode would have been influenced by several artistic styles: from Coromandel (the south-eastern coast of the Indian Peninsula), Chinese folding screens (*Henan*), or English Japanned furniture.  \nDesigned by Gaspar Ferreira and Manuel Silva, the commode was built to enable sailors and passengers to practice their religious routines on board ship. Probably commissioned by King D. João V, it is composed of two parts: the inferior part consists of three drawers and a desk with an oblique lid; while the superior section is shaped like a cupboard with a gabled segmental arch topped by the royal coat of arms.  \nCarved and sculpted urns with flares decorate the top edges. Painted in bright red lacquer it has black decorative tablets and gilded iconographic motifs or *chinoiseries* – Chinese scenes. Both the design and ornamentation are characteristic of the so-called D. João V style. On the inside of the cupboard is an oratory with the following figures: St. Anthony of Lisbon on the right and St. Barbara on the left flanking Christ Crucified. The inside of the doors are painted with scenes of the Passion of Christ (Christ with the Cross; Lord of Cana Verde on the right; Christ tied to the Column and the Resurrection of Christ on the left).","short_description":"A large commode/oratory with a cupboard, for use on board ship. The black decorative tablets are decorated with vegetal elements, while Chinese scenery – known as *chinoiserie* – decorates the larger panels.","type":"Ship’s Furniture; religious furniture","holder":"Vista Alegre Historic Museum","owner":"Pinto Basto Family","initial_owner":"Pinto Basto Family","dates":"Second quarter of the 18th century","location":"Vista Alegre, Ílhavo, Aveiro","dimensions":"H: 268 cm; w: 72 cm; width: 44 cm","method_for_datation":"Stylistic analysis","provenance":"Vista Alegre Palace (Vista Alegre – Ílhavo)","obtention":"Deposited at the museum by the Pinto Basto Family, founder of the Vista Alegre factory in the 19th century","bibliography":"Sandão, A., *O Móvel pintado em Portugal*: Porto ,1973, pp. 117–119, figs. 62–63.  \nTeixeira, J. M., “Papeleira com alçado – oratório”, in *O Triunfo do Barroco*, *Europália*, 1991, pp. 175–177, figs. I–33.","workshop":"Chinoiserie","artist_birthdate":"Unknown","author":"Paulo Pereira","translator":"Lili Cavalheiro, Filipa Quatorze","translation_copy_editor":"Mandi Gomez","keywords":["chinoiserie","furnishing","japanned furniture","painted furniture"],"materials":["Lacquered and gilded oak"]},"9ff5077e-cf93-5273-8105-87762d317700":{"name":"*Ihram* belt","short_description":"This *ihram* belt would have been worn by a male pilgrim, and used for carrying valuables while performing the Hajj rites. The *ihram* garment for men consists of two pieces of unstitched white cloth. One cloth (the *rida’*) is worn around the upper body while the other (the *izar*) would be worn wrapped around the lower body. This belt would have been worn around the waist on top of the *izar*. The inscription upon the belt wishes the wearer good health.  \nAs well as referring to ritual clothing, *ihram* also donates a state of mind in which a Muslim must enter in order to embark on Hajj. During this period, pilgrims must adhere to certain rules, for instance men and women are both forbidden from killing animals, uprooting trees, or cutting their nails or hair.","type":"Belt; clothing; money; *ihram*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"118x8cm","method_for_datation":"Provenance and date are based on stylistic grounds","provenance":"Turkey","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["Belt","Clothing","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrimage","prayer","Prophet Muhammad","Religion","travel"],"materials":["Leather, silk and linen with metal fittings"]},"9ffa2249-250d-57c6-aa02-12cdbaa08791":{"name":"Covered al-Buzuriyya Market","description":"The historic Buzuriyya Market is located south of the Great Umayyad Mosque in Damascus. This photo shows the very crowded market during Mawlid an-Nabawi (Prophet Muhammad’s Birthday). The Buzuriyya Market dates back to the Ayyubid era (AD 12th century). In the 18th century, the Ottoman government and several khans developed it together. In 1893, the Ottoman governor of Damascus, Hussein Nazim Pasha, replaced the Buzuriyya Market’s wooden roof with a metal roof. During Mawlid the market is decorated with colourful flags, especially green ones, and banners bearing the name of the Prophet Muhammad. Shops are filled with sweets, especially *Mulabbas*, which is associated with Mawlid and distributed in mosques and homes to all.","holder":"Museum for Islamic Art","owner":"Rania Kataf","initial_owner":"Rania Kataf","dates":"Hegira 1439 / AD 2017","location":"Berlin","place_of_production":"Damascus/Syria","provenance":"Damascus/Syria","bibliography":"al-Maliki, M. A., “On Celebrating the Birth of the Prophet”, Imam Ghazali Institute, 2016.  \n  \nRabbat, N., “Ideal-type and Urban History: The Development of the Suq in Damascus” in Gharipour, Mohammad, ed. *The Bazaar in the Islamic City: Design, Culture, and History*. American University in Cairo Press, 2012.  \n  \nZarcone, T., “Mevlid Kandili. La fête de la naissance du Prophète en Turquie”, Nathalie CLAYER et Erdal KAYNAR, “Penser, agir et vivre dans l'Empire ottoman et en Turquie”, Paris, Louvain, Walpole, MA, 2013: 308-320.","author":"Hiba Bizreh","copy_editor":"Judy Harter","materials":["photography"]},"a0292759-10a9-5092-8afb-5b3e2db3b197":{"name":"*Presentation of the Child in the Temple*","description":"The production of knotted carpets in Portugal has been documented since the 14th century, mostly in association with the Moorish community. With the expulsion of the Muslims and Jews in 1496 by King Manuel I (1469‒1521; r.1495‒1521), the Portuguese carpet workshops were inevitably abandoned and the manufacturing tradition was lost. Aside from local production, Portuguese consumers imported high-quality items as well. This ensured the supply of luxury goods to the wealthier clientele. Despite that Spanish carpets were esteemed throughout the 15th century, according to representations in paintings, by the second quarter of the 16th century, they were replaced by Ottoman carpets produced in the regions of Anatolia and Uşak.  \nAlthough, surprisingly, there are no surviving examples of this type of carpet in Portugal, its presence in paintings, as well as in other documentary sources such as in inventories, confirms their presence in Portuguese interiors, thus enabling us to identify the patterns and original colours of the imported carpets. This is the case with this painting, where a Turkish carpet, placed on the floor near the altar, displays most probably a “small-pattern Holbein” design: it comprises a repeated pattern of alternating quatrefoils and octagonal medallions, with *kufic* script motifs represented in detail on the red border.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1538","location":"Lisbon","dimensions":"H: 140cm, W: 95.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the Convent of Santa Joana, Lisbon, Portugal, at an unknown date","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Garcia Fernandes","painting","Portugal","Presentation in the Temple","the Annunciation"],"materials":["Oil on oak panel"]},"a06054cf-1305-5f2c-b722-f5e5f3586c49":{"name":"Sivas Prayer Rug","description":"Less well known than other regions, Sivas was an important centre for rug production. Sivas rugs are famous for their detail, an intricate design is created with a high number of knots per inch. This prayer rug is a beautiful example of a Sivas rug. Niche corners are decorated with stylized clove motifs and the *mihrab* niche is framed with four borders, from inside to outside. Very detailed plant motifs, including leaves and flowers are used to decorate the four borders.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 162cm, W: 110cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Sivas","obtention":"Donation of Turkiye Diyanet Foundation","bibliography":"Unpublished","dynasty":"Ottoman","author":"Mehmet Demir, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Middle Anatolian","prayer rug","Sivas"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"a319402b-f899-522c-a00d-0966b699e425":{"name":"Cloth","short_description":"This devotional textile would hang from the ceiling or walls inside the Kaaba, the Muslim house of God in Mecca. Qur’anic verses in different calligraphy styles appear printed on red silk. Sultans would drape the Kaaba’s interior walls in silk from China or India as a religious offering since the Mamluk sultan al-Nassir Hassan in 1359.  \n  \nIn medallions, *Tughra* calligraphy illustrates prayers and God’s names “the Merciful” and “the Generous”. The opening chapter of the Qur’an *al-Fatiha* and the *shahada* or declaration of faith rest between serrated lines in *thuluth* calligraphy.  \n  \nProtected from environmental factors inside the Kaaba, Muslim rulers would not change the interior silks annually but wash them twice a year. As a form of worship, the bestowal of this cloth would simultaneously achieve closeness to the shrine for blessings, reinforce the sanctity of the Kaaba and remind of the sultan’s power and prestige.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 120cm, Width: 76.5cm","place_of_production":"Syria","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy, and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, calligraphy, and style.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Basahih, N. A., \"Crafting the Kaaba Kiswa’s, context and traditional practices\", *Australia, Perth: Futuring Craft IOTA21 Conference*, (2021).  \nBehrens-Abouseif, D., *Practising diplomacy in the Mamluk sultanate: Gifts and material culture in the medieval Islamic world*, London / New York: Bloomsbury Publishing, 2014.  \nHutchings, T., and McKenzie, J. (eds), *Materiality and the study of religion: The stuff of the sacred*, London: Taylor & Francis, 2016.  \nPersson, H., \"Chinese Silks in Mamluk Egypt\", *Global Textile Encounters* ,(2018): 107–118.  \nSardi, M., \"Weaving for the Hajj under the Mamluks\", *The Hajj: Collected Essays*, 2013: 169–174.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Kaaba","Mecca","Ottoman","Saudi Arabia","silk","Syria","Textiles"],"materials":["Print","Silk, wood"]},"a45839e2-37d8-5fb0-8ec9-90569c5bc248":{"name":"Floor mat","description":"An almost complete mat has perimetrical bands with lozenge designs and triangular motifs. It combines brocaded decoration with self-patterned elements such as the beaded medallions in the centre. Two parallel lines of inscriptions are included in the composition and repeat the same word *baraka* (blessing) in a poorly executed *kufic* script. Geniza records describe how such reed mats were used to cover the floor surface and how detailed descriptions might be given to weavers in order to fill every available space. Based on this information, this small mat could be part of a larger commission, used to fill specific recesses or the entrance of a room.","type":"Prayer rug","holder":"Benaki Museum","dates":"10th century","location":"Athens","dimensions":"57 x 45 cm","method_for_datation":"The form of the repetitive word in the *kufic* script places it to this period","method_for_provenance":"Geniza records describe how such mats were used to cover the floor surface and how detailed descriptions might be given to weavers in order to fill every available space. Based on this information, this small mat could be part of a larger commission, used to fill specific recesses or the entrance of a room.","provenance":"Tiberias","obtention":"Acquired in Egypt","bibliography":"Published in Moraitou, M., \"Early islamic Textiles\", *Hali*, 156 (summer 2008): 62-64.","author":"Mina Moraitou","keywords":["Floor mat","geometric","inscription band","kufic script"],"materials":["fringe along one edge","Plain weave with brocaded decoration, hemp and bast fibre"]},"a4a5eb77-13a0-5a5c-9e6a-16dc9862a0fb":{"name":"‘Transylvanian’ rug","description":"The term “Transylvanian” rug does not relate to the area of production but to the geographical region where many such rugs were preserved, that is, Transylvania. Rugs belonging to this group could be found mainly in Transylvanian churches. They were made in the villages of Anatolia during the 17th and 18th centuries.  \nSize wise, Transylvanian rugs are rather small. Their most distinctive feature is a border filled with elongated, polygonal cartouches; however, sometimes, these are substituted by a row of simplified rosettes. The majority of so-called Transylvanian rugs are decorated with the double prayer niche, created from two *mihrab* niches in mirror image. They are mainly red, but some white-ground examples are known. “Transylvanian” rugs were very popular in Poland and many of them form part of Polish collections.  \nThe Kraków rug was probably made in Uşak. On the red field of the double niche, an indigo-blue cartouche of Uşak type joins with the pointed tops of the niches with flowering stems. The presence of such a medallion also suggests the place of origin of the rug. The lozenge-shape cartouche is decorated with a four-lobed motif inscribed within a double diamond, two palmettes situated on the vertical axis, and motifs of carnations and tulips as well. Placed along the edges of the cartouche are rows of graceful, small white flowers. The spandrels are decorated with lanceolate leaves and roses. The main border is filled with a row of rosettes and the outside borders with trefoil motifs.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 160cm, W: 125cm; knot density 1,326/dm2","method_for_datation":"Stylistic analysis of the rather geometrised ornament suggests this rug dates to the end of the 17th century","method_for_provenance":"The “Uşak-style” central medallion allows us to presume that the prayer rug was made in Uşak, Anatolia","provenance":"Anatolia, Uşak (?)","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 48, 153, cat. 12.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 182‒3.  \nBiedrońska-Słotowa, Beata, *Sarmatyzm: sen o potędze* (Sarmatism: A dream of power), Kraków: The National Museum in Kraków, 2010: 137, cat. 104.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 32, cat. 2.  \n*War and Peace: Ottoman‒Polish relations in the 15th‒19th centuries*, exhib. cat., Istanbul: Museum of Turkish and Islamic Arts, 1999: 239, cat. 132.","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["‘Transylvanian rug’","Anatolia","mihrab","prayer rug","Transylvania","Uşak","Ushak"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"Two Chinese blue-and-white porcelain sealed ‘Zamzam’ water bottles","short_description":"Prophet was known to drink from the well and use the water for significant purposes. The most famous *hadith* (Prophetic saying) regarding Zamzam states that the water is good for whatever purpose it is intended. Thus, over time, the water has been used for many purposes: in graves, to prevent harm, to cure and in ceremonies to obtain blessings.  \nSimilar examples to these bottles are in the Topkapi Palace in Istanbul and were used during ceremonies involving the mantle of the Prophet. During these ceremonies the mantle was dipped in Zamzam water and what dripped from the cloth was then collected in bottles similar to these. Other comparable types were simply sent from Mecca to Istanbul containing Zamzam water and closed with leather, string and sealed with wax.  \nThe well is believed to have been discovered by Hagar and Ismael, after being abandoned by Abraham in Mecca. It was later rediscovered by ‘Abd al-Muttalib, Prophet Muhammad’s grandfather, who is credited with having dug several wells, most importantly that of Zamzam. From then on the responsibility of giving water to pilgrims was to remain in the lineage of one of his sons.  \nWater from the well of Zamzam was previously collected in buckets by a rope pulley mechanism and then transferred to earthenware vessels. Now the well is entirely managed subterraneously by electric pumps and the King Abdullah Zamzam Water Factory produces approximately 200,000 bottles of water a day.","type":"Bottle; Porcelain; Containter; Flask","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"21.4x11.5cm","method_for_datation":"Date and provenance based stylistic grounds and by comparison with similar items in the Topkapi Palace Museum.","provenance":"China","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005.  \n*Zamzam*, in Saudi Geological Survey ([https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx](https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx) last accessed 08-07-2019)","dynasty":"Qing","author":"Qaisra Khan","keywords":["blue-and-white","China","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["Porcelain, leather, string, wax"]},"a878caed-2598-567c-80a3-7ec37561865b":{"name":"Seljuq Rug","description":"Carpets from the 13th century Aladdin Mosque in Konya are known as the “Konya Group”. They were identified in 1906 as the first finds from this period. These carpets are of key importance in the history of World Carpet Art. This example was specially woven to be used in a mosque. It is decorated with religious motifs and*kufic*writing. A light blue eight‒pointed star design on a dark blue background covers the entire central field. The main border is divided into square sections with stylised*kufic* characters arranged back‒to‒back in light red on a dark red ground. On the small borders, bird motifs are stylized to form leaves on branches.","type":"Rug","holder":"Museum of Turkish and Islamic Arts","dates":"13th century","location":"Istanbul","dimensions":"L: 240cm, W: 320cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the Konya Sultan Aladdin Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*, Istanbul: Eren Yayınları, 1987: 16‒19.  \nDenny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*,Istanbul: C.2, 2007, 26, Kat.no.4.  \nErdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 41‒43.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 4.  \nÖlçer, Nazan ve Öte., *Türk ve İslam Eserleri Müzesi*, Istanbul: Akbank Yayınları, 2000: 144.","dynasty":"Anatolian Seljuq","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Seljuq rugs"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"a96d02ab-fea4-5e29-9dc5-16c7773c9331":{"name":"Ewer for Zamzam water","short_description":"The ewer is unsual in that the cover for the mouth and the stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. This implies that their purpose was more than keeping insects and the like away form the contents; rather, they were meant to minimize evaporation, a factor which has lead to the designation of such vessels as containers for Zamzam water. The somewhat flattened sides also allowed the ewer to be carried suspended from a saddle during the journey back from hajj. An almost identical ewer in the Louvre, Paris, which was on display at the Louvre Abu Dhabi in March 2018, still retains the chain which allowed the ewer to be suspended from the two loops on its sides, and which is now missing from the Khalili ewer.","type":"Ewer; Zamzam ewer; *tombak*; gilded copper","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD second half of the 18th century","location":"London","dimensions":"Overall height: 33cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"Turkey","obtention":"Villanfray & Associés, Drouot, Paris, 21 December 2017, lot 309.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["cast and engraved decoration","chain of thick copper wire","Gilded copper (tombak)","piece cast"]},"a98d0e50-3029-5377-a2cf-b09ed33dce7b":{"name":"*Hirz* (Necklace) with Qur’an case","short_description":"The iconic *hirz* (necklace) with Qur’an case is imbued with religious significance, having as its central feature a rectangular or cylindrical box in which protective verses from the Noble Qur’an are kept. Qur’an cases may be simply strung on a silver chain or rope or featured as part of a much larger necklace as seen here with silver beads, coins and amuletic pendants. Smaller cases are also used as hair ornaments and incorporated in headdresses.","type":"Silver Jewellery","holder":"National Museum Oman","dates":"14th century AH / early 20th century AD","location":"Muscat","dimensions":"Length: 30.6cm, Weight: 152.9g","provenance":"Northern Oman","obtention":"Ministry of Heritage and Culture Collection","dynasty":"Al-Busaid","copy_editor":"Valerie Pulsifer","keywords":["Hirz","jewellery","Necklace","Qur'an"],"materials":["Silver with geometric and silver leaf designs"]},"aa631f7f-3808-586d-b316-c8c2c17e2045":{"name":"The Royal Doors","description":"In Russian Orthodox churches, the sanctuary, which contains the altar, is separated from the nave by a wall or screen called an iconostasis. A typical iconostasis has three doors. The “angel doors” are located on the right and left sides and sometimes depict the Archangels Michael and Gabriel. The “royal doors” are located in the center of the iconostasis and can only be entered at certain points during liturgical services by ordained clergy members. The use of the royal doors varies by local tradition, but they are typically opened during the reading of the Gospel and distribution of the Eucharist. The royal doors typically depict the Annunciation while the four evangelists are shown on four separate panels.  \nThis set includes the symbol for each evangelist: Saint John is shown with a lion, Saint Luke with an ox, Saint Matthew with a man and Saint Mark with an eagle, following the famous interpretation of Saint Irenaeus (c.120-202). The symbol for Saint Mark is different than the one depicted in The Mother of God of the Burning Bush icon in this collection, reflecting a difference in the interpretation of biblical texts by the iconographers for each image.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 155cm, Width: 42.5cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2013. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Allegorical and symbolical figures","Angels","Religious iconography","Virgin Mary"],"materials":["Egg tempera on wood"]},"ab4e426c-8d5c-55f7-aabf-1a580562cf9b":{"name":"Prayer hanging","short_description":"Pieced together from numerous embroidered fabric scraps, this cotton hanging is suggestive of a mihrab, or prayer niche. The arched \"niche\" form at center is formed by juxtaposing light fabrics against dark reds. In the Qur'an, God (Allah) is likened to the presence of a lustrous lamp in a niche. Hence, lamps are often placed in niches in mosques and, similarly, they are depicted in niches on tile panels and textiles. In this textile, two stylized lamps extend outward from the top of the arch.","type":"Islamic, Indian & Southeast Asian works of art; Moroccan cotton textile","holder":"Shangri La, Doris Duke Foundation for Islamic Art","dates":"Hegira c. 1214 / AD 1800","location":"Honolulu, Hawai'i","dimensions":"Overall: 224.8 x 171.5 cm","provenance":"North Africa (Morocco or Algeria)","keywords":["carpet","cotton","floral decoration","geometric motifs","mihrab","North Africa","rug"],"materials":["Cotton"]},"ab91307f-d3d5-5f2a-88d0-9f2eb6934a29":{"name":"Qibla directional plate.","description":"Muslims must face the *qibla*, the direction of the Ka'ba in the city of Mecca, while praying. They therefore often need instruments to help pinpoint the direction of the Ka'ba. This plate is one such instrument. Its base is a round and flat area that has a circle of semi-vertical columns on it. Recorded around the centre of the circle is the name of the craftsperson and the place in which it was made (“made by Sayyid Thabit in Damascus”). Emanating from the centre towards the rim are tables in the form of a sequence of rings. These rings contain the names of a number of cities in three bands (Damascus, Baghdad, Constantinople, Jerusalem, Tehran, Kabul …), in addition to alphabets corresponding to numbers that indicate degrees of angles. The inner circumference of the plate's rim is marked by units, each of which is equivalent to five degrees and also the four cardinal directions (east, west, north, south), which are set in half circles.  \nThe exterior surface of the rim contains a two-line explanation in Arabic on how to use the instrument. In between these two lines are four medallions in which it is indicated that the plate was made by order of Sultan Salim I \"the triumphant champion of justice and supreme ruler \\[khaqan\\] who is the son of the supreme ruler, king of the two lands and the two seas, and servant of the two sanctuaries, may God immortalise his rule\". All this information is registered in black *kufic* script on a white background, and is covered with a transparent glaze.","short_description":"The scientific diagram inscribed on this ceramic dish served an important function. A schematic arrangement of city names and trigonometric data help the user to establish the orientation of the Ka'ba in Mecca and thus the direction of prayer. It was especially useful when travelling.","type":"Ottoman ceramics, glazed","holder":"National Museum of Damascus","initial_owner":"Sultan Salim I (also Selim, r. AH 918–26 / AD 1512–20).","dates":"Hegira 918–26 / AD 1512–20.","location":"Damascus","dimensions":"Width 3.5 cm, diameter 18.5 cm.","method_for_datation":"The inscription on the plate indicates that it was made by order of Sultan Salim I, (r. 918–26 / 1512–20).","method_for_provenance":"The inscription on the plate indicates that it was made in Damascus.","provenance":"Damascus, Syria.","obtention":"Purchased in 1935.","bibliography":"Cluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994.  \nPorter, V., *Medieval Syrian Pottery*, Oxford, 1981.  \nSoustiel, J., and Kiefer, C., *La céramique islamique*, Fribourg, 1985, p.441.  \nWatson, O., *Ceramics from Islamic Lands*, London, 2004.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["Baghdad","ceramics","Constantinople","Damascus","determining qibla direction","earthenware","Jerusalem","Ka'ba","Kabul","Mecca","prayer","Prayers","qibla","Sayyid Thabit","Sultan Salim (Selim)","Tehran","transparent glaze"],"materials":["Earthenware with black and blue paint on a white base, and a transparent glaze."]},"ac82d495-0ecf-5ced-bc7a-791a0ede9ca4":{"name":"Milas Prayer Rug","description":"This prayer rug was woven in the Milas region, one of the most important rug producing centres of Anatolia. It differs from typical Milas prayer rugs because it is without a *mihrab*. Rather, the design uses a central rectangle in place of the *mihrab*. The rug borders are decorated with rosettes, dragons and stylized clove strings arranged from outside to inside. The same motifs are repeated in the main ground.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 174cm, W: 104cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Muğla, Milas","obtention":"Acquisition unknown","bibliography":"Unpublished","dynasty":"Ottoman","author":"Mehmet Demir, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Milas Prayer Rug","West Anatolian"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"ad7466a2-5fe7-545f-9873-cd226f645d31":{"name":"Mosque lamp","description":"Among the many forms of art present and flourishing on the territory of Syria, glassmaking was of particular importance. Syrian artisans seem to have been masters of the art, practicing various techniques from the earliest of times, for much of the best Roman glass was made in this area. The early development of glassmaking in Syria is primarily attributed to the Phoenicians, who previously inhabited the coastal belt. The mastery of techniques has continued into the Muslim period, since blown, moulded, and cut glass were made for the Muslim patrons. An essential aspect of the complete practice was the one of enamelled glass – a technique familiar to us from Roman times, but one that truly flourished and completely evolved under the Islamic rulers. A particular characteristic of this fruitful period is the decoration of a very distinctive form of lamp, with a large bulging base and upper section and narrow waist in between. Earlier examples are usually assigned to the 13th century AD, but the majority belongs to the 14th century AD or maybe even later. *Kufic* or *naksh* script were frequently the central element of decoration, whereas in Egypt, there was presence of motifs with heraldic significance. This magnificent example is decorated with gold, blue, red and green enamel, which create floral and organic forms, as well as arabesques.","type":"Candle Holder","holder":"MAK – Museum of Applied Arts","dates":"1360– 1380 AD","location":"Vienna","dimensions":"Diameter: 22.5cm, Height: 35cm","provenance":"Syria, Egypt","obtention":"Donation","bibliography":"Mrazek, W., et al. (ed), *Kunst des Islam; 28. Mai bis 26. Oktober 1977*, Vienna: Schloss Halbturn, 1977: cat. 121, ill.  \nTalbot Rice, David, *Islamic Art*, London: Thames and Hudson, 1965.","dynasty":"Mamluk","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-51852","author":"Mio Wakita-Elis, Jana Zarkovic","copy_editor":"Rachel Parish","materials":["Blown colourless glass, enamel painting, gold decoration"]},"ae331064-372e-59a2-9ad1-641a18b7d070":{"name":"Sanctuary and Altarpiece of the Transit of St. Bernard","description":"The Cistercian Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques (the first King of Portugal) in 1153. Having just conquered the Arabs, Afonso Henriques wanted to commemorate his victory, and foundation of the monastery was part of his strategy to consolidate his authority in the new kingdom. The Monastery is considered to be one of the best preserved medieval monastery complexes in Europe besides being a bastion of the Portuguese nationality.  \nSanctuary: as part of the New Sacristy, this Chapel was called the “Mirror of Heaven” by the eminent Portuguese art historian, Reinaldo dos Santos, due to its supreme beauty and spirituality. Building began in 1670 when Frei Constantino Sampaio was Abbot of the Monastery (1669–1672).  \nWith an octagonal plan, the interior is fully covered with gilded wood and is lit by a ceiling lantern. This light, filtered and diffused, enhances the theatrical atmosphere of the gilded and polychrome Baroque octagonal structure, which includes six horizontal niches filled by 89 reliquary sculptures.  \nAltarpiece of the Transit of St. Bernard: the sculptural ensemble in terracotta represents the Transit of St. Bernard. It was built when Frei Sebastião de Sottomayor was the Abbot of the Monastery (1675–1678). The ensemble can be divided into two groups: at the lower level is a group of free-standing sculptures and another of high-relief figures inserted at the back of the altar. St. Bernard is shown in agony at the centre of the scene, while close to his feet Cistercian monks mourn his death. Close to St. Bernard’s head, the kneeling General Abbot and a group of musician angles glorify his death. At the top, surrounded by two musician-angels and cherubs, the Virgin welcomes the soul of St. Bernard with opened arms. The life-size sculptures are built in overlapping horizontal blocks.","short_description":"The Monastery of Alcobaça was founded as a gift to St. Bernard of Clairvaux shortly before his death on an estate granted by King Afonso Henriques in 1153. The monastery became powerful due to donations throughout the centuries and contains several treasures, namely the Baroque reliquary Sanctuary and the Altarpiece of the Transit of St. Bernard.","type":"Sculpture – Sanctuary and Altarpiece","holder":"Alcobaça Monastery","owner":"Alcobaça Monastery","initial_owner":"Alcobaça Monastery","location":"Alcobaça, Leiria","place_of_production":"Alcobaça","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Alcobaça Monastery","obtention":"In Situ","bibliography":"Moura, C., *O Limiar do Barroco*, Lisbon, 1986.  \nSerrão, V., *História da Arte - O Barroco*, Lisbon, 2003.  \nMoura, C., *A Escultura de Alcobaça e a imaginária monástico-conventual (1590–1700),* Lisbon, tese doutoramento, 2007.  \nA. V. Remígio, “The Monastery of Saint Mary of Alcobaça. The Conservation-Restoration of the Sanctuary Reliquaries”, available at HTTP:  \n[http://www.e-conservationline.com/content/view/800/258/#ing1-4](http://www.e-conservationline.com/content/view/800/258/#ing1-4) (26/10/2009).","workshop":"“Terracotta” workshop, Alcobaça","copyright":"Copyright images: Instituto de Gestão do Património Arquitectónico e Arquelógico,I.P/DIDA A.F.","author":"Cecília Gil","translator":"Cristina Correia, Andreia Charneca","translation_copy_editor":"Mandi Gomez","keywords":["Cistercian Order","Counter-Reformation","Our Lady of Assumption","sculpture","Terracotta"],"materials":["Sanctuary: chased, polychrome and gilded wood and terracotta. Altarpiece Transit of St. Bernard: terracotta"]},"ae7c39ba-6ec7-52c7-ab26-aa458671c2ad":{"name":"Chasuble (Mass vestment for the Catholic liturgy) of Ottoman silk fabric with European woven borders","short_description":"Bursa was an important hub of trade for Iranian silk and developed into a leading centre for the production of silk fabrics. As such, it did not only purvey to the Ottoman Court; silks from Bursa were coveted export goods for Europe, as is shown by this chasuble. At the same time, Italian silks were very much in demand in the Ottoman Empire. One consequence of this intensive exchange is seen in a reciprocal influencing of motifs, so that frequently technical details are the only characteristics that tell us where the silk fabric was woven, in Italy or in the Ottoman Empire.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"3rd quarter of the 16th century","location":"Vienna","dimensions":"H: 100.5cm, W: 65.5cm","provenance":"Ottoman Empire or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98544","author":"Martina Dax","keywords":["floral motifs","liturgical vestment","Ottoman textile","trade"],"materials":["Lampas broché, lancé","Silk, gold and silver lamella, linen"]},"ae7c4ab2-69d3-5454-816e-13b25357dc86":{"name":"Multiple-niche prayer kilim (*saf*)","description":"The multiple-niche prayer carpets, called *saf* (from the Arabic word for “row”), are sometimes improperly referred to as “family” prayer rugs. They were used in mosques, their particular design allowing several people to pray one next to the other. Here, the uneven colour areas in the *mihrab* field, the somewhat irregular shape of the arches, and the stylised vegetal motifs are indicative of its tribal, probably Kurdish, provenance. Unlike most large Anatolian kilims, made of two narrow bands, this one is made of only one piece. The Arabic inscriptions and the fact that the carpet was dated make it all the more valuable.","type":"Prayer kilim","holder":"The National Museum of Art of Romania","dates":"Dated Hegira 1253 / AD 1837–1838","location":"Bucharest","dimensions":"H: 219cm, W: 323cm","method_for_datation":"Dated; stylistic analysis; dye analysis; presence of metal strip","provenance":"Turkey, eastern Anatolia, Malatya","obtention":"Purchased; formerly in the Dr Iosif N. Dona Collection","bibliography":"Dunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 13.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Kurdish","saf"],"materials":["kilim weave","metal strip","wool"]},"af522df8-2bb6-5764-b5cf-7a2ae9be0f31":{"name":"Kaaba Key","short_description":"Silver-inlaid inscriptions embellish this bronze key attached to a moon-shaped ring. Its unique profile safeguards the house of God in Islam.  \n  \nThe inscriptions bear religious and political messages, including Qur’anic verses and the name of Sultan Abd Al-Aziz, commissioner of this key in the 19th century.  \n  \nProphet Ibrahim and his son Ismail are believed to have raised the sanctuary’s foundations, carrying a sacred tradition of guardianship. Today, the Shayba family preserves the key in a bag made of silk, gold and silver. As authorized keykeepers entrusted by Prophet Muhammad (PBUH), twice a year, they unlock the Kaaba for purification with rosewater and holy water.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 44cm, Width: 12cm","place_of_production":"Turkey","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscription.","method_for_provenance":"The key was used to close the door of the Kaaba in Mecca, Saudi Arabia.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Abbas, H., \"3 The Prophet\\`s Farewell and Delegating Spiritual Guardianship\", in Hassan Abbas (ed), *The Prophet's Heir: The Life of Ali ibn Abi Talib*, New Haven: Yale University Press, 2021: 71–91.  \nHawting, G. R., \"The sacred offices of Mecca from jahiliyya to Islam\" *The Arabs and Arabia on the Eve of Islam*, New York: Routledge, 1999: 244–267.  \nPeters, F., \"Chapter III. Building the Holy Land\" in F. Peters, *Mecca: A Literary History of the Muslim Holy Land*, Princeton: Princeton University Press, 2017: 107–154.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Bani Shayba","Kaaba","Key","Mecca","Saudi Arabia"],"materials":["Bronze, silver","Inlaying"]},"aff8cde7-1f94-523b-b92a-5dd0a0feaca4":{"name":"*Hajj Day*","description":"Abdulhalim Radwi often evoked his hometown of Mecca, emphasising the importance of the Ka’ba as a source of universal energy and a religious symbol.  \nIn Hajj Day, the Ka’ba is surrounded by a central circle around which various elements of the composition revolve. The artist manipulates perspective so that near and far elements converge and intersect around the Ka’ba. Facial features are absent, and the artist has stripped the city of Mecca of all detail except for the main elements - the Ka’ba, the overlapping mountains and the pilgrims coming for the Hajj.  \n  \nIn contrast to his colourful scenes, Radwi removes the vibrant colours in this work, opting for a monochrome palette to emphasise the unity of the elements under this universal energy. In his series depicting Mecca, the artist emphasises the importance of Mecca as a place of peace, where there is no difference between people, who are all there for the same reason regardless of their cultures or social status.  \n  \nRadwi often uses Arabic words and letterforms in his artwork, including religious expressions such as Allah; *bismillah*, or 'in the name of God'; *and la illah ila Allah*, or 'there is no god but God'), as well as other Arabic expressions. This demonstrates Radwi's commitment to incorporating an Arab and Muslim identity into his work. In addition, his continued use of visual symbols such as crescents and other motifs underlines the importance of these symbols as signs of cultural heritage.","type":"Painting","holder":"MATHAF, Arab Museum of Modern Art","dates":"AH 1408 / AD 1987","location":"Doha","dimensions":"104.4cm x 104.4cm x 4cm","copy_editor":"Judy Harter","keywords":["day","hajj","Mecca","Zam Zam","Zamzam"],"materials":["Oil paint, Cotton, Wood"]},"b1a4a767-03a6-5102-a4ba-95f407ea3166":{"name":"Cope of Metropolitan Neophytos of Nicomedia","short_description":"This is a rare example of an ecclesiastical vestment made of *seraser* silk, the most opulent type of Ottoman silk entirely covered with silver and gilt thread. The loom-width design contains Chinese cloud scroll bands surrounding a large rosette reminiscent of a solar disc. A document of 1629 in the monastery of Saint John the Forerunner in Serres records the presentation of a “seraser cope” by the Metropolitan Neophytos.","type":"Liturgical garment, silk and silver metallic thread","holder":"Benaki Museum","dates":"Hegira 1038 / AD before 1629","location":"Athens","dimensions":"Height 139 cm","provenance":"Bursa or Istanbul","dynasty":"Ottoman","keywords":["Chinese motifs","costume","liturgical vestment","Ottoman textile","Seraster","silk","textile"],"materials":["Silk, silver and gilt metallic thread"]},"b219c708-5c5d-5d57-9001-066f44ad30a5":{"name":"Pen Case","short_description":"Intertwining geometric shapes, interlaced six-pointed stars and Qur’anic verses embellish the pipe-shaped pen cases. A pen or *qalam* is encased by the box called qalamdan which reveals another opening to fill with ink. In *kufic* calligraphy, the 35th verse from the Surat al-Nour stretches across the cylindrical body with the words “Allah is the light of the heavens and the earth”.  \n  \nOriginating from Ottoman Syria during the 19th century, the pen box represents a group of religious objects belonging to Mamluk Revival metalwork. Taking inspiration from the bronze hammered objects inlaid with silver and copper, the revival ware is most often cast into the desired shape. The interlaced hexagram and calligraphy style are recognizable traits of Mamluk art.  \n  \nThe art of writing the Qur’an reflects a significant form of worship, as the earthly materialization of God’s word. Writing tools, therefore, received exceptional attention, crafted from precious materials with Qur’anic verses as decorations. While the oldest qalamdan is dated 1148, Mamluk revival cases had a far-reaching influence in Europe and Asia.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 19cm, Width: 4cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art,* Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3 (2014): 382–398.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Mamluk Revival","metalwork","Ottoman","Pen case"],"materials":["Bronze","Engraving"]},"b2648886-b553-5399-8946-93cb4e8f1c49":{"name":"‘Transylvanian’ prayer rug","description":"The term “Transylvanian” rug is used to designate 17th- and 18th-century rugs preserved in large numbers in the Saxon churches of Transylvania, whose provenance, considered once to be Transylvanian, is, in fact, western Anatolian. Some of these rugs feature the *mihrab* design, typical of prayer rugs; in most cases though, the prayer niche becomes a purely decorative element devoid of its original meaning, a fashionable motif popular with carpet buyers outside the Islamic world. Here, the plain red field of the *mihrab* contrasts with the main border richly decorated with alternating rosettes and palmettes encircled by lancet-shaped leaves – a simplified version of the classical court rug border. The flower on the pointed top of the *mihrab* symmetrically divides the composition with highly stylised carnations and serrated leaves represented in the yellow and blue spandrels; as such, different coloured spandrels are rather unusual.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 17th century","location":"Bucharest","dimensions":"H: 160cm, W: 117cm; knot density ver. 28/dm; hor. 34/dm; 952/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 12.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 3.  \nIonescu, Stefano (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 201.  \nZigura, Alexandra, *Covoare turceşti din colecţia muzeului*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1966: 30–1.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"b29465cd-3c48-54c4-8f56-a91ebfdc4e87":{"name":"Mosque Lamp","short_description":"Floral and geometric patterns adorn this bronze lamp to be illuminated a mosque in Jerusalem. Since the emergence of the first mosques, lamps made of ceramic, glass and metal lit religious buildings modestly; however, metal lamps endured as the most popular in Palestine.  \n  \nIn the Palestinian territory, smiths crafted Christian and Muslim lamps in similar engraving styles and shapes from the Mamluk period, feeding their wicks with olive and other local oils. During Ramadan, the *muezzin* often suspended lamps in the minaret to light and blow out as an indication of fasting times.  \n  \nWith its large bell-shaped body, Arabic inscriptions in *thuluth* script, and the six-pointed star of Prophet Sulayman (Solomon) for good luck, the lamp represents a typical example of Mamluk metalware to cast light in devotional buildings in the Levant until today.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 97cm, Height: 157cm, Diameter: 70cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Palestine, Jerusalem","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, New York: Suny Press, 1983.  \nSardi, M., and Motsianos, I., \"Lighting in Muslim and Christian Religious Buildings\", in Costas Papadopoulos (ed), *The Oxford Handbook of Light in Archaeology*, Oxford: Oxford University Press, 2017.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["engraving","Mosque Lamp","Palestine"],"materials":["Bronze","Engraving"]},"b2ca91ca-c46b-5e08-b073-5f3ded54c993":{"name":"Monstrance of the Bemposta","alternate_name":"Monstrance of the Chapel of the Palace of Bemposta or Palace of the Queen","description":"This magnificent monstrance in gilded silver and gold with a triangular base, sits on three volutes ornamented with floral motifs, ribbons and cartouches. On the three inferior angles of the base there are cherubs and three figures that symbolise Faith, Hope and Charity. On the top corners there are three full-bodied angels conveying Eucharistic motifs, while six cherubs and seraphs, overlap, ascending along the stem.  \nOn the three faces of the base oval bas-reliefs represent themes from the Eucharist: The Supper at Emmaus and the giant bunch of grapes, Fruit from the Promised Land and Christ at Calvary.  \nThe monstrance' sunburst is encircled by clouds. It has a radiant splendor with irregular rays, covered with precious stones. The monstrance's surface is entirely adorned with precious stones, some of them large and of excellent quality, creating a spectacular decorative and chromatic effect.  \nThe theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metal and gemstones.  \nIt is likely the monstrance was commissioned by King Pedro III, husband of Queen Maria I. In Pedro III's Will of 1786 he foresees that his son, the future King João VI, should have the country house in Queluz, and urges him to care for the divine cult traditionally associated with the Bemposta Chapel, where he wished the precious monstrance to be kept.  \nAttribution of this piece is controversial. Traditionally, researchers attributed it to J. F. Ludovice, the goldsmith and architect of the Convent of Mafra. Their theories were based on an existing drawing of the monstrance at the Museum, which also came from the Bemposta Palace.","short_description":"A majestic monstrance in gilded silver with precious stones that creates a spectacular chromatic effect. The theatrical splendor of the Baroque is well illustrated through the use of jewels and quality chiselling, admirably assembled in a dazzling combination of metals and gemstones.","type":"Metalwork","holder":"National Museum of Ancient Art","owner":"Museu Nacional da Arte Antiga","initial_owner":"King Pedro III (1717–1786)","dates":"1740–1780","location":"Lisbon, Lisbon","dimensions":"H: 97cm; l 33 cm","place_of_production":"Lisbon","method_for_datation":"Vassalo e Silva (2000) proposed that Adão Gottlieb Pollet both designed and made the monstrance. This is based on a specific analysis of the application of the gemstones. Although initially the  monstrance was dated to 1740–1750 the date is now thought to be later, 1775–1780.","provenance":"Chapel of the Palace of Bemposta","obtention":"Given over to *Museu National de Arte Antiga* by the National Academy of Fine Arts in 1876","bibliography":"Couto, J., Gonçalves, A. M., OUTO, J., *A Ourivesaria em Portugal,* Lisbon, 1960.  \nSmith, R., The *Art of Portugal: 1500–1800,* London, 1960.  \nTeixeira, J. M., *Triomphe du Baroque,* Brussels, 1991.  \nOrey, L., *Cinco Séculos de Joalharia no Museu de Arte Antiga,* London–Lisbon, 1995.  \nVassallo e Silva, N., \"As Custódias Jóias de Setecentos\", *Oceanos*, No. 43, 2000.","workshop":"International Baroque","artist_birthdate":"Ludovice:1673(?)","artist_birthplace":"Honhardt, Germany or Danzig, Poland","artist_deathdate":"1785","artist_deathplace":"Lisbon","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Leonor d’Orey","translator":"Lili Cavalheiro, Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["Eucharist","liturgical objects","Monstrances","religious object"],"materials":["Gilded engraved and chased silver","gold, diamonds, rubies, emeralds, sapphires, amethysts, topazes, chrysoberyls, garnets and neutral quartz"]},"b4e72974-c00c-5720-9454-206dc84e1405":{"name":"Pashmina Niche Rug","description":"The new carpet style in the time of Mughal ruler Shah Jahan (1628-1647) was the flower style, featuring the naturalistic depiction of flowering plants. The refined elegance of the decorations, the use of expensive silk and pashmina and the high knot count are characteristic of the luxury carpets of this period. The silk warp was frequently dyed in bands. The flower style lived on in the works of the post-Shah Jahan workshops.  \n  \nIn the field, the ivory-coloured *mihrab* (prayer niche) with lobed arch is adorned on both sides by a crimson half cypress growing from a finely delineated column base. From the apex of the *mihrab* hangs a trapezoidal lamp; in the centre below, a three-branched floral bush grows from the bottom of the *mihrab*. Faint glimmers of the colourful bands (ivory, yellow, crimson, blue and green) can be seen in the plain ivory surface. The crimson spandrel is adorned on both sides with symmetrical floral patterns – vines, leaves and poppy blossoms. As is typical of flower style rugs, the major border of the rug contains lotus flowers against a dark blue ground and is enclosed in ivory field minor borders.","type":"Carpet","holder":"Museum of Applied Arts","dates":"Third quarter of 17th century","location":"Budapest","dimensions":"Height: 151cm, Width: 104.5cm, Knot density: 5,893/dm2","method_for_datation":"Stylistic analysis","method_for_provenance":"Manufacturing techniques and stylistic analysis","provenance":"Kashmir or Lahore, North India or Pakistan","obtention":"Purchased from Adolf Roger, an art dealer of Budapest, 1895","bibliography":"Batári, Ferenc, *Csomózott indiai, kelet turkesztáni, kínai, tibeti és európai szőnyegek: Kiállítás a Miskolci Galériában a Budapesti Iparművészeti Múzeum gyűjteményéből / Knotted Rugs from India, Eastern-Turkestan, China, Tibet and Europe: Exhibition in the Miskolc Gallery from the Collection of the Budapest Museum of Applied Arts*, Miskolc: Miskolci Galéria, 1980: no. 1 and figure.  \nCsányi, Károly (ed), *Magyar szőnyegkedvelők egyesületének régi keleti szőnyegkiállítása az Orsz. Magyar Iparművészeti Múzeumban \\[Early Oriental Carpet Exhibition of the Hungarian Carpet Collectors' Association in the National Hungarian Museum of Applied Arts\\]*, Budapest: Iparművészeti Múzeum, 1924: 33, no. 151.  \nGombos, Károly, *Régi keleti imaszőnyegek*, Szolnok: Damjanich János Múzeum, 1979: no. 96.  \nLayer, Károly (ed), *Régi perzsa szőnyegek kiállítása: leíró-lajstrom \\[Early Persian Carpets Exhibition. Descriptive List\\]*, Budapest: Iparművészeti Múzeum, 1936: no. 42 and figure.","workshop":"Imperial workshop","dynasty":"Mughal","author":"Emese Pásztor","copy_editor":"Valerie Pulsifer","translator":"Lara Strong","keywords":["cotton","mihrab","Mughal rug","Pashmina"],"materials":["Asymmetrical (Persian or Senneh) knot, Open to the left","Pile: Pashmina wool","Warp: Ivory, red, yellow and green silk in stripes, alternates moderately depressed","Weft: Beige cotton, 3 shoots"]},"b5e98c52-08ad-5e05-97c5-2071372ff0ed":{"name":"Phelonion, Mass vestment for the Orthodox liturgy","short_description":"An offset pattern of lancet ovals is structured against a red background. The ovals end in a stylised lily forming the transition to the next oval. The interior pattern of the lancet ovals consists of a scale-like network. The seams disturb the repeat pattern, revealing that the textile was reworked so that it could be shaped as part of this Mass vestment for the Orthodox liturgy.","type":"Liturgical garment of Ottoman silk, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"16th century","location":"Vienna","dimensions":"H: 137cm, W: 155cm","provenance":"Ottoman Empire, Istanbul or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98435","author":"Martina Dax","keywords":["geometric patterns","liturgical vestment","Ottoman Silk"],"materials":["Lampas broché, lancé","Silk, gold and silver lamella"]},"b5eeb317-b1a2-5710-8891-111d70b464e6":{"name":"Ewer for Zamzam water","description":"Pear-shaped ewer with strap handle and serpentine spout. Brass lid and stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. The body and neck engraved with floral pattern, with applied palmette bosses to each side with trefoil suspension loops (one is missing).","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"12th century Hegira / 18th century AD","location":"Kraków","dimensions":"Height:  32cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Purchased by the Industrial Museum in Kraków from Markus Schwarz in 1900; collection taken over by NMK in 1950","dynasty":"Ottomans (AH 698–1340 / AD 1299-1922)","author":"Monika Paś","keywords":["Islam","tombak","Zamzam"],"materials":["decoration cast and engraved","Gilded copper (tombak)","piece cast"]},"b65922f4-01d3-5457-a9bc-98f6df701f87":{"name":"Gospel cover of Dorotheos Proios from Edirne","short_description":"The gospel comes from Adrianople, but a handwritten note on the second page notes that: \"…it was crafted and decorated here in Smyrna\". From around the mid-eighteenth century Smyrna was the second most important port of the Ottoman Empire, and an important part of its economic life was in the hands of Greeks. The “Frankish quarter” and the preponderance of large-scale, foreign trade gave o cosmopolitan air to Smyrniot society. There is strong western European influence on this impressive silver cover made for Dorotheos Proios. Scrolled cartouches, thronging garlands of roses and conch shells in high relief make it a triumph of Rococo art, at least after the fashion in which it was understood in the Ottoman Empire. Smyrna was an important centre of silver production, but the designs were in general circulation and compositions were put together to fit the circumstances.","type":"Metalwork","holder":"Benaki Museum","dates":"1816","location":"Athens","dimensions":"27 cm","author":"Ballian 1992, 86-7, no.46","keywords":["Adrianople","Smyrna","Greeks"],"materials":["Parcel guild silver"]},"b705e8a3-17fc-5217-8640-d86017b77c66":{"name":"Zamzam Water Bottle","short_description":"This simple, circular Zamzam bottle has been constructed from copper-alloy sheet and decorated with hammered and incised decoration. A very narrow cylindrical neck gives access to the body of the vessel, and a chain secured to its shoulder allows it to be carried. Every pilgrim to the Holy City of Makkah will make a point of drinking and collecting water from the sacred well of Zamzam, located near the Ka’bah within the precinct of the Holy Mosque at Makkah al Mukarramah. Its never ceasing flow is considered a miracle, and its properties are believed to aid good health and wellbeing. To this day, pilgrims to Makkah make a point of taking as much Zamzam water as they can back with them, not least to distribute it to loved ones and treasured friends in order to allow them to partake in the water's beneficial properties.","type":"Metal Bottle","holder":"Sharjah Heritage Museum / Sharjah Museums Authority","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","dimensions":"Ca 100 mm diameter; ca 130 mm overall height","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis","keywords":["Zamzam"],"materials":["Tinned copper alloy"]},"b81f4192-674c-5d84-b11c-20c80e67d288":{"name":"Box","short_description":"This Syrian bronze box is inlaid with silver and copper wire, displaying geometric patterns, interlaced six-pointed stars and Arabic calligraphy. Four legs ending in stylized paws elevate the casket to create suitable storage for a Qur’an.  \n  \nThe ninety-nine beautiful names of God known as *al-Asma al-Husna* cloak the box in the *maghrebi* calligraphy style. The names of God add a protective layer to the Qur’an chest.  \n  \nThis particular copper-alloy container resembles the Mamluk metalware from Syria in the 13th to 16th centuries with prominent features including silver-inlaying, palmettes and sumptuous geometric patterns. This type of Mamluk Revival art became increasingly popular in Egypt, Syria and Europe during the 19th century, at a time when the Syrian economy witnessed enhanced dependence on foreign merchants. As Damascene revivalist metalwork appealed to Europeans with Orientalist attitudes, local craftsmen attempted to emulate the older pieces.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 33cm, Width: 29cm, Height: 4cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3(2014): 382–398.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Box","Inlaying","Mamluk Revival","metalwork","Ottoman","Syria"],"materials":["Bronze, silver","Inlaying"]},"ba8fded9-1679-518f-9ec9-6179d462f308":{"name":"Prayer rug","description":"The composition of the central field recalls the triple-arch design of certain Ottoman court rugs; only this time the lateral niches are merely suggested and the columns are made up of decorative floral bands. The column bases also feature floral patterns, and, instead of the lamp evoking Sura An-Nur (“The Light”), a flower garland is hanging from the apex of the centre niche. The main border of alternating palmettes and rosettes is reminiscent of classical carpet borders (16th–17th centuries). Compared to these, the layout of the present rug is lacking in accuracy, which accounts for the incomplete motifs in the bottom left corner. The rug is however remarkable for the balanced palette of warm and cool hues and its exquisite workmanship, qualities not to be found in later Kula carpets which will resort to a more subdued colour range and a rather coarse weave.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Early 19th century","location":"Bucharest","dimensions":"H: 190cm, W: 130cm; knot density ver. 43/dm; hor. 37/dm; 1,591/dm2","method_for_datation":"Stylistic analysis","provenance":"Turkey, western Anatolia, Kula","obtention":"Purchased; formerly in the Dr Iosif N. Dona Collection","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 20.  \nDunca, Mircea, *Islamic Art at the National Museum of Art of Romania*, Bucharest: Muzeul Naţional de Artă al României, 2015: no. 4.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","triple-arch design"],"materials":["knotted","symmetrical knot","wool"]},"bbc8f1e6-fdee-507b-9bb8-8b0201e8ff87":{"name":"Recycled prayer rug","short_description":"On this recycled Moroccan prayer rug, a prayer niche indicates the direction of prayer towards Mecca. A mosque lamp makes reference to the verse of light in the Qur'an: \"God is the light of heaven and of earth. His light [comes] as if from a niche, in which a lamp stands.\" (Sura 24, Verse 35). Two stylised hands indicate to those praying where their hands should come to rest. Uppermost is the invocation to God: \"Allahu akbar\" – \"God is the greatest\". The open hand symbolises the five fundamental obligations of Islam (confession of faith, prayer, charity, fasting, pilgrimage). At the same time, the hand provides protection against negative influences and evoke happiness and fertility.","type":"Textile; rug; religion","holder":"Weltmuseum Wien","dates":"Before 2010","location":"Vienna","dimensions":"L: 108cm, W: 54cm","method_for_datation":"Entry in the TMS digital collection database and archival documents, personal information from the collector.","method_for_provenance":"Entry in the general inventory book, personal information from the collector.","provenance":"Morocco","obtention":"Purchased from the collector, Gebhart Blazek, Graz, 2011.","bibliography":"Steinmann, Axel, \"Hand and Eye\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 106-109.","materials":["Synthetic fibres, wool"]},"bc55917f-d0f7-5bd8-a131-1a210f5df63d":{"name":"Mosque lamp for the mausoleum of Amir Aydakin al-‘Ala'i al-Bunduqdar","short_description":"Mamluk amirs adopted emblems, often connected to their ceremonial roles at court, which decorated the objects and buildings they commissioned. Here the two gold crossbows against a red shield indicate that the patron of this lamp held the high-ranking office of *bunduqdar* (keeper of the bow) at the Mamluk court. The inscription states that the lamp was ordered for the mausoleum of Aydakin al-‘Ala’i, who died in Cairo in 1285.","type":"Glass","holder":"The Metropolitan Museum of Art","dates":"Shortly after Hegira 686 / shortly after AD 1285","location":"New York","dimensions":"H: 26.4cm, Diameter of rim: 21cm","provenance":"Probably Cairo, Egypt","obtention":"Gift of J. Pierpont Morgan, 1917  \nFormer owner: Emile Gaillard, Paris (until d. 1904; sale, Hôtel Gaillard)  \nFormer owner: J. Pierpont Morgan, New York (1904–d. 1913; his estate 1913–17; gifted to MMA)","bibliography":"Carboni, Stefano, Whitehouse, David, Brill, Robert H. and Gudenrath, William, *Glass of the Sultans*, New Haven: Yale University Press, 2001: 228–30, no. 114, ill. 229 (colour).  \nDenny, Walter B., *How to Read Islamic Carpets*, New Haven/London: The Metropolitan Museum of Art, 2014: 47, ill. fig. 33 (colour).  \nDimand, Maurice S., *A Handbook of Mohammedan Decorative Arts*, New York: The Metropolitan Museum of Art, 1930: 189, 194, ill. fig. 118 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art: 1944. 240, ill. fig. 156 (b/w).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators,* New York: The Metropolitan Museum of Art, 2012: 226–27, ill. pl. 45 (colour).  \nCampbell, Thomas P. (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 2012: 130, ill. (colour).  \nEkhtiar, Maryam, Canby, Shelia 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: 4, 139, 160–61, no. 109, ill. 160 (colour).  \nEttinghausen, Richard, \"Islamic Art\", *Metropolitan Museum of Art Bulletin*, 33/1 (Spring 1975): ill 21 (colour).  \nJenkins-Madina, Marilyn, \"Islamic Glass: A Brief History\", *Metropolitan Museum of Art Bulletin*, 44/2 (Fall 1986): 40, ill. fig. 47 (colour).  \nMayer, Leo Aryeh, *Saracenic Heraldry: A Survey*, Oxford: Clarendon Press, 1933: 83–84.  \nde Montebello, Philippe and Howard, Kathleen (ed), *The Metropolitan Museum of Art Guide*, New York: The Metropolitan Museum of Art, 1992: 318, ill. fig. 17 (colour).  \nStrouse, Jean, \"J. Pierpont Morgan: Financier and Collector\", *The Metropolitan Museum of Art Bulletin*, 57/3 (2000): 63, ill. fig. 74 (colour).  \nNickel, Helmut, \"A Mamluk axe\", in Richard Ettinghausen (ed), *Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 1972: 216, ill. fig. 5 (b/w).  \nSoucek, Priscilla (ed), *Content and Context of Visual Arts in the Islamic World : papers from a colloquium in memory of Richard Ettinghausen, Institute of Fine Arts, New York University. Monographs on the fine arts. Vol. 44*, University Park, PA: College Art Association of America, 1988: 225, 253, ill. fig. 20 (b/w).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 51–52, ill. fig. 36 (colour).","dynasty":"Mamluk","copyright":"The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917","keywords":["Arabic inscription","architectural element","blazon","Blown glass","Cairo","coat of arms","Egypt","Emblems","Enamel","gilding","glass","glass enamel","Heraldry","inscription","inscription band","lighting","Mamluk","medallion","Mosque","Mosque Lamp","prayer","religious object","symbol","Thuluth"],"materials":["blown, folded foot, applied handles","enamelled and gilded","Glass, brownish"]},"bc7e3eae-5354-5ec9-bfb6-2bdb12fdb9ce":{"name":"Gördes Prayer rug","description":"Gördes, in the Manisa Province, Anatolia was an important rug producing town during the 17th and 18th centuries. The name “Gördes knot” was coined for the symmetrical knot technique after the fame and popularity of the region’s rugs. However, the “Gördes knot” technique is older than the town and wide‒spread geographically. This example is a prayer rug. The niche corners are decorated with two trees of life. The head band is composed of rose and rosebud motifs. Various flowers motifs are used on the borders as an expression of heavenly gardens.","type":"Prayer rug","holder":"Manisa Museum","dates":"17th century","location":"Manisa","dimensions":"L: 30cm, W: 50cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Gördes","obtention":"Transferred from the Istanbul Museum of Turkish and Islamic Arts","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 2, Katalog no: 129.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Gördes rug","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"bd7a3cd3-6bbf-5036-bebe-7fdc38ffd56d":{"name":"Monstrance","description":"The monstrance is by the Graz goldsmith, Hans Georg Pfisterer. The shaped oval base has enamel medallions showing scenes from the Passion of Christ and continues into a knob, shaped like a Baroque vase, from which rises the top part of the monstrance of the so-called sun type. Bands and foliate ornaments completely cover it intertwined with filigree and jewels. The opening of the ostensory has a six-sided moulded frame made up of wavy and angled sides and surrounded by airy filigree ornamentation of entwined scrolls and jewels that form flowers. Above the ostensory is a richly decorated canopy under which God the Father, holding the globe, hovers in clouds. Above the canopy is the dove of the Holy Ghost. At the foot of the frame, two adoring angels kneel on narrow decorated bases. The bottom edge of the monstrance has a lambrequin motif from which pearls hang.  \nBishop Juraj Branjug of Zagreb acquired the monstrance. He was one of Croatia’s most active bishops in 18th-century in the field of religious art building a new palace in Zagreb and renovating and building many churches. He had his own woodcarving workshop at Kaptol whose master craftsmen made altarpieces and pulpits adorned with the bishop’s arms for many churches. He bought and donated first-class liturgical objects to the cathedral.","short_description":"A so-called sun monstrance covered with filigree work, a series of bands and foliate ornaments, jewels and enamel medallions showing the Passion of Christ. Made by the Graz goldsmith, Georg Pfisterer, it was acquired by Bishop Juraj Branjug for Zagreb Cathedral.","type":"Liturgical object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1738","location":"Zagreb, North-West Croatia","dimensions":"H: 69 cm; base: 24 cm x 19 cm","place_of_production":"Graz","method_for_datation":"The monstrance has the hallmark of Graz, the year 1738, and the maker’s initials “G. P.” in an oval, which belongs to the Graz goldsmith, Georg Pfisterer.","obtention":"Acquired by the Bishop of Zagreb, Juraj Branjug (1723–1748), for Zagreb Cathedral.","bibliography":"Bach, I., *Inventar zagrebačke katedrale* (Inventory of Zagreb Cathedral), Zagreb, 1951.  \nLentić, I., *Predmeti od metala u riznici zagrebačke katedrale* (Metalwork in the Treasury of Zagreb Cathedral), Zagreb, 1983.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes","Enamel","filigree","precious gems","religious object","silver"],"materials":["filigree, jewels and enamel","Silver, gilded and embossed"]},"bde1bb31-4ed9-500e-8ed0-c80c51d8d0cd":{"name":"*Minbar*.","description":"This *minbar* is a mobile pulpit with eight steps supported by vertical walls ending with lateral arcatures linked by a ramp. Both the internal and external sides are decorated. The entire Andalusian decorative repertoire – vegetal, floral, geometric and epigraphic – has been employed. The sides and the back are framed with *kufic* inscriptions (Qur'anic text, pious formulas and three foundation texts). The characters are embossed, sculpted or inlaid. Marquetry and bone and ivory inlay have been used on the sides for chequered geometrical knotwork and the floral designs, in the shape of trees of life, crowned by arcatures that decorate the back and the risers. The variously shaped small polygonal wooden panels that fill the interstices of the geometrical knotwork are sculpted and carved with floral and vegetal motifs with an outstanding level of delicacy and precision that is reminiscent of and even surpasses the work on Umayyad ivory boxes. In addition to the sculptures and carving, the palette of colours and shades of the valuable woods make this liturgical object a masterpiece of the genre. One of the inscriptions says that 'Ali ibn Yusuf commissioned it from a workshop in Córdoba in AH 532 / AD 1137 for the Great Mosque of Marrakesh. The Almohad 'Abd al-Mu'min spared the *minbar* when he razed 'Ali's mosque in AH 542 / AD 1147. He put it in his mosque, the original Kutubiya and then transferred it to his second, current Kutubiya, where it was used until the 1950s.","short_description":"Made in Córdoba for the Great Mosque of 'Ali ibn Yusuf in Marrakesh, it was spared by the Abbasid 'Abd al-Mu'min and placed in his mosque, the Kutubiya. The meticulous, precise and subtle crafting of this item make it the only *minbar* to have survived to our times, a masterpiece of its type.","type":"Woodwork, minbar, wood","holder":"Badi Palace.","owner":"Kutubiya Mosque (*habus* or *waqf* – endowment).","initial_owner":"The Almoravid monarch ‘Ali ibn Yusuf commissioned it for his Great Mosque of Marrakesh.","dates":"Hegira 532 / AD 1137 (commenced).","location":"Marrakesh.","dimensions":"Height 386 cm, length 346 cm, width 87 cm.","method_for_datation":"The inscription engraved on the last upright on the left side reads: 'This *minbar* was made in Córdoba, God protect it, for the Great Mosque of the city of Marrakesh, God protect it, and its construction began with God's help on the first day of the month of Muharram in the year 532 (AD 1137), may God glorify the reward of its commissioner'. The inscription on the back arcature reads: 'May God help the prince \\[of the faithful, 'Ali ibn Yusuf\\] ibn Tashufin and his heir'.","method_for_provenance":"The place where it was made, (Córdoba) and its original location ('Ali ibn Yusuf's mosque) are mentioned in the inscription engraved on the back arcature: 'This *minbar* was made in the city of Córdoba, God protect it, for this great venerated mosque, may God help it to endure with the word of Islam. It was finished …' The name 'Aziz' engraved on the structure, discovered during restoration, could be that of a craftsman or foreman.","provenance":"Kutubiya Mosque.","obtention":"Removed from the Kutubiya Mosque for preservation in 1962 and restored. Since 2005 kept in a room in the Badi Palace.","bibliography":"Basset, H. et Terrasse, H., “Sanctuaires et forteresses almohades. V. La chaire de la Kotobîya”, *Hespéris* 6, Rabat, 1926, pp.168–207.  \nBloom, J. M., Toufiq, A., Carboni, S., Soultanian, J., Wilmering, A. M., Minor, M. D., Zawacki, A., Hbibi, M., *Le Minbar de la* *Mosquée Kutubiiyya*, Madrid, 1998.  \nDeverdun, G., *Marrakech des origines à 1912*, Rabat, 1959.  \nSauvaget,J., “'Sur le minbar de la Koutoubia de Marrackech”, *Hésperis* 36, Rabat, 1949.  \nTerrasse,H., “Minbars anciens dur Maroc”, *Mélanges d'histoire et d'archéologie de l'Occident musuman* 2 Algiers, 1957.","dynasty":"Almoravid","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","floral decoration","geometric decoration","liturgical object","Mosque interior decoration"],"materials":["Different woods (cedar, acacia, box, jujube), natural bone painted green, ivory (sculpted, carved, openwork, assembled, inlaid and gilded)."]},"bf855ca5-82b9-5496-8eb9-62a39c53ba92":{"name":"Cope of signed Safavid silk fabric","short_description":"The cope, an important element in the array of Christian liturgical vestments, was fashioned out of precious Iran silk. At the time, the silk manufactories of the Safavid Empire were ranked among the highest-quality production centres in the world; their products were coveted export articles. This textile presumably found its way to Europe via the trade routes and was processed after its arrival. The fact that the silk is signed indicates the how highly it was valued by those taking part in its production.","type":"Vestment of Safawid Iranian silk, liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"2nd half of the 16th century","location":"Vienna","dimensions":"H: 151cm, W: 297cm","provenance":"Iran, Kashan","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97451","author":"Martina Dax","keywords":["Christian","Cope","floral motifs","geometric patterns","liturgical vestment","Manufacture","Safawid","silk","workshop"],"materials":["Braids, fringes","Lampas broché, lancé","Silk, metal threads"]},"bfdbe8a5-e335-5014-a461-8cecc5b16445":{"name":"A complete cover for a Damascus *mahmal*, with the name of Sultan Mehmed IV","short_description":"The *mahmal* was a ceremonial palanquin that represented the authority of the Sultan over the Holy Places. The Mamluk sultan Baybars (r. 1260 – 1277) is reported to be the first to have sent a mahmal with the caravan of pilgrims from Cairo, and the custom was continued under Ottoman rule and almost without interruption until the early 20th century. This, the earliest of seven mahmal covers in the Khalili Collections, is an example of a second mahmal which left Damascus with the caravan of Syrian and Turkish pilgrims. The Egyptian and Syrian mahmals were occasionally joined by a third mahmal from the Yemen.  \n  \nThe embroidered Qur’anic verses are apposite: the text on the pyramid top is Qur’an, *sura* *al-Ahzab* (XXXIII), verse 56, which mentions the Prophet; the band around the lower part has al-Baqara (II) verse 127, which refers to Abrahim and Isma‘il raising the foundations of the House, that is, the Ka‘ba. At the very top, below the finial, is *sura* *al-Nahl* (XVI), verse 7: ‘And they carry your heavy loads to lands that you could not otherwise reach except with souls distressed’.","type":"Textile; *mahmal* cover; Damascus mahmal; ceremonial palanquin; wire embroidery; Mehmed IV","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Cover dated Hejira 1067 / AD 1656–7; finials are of a later date","location":"London","dimensions":"355 x 190 x 174 cm, as assembled","method_for_datation":"The *mahmal* cover is dated.","provenance":"Turkey, Istanbul","bibliography":"Behrens-Abouseif, D., “The mahmal legend and the pilgrimage of the ladies of the Mamluk court”, *Mamluk Studies Review*, 1 (1997): 87–96.  \nPorter, V., “The Mahmal Revisited”, in Porter, V., and Saif, L., (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 195–205.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["banner","calligraphy","camel","Ceremonial object","cotton","Curtain","Damascus","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","Standard","textile","travel"],"materials":["Cover and finial banners of green silk, embroidered in silver and silver-gilt wire over cotton thread padding","finials of gilded copper alloy are a of a later date"]},"c13c410a-cc43-5e8b-8251-2f9bd6a4319e":{"name":"Kula Rug","description":"Kula, Manisa Province was an important rug producing centre. During the 18th and 19th centuries they supplied the demand of international rug companies. Most Kula rugs, including this example are prayer rugs. The main component of prayer rug decoration is the *mihrab* and can be described as a stylized arch surrounding the prayer area. This is a double *mihrab* Kula rug with band stairs on both sides. In double *mihrab* rugs there are two *mihrab*s, one at the bottom of the image and the other at the top. This Kula rug with a double *mihrab* has eight borders, four wide bands and four narrow bands. It is decorated with an image of flowers in a vase.","type":"Prayer rug","holder":"Ethnography Museum","dates":"19th century","location":"Ankara","dimensions":"L: 200cm, W: 115cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"West Anatolia, Manisa, Kula","obtention":"Acquisition unknown","bibliography":"Unpublished","dynasty":"Ottoman","author":"Mehmet Demir, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["kula Rug","Manisa","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"c147d8a2-97a3-5021-88ab-e73c8c00b9c1":{"name":"Traveller's Qur’an Scroll","short_description":"This parchment encapsulates the entire Qur’an. Tear-shaped leaf-patterns frame the holy book, which stretches across five showcases. The 114 chapters are written with horsehair with scripts illegible to the naked eye.  \n  \nDue to its shape and weight, Muslim travellers, in particular pilgrims, would carry this type of Qur’an, ensuring lighter luggage than traditional books. However, it is believed that Qur’an scrolls like this sample would function as a talisman or good-luck charm on long journeys rather than a book for reading.  \n  \nToday, smartphone applications make holy books accessible at your fingertips, while many global hotels provide religious texts for their guests.","type":"Book; Manuscript","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 890cm, Width: 4.5cm","method_for_datation":"The date and origin were derived from an examination of material and technique in a research comparison with similar scrolls.","method_for_provenance":"The date and origin were derived from an examination of material and technique in a research comparison with similar scrolls.","provenance":"India, Jaipur","obtention":"Purchase","bibliography":"Nünlist, T., \"Devotion and protection: Amuletic scrolls dating from the 14th century\", in Bethany J. Walker and Abdelkader Al Ghouz (eds), *Living with Nature and Things: Contributions to a New Social History of the Middle Islamic Periods*, Göttingen: V&R unipress, 2020: 475-533.","dynasty":"Mughal","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kashmir","Manuscripts","Quran"],"materials":["handwriting","Paper"]},"c148a3a5-ac87-5785-bf74-013a0b3503df":{"name":"Parts of the St. Mary and St. Ladislaus altarpieces from Zagreb Cathedral","alternate_name":"St. Mary and St. Ladislaus altarpieces","description":"The museum's altarpiece composition comprises parts of two altarpieces, that of St. Mary and St. Ladislaus. It has a central niche from the altarpiece of St. Mary – decorated with acanthus leaves, putti and bunches of fruit – within which the statue of Mary with the Child Jesus in her arms is standing on a half-moon entwined by a serpent. In front of the niche stand the statues of St. Ladislaus, the King, and St. Emeric, the Duke, which belonged to the altarpiece of Ladislaus.      \nThe composition, flanked by carved consoles attached to the wall, has the same ornamental decoration as seen in the central niche of the altarpiece of St. Mary; the consoles used to support painted altarpiece wings. Above them are the statues of the four evangelists, which were originally in the niches of the predella panel of the altarpiece of St. Ladislaus.  \nIn a contract of 1686, the sculptor from Ljubljana, Ivan Komersteiner, agreed to make the altarpiece of St. Mary for the apse of the north aisle of Zagreb Cathedral. In another contract of 1688, he agreed to make its pair, the altarpiece of St. Ladislaus, for the apse on the south aisle. Komersteiner was already a citizen of Zagreb with a workshop in Zagreb's Kaptol.    \nThe two altarpieces were identical in design: winged altarpieces with painted panels showing scenes from the Life of Mary on the altarpiece dedicated to her, with statues distributed on two levels and in the attic. Painted panels depicting scenes from the Life of St. Ladislaus decorated the altarpiece dedicated to him, with appropriate statues. While the wings from the altarpiece of St. Mary were destroyed those from the altarpiece of St. Ladislaus are kept in Zagreb City Museum.     \nSt. Ladislaus, the King of Hungary, was responsible for the foundation of the Zagreb Diocese.  \nKomersteiner was responsible for the statues and woodcarving. Ivan Eisenhort and Bernardo Bobić collaborated on the painting and gilding of the altarpieces, while Matijaž Erlman began the work on the architecture for the altarpiece of St. Mary.  \nThe arrival of the sculptor, Komersteiner, to Zagreb marked the final entrance of the Baroque in the sculpture of continental Croatia. He brought with him as a novelty the ornamental decorative motif of Baroque acanthus, so-called Italian leaves, and his statues anticipate a new style expressed in the mobility of the slender figures of saints in characteristic counterpoise, freeing them from dependence on altarpiece niches.      \nKomersteine's expression in his work has no direct analogies either in Croatia or in neighbouring territories, but the indirect influence of Italian art in his work is undeniable.  \nDuring renovations in 1882, both altarpieces were removed from Zagreb Cathedral.","short_description":"A “composite” altarpiece composition comprising parts from the Altarpieces of St. Mary and St. Ladislaus originally designed for the apses of the north and south aisles of Zagreb Cathedral.  \nDuring renovation of the cathedral in 1882, both altarpieces were removed and partially destroyed in the process. They were made by Ivan Komersteiner, a sculptor who worked first in Ljubljana and then in Zagreb. His arrival in Zagreb marked the final entrance of the Baroque to continental Croatia.","type":"Altarpiece(s)","holder":"Museum of Arts and Crafts","initial_owner":"Zagreb Cathedral","dates":"1686–1688; 1688–1690","location":"Zagreb, North-West Croatia","dimensions":"H: 220 cm; w: 214 cm; d:194 cm","place_of_production":"Zagreb","method_for_datation":"Contracts from 1686 and 1688 in Acta capituli antiqua fasc. 101","provenance":"From Zagreb Cathedral","obtention":"In 1921, the Commission for Education and Religion gave the order to transfer parts of the altarpieces to the Museum of Arts and Crafts to protect the cultural heritage.","bibliography":"Tkalčić, I., *Prvostolna crkva zagrebačka* (Zagreb Cathedral), Zagreb, 1885.  \nBaričević, D., *Kiparstvo manirizma i baroka. Sveti trag, devetsto godina umjetnosti Zagrebačke nadbiskupije 1094–1994*. Katalog izložbe (Mannerist and Baroque Sculpture. The Holy Trail, 900 Years of Art in the Zagreb Archdiocese 1094–1994), exhibition catalogue, Zagreb, 1994.","workshop":"Sculptural workshop of Ivan Komersteiner","artist_birthdate":"Unknown","artist_birthplace":"Unknown","artist_deathdate":"1694","artist_deathplace":"Zagreb","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","carved wood","floral decoration","gilding","Madonna","sculpted wood","sculpture","vegetal decoration","workshop"],"materials":["Carved wood, polychrome and gilded"]},"c2097e9b-56b2-56db-8332-8b268a5e48e1":{"name":"Gördes double niche carpet","description":"The rug-weaving areas of Anatolia are conventionally divided into western, central and eastern regions. Western Anatolian centres such as Uşak, Gördes, Kula and their vicinity have a long tradition of carpet and rug production. Carpets from these centers were very popular in Europe. Ghiordes is an Anatolian town northwest of Uşak. Rugs in this area have been woven at least since the 18th century and perhaps long before.  \nThis type of rug is often called Kiz Gördes. *Kiz* is a Turkish word for a girl or a bride, so these types of rugs were intended as a gift from a bride to her husband on their wedding day. In the central field there is a double niche with central hooked diamond medallion on a red background. Spandrels are fields with diagonal rows of florets on a light blue background. Above and beneath the arches there are two oblong fields with cloud band shaped flowers. The central field is framed with three borders. The main border is decorated with large motifs of flowers and leaves. The inner border is decorated with geometrical motifs. The outer border is the leaf and blossom meander border.","type":"Carpet","holder":"Museum of Arts and Crafts","dates":"Second half 19th century","location":"Zagreb","dimensions":"H: 210cm, W: 115cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["Anatolia","double niche","Ghiordes","medallion carpet","prayer rug"],"materials":["Cotton, wool","knotted carpet","symmetrical knots"]},"c3101633-812c-5595-969c-ee2b57886090":{"name":"Mosque lamp.","description":"An enamelled glass and gilt mosque lamp with a wide funnel-shaped neck and a rounded rim. The lamp has a squat body, steeply sloping shoulder and a flattened base, and a tall pedestal foot with a pronounced pontil mark on the underside. Six trailed suspension loops are placed around the body at regular intervals. The lamp is decorated comprehensively with enamel decoration executed in red, blue and light-green, embellished with gilding. Around the neck is a wide band of *thuluth* script executed in blue enamel, surrounded by a floral border. An excerpt from the Qur’an (*Sura* 2; verse 256), the inscription is interrupted by decorative roundels rendered in gold, red and green, each of which contain a little cup in the centre. The lower neck and upper body are decorated with floral bands interrupted by roundels with individual floral motifs. On the main body, another inscription in *thuluth* script gives the titles of the official who commissioned the lamp: Zain al-Din Mubarak who, according to the blazon above, was cupbearer to the sultan, al-Malik al-Salih, who is also named in the inscription. There were two rulers with the same titulature, both of whom were the sons of Nasir Nasir al-Din Muhammad ibn Qalawun: the first, al-Malik al-Salih Isma’il (r. AH 742–5 / AD 1342–5); the second, al-Malik al-Salih Salih (r. AH 751–4 / AD 1351–4).","short_description":"Glass mosque lamps with enamelled decoration were commissioned in large numbers by the Mamluk elite in Egypt and Syria. Decorated with Qur’anic inscriptions and the titles of the patron, they were destined for the numerous mosques and *madrasas* endowed by the Mamluks throughout Cairo and the empire.","type":"Glasswork, enameled","holder":"National Museums of Scotland (NMS).","dates":"Hegira 742–54 / AD 1342–54.","location":"Edinburgh, Scotland","dimensions":"Height 38.10 cm, diameter 26.67 cm.","method_for_datation":"The appearance of the name of al-Malik al-Salih on this mosque lamp assigns the piece to the reign of either al-Malik al-Salih Isma’il (r. 742–5 / 1342–5) or to al-Malik al-Salih Salih (r. 751–4 / 1351–4).","method_for_provenance":"Mosque lamps of this type were made in large numbers in both Egypt and Syria during the 8th / 14th century.","provenance":"Syria.","obtention":"Purchased by NMS from the Major W. J. Myers Collection in 1900.","bibliography":"Carboni, S., and Whitehouse, D., *Glass of the Sultans*, New York, 2002 (for discussion on related mosques lamps and Mamluk glass).  \nEremin, K., and Al-Khamis, U., ‘Mamluk and Pseudo-Mamluk Glass in the National Museums of Scotland’, in *Annales du 15e Congrès de l’Association Internationale pour l’Histoire du Verre, New York, 2003.*","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["al-Malik al-Salih Isma’il","al-Malik al-Salih Salih","blazons","calligraphy","coat of arms","Emblems","enamelled glass","Mosque interior decoration","Mosque Lamp","Thuluth","Zayn al-din Mubarak"],"materials":["Enamelled and gilded glass."]},"c37ef84c-4918-5c4a-89b2-3c585804a510":{"name":"*Bust of a Saint*","description":"The bust, on an original volute pedestal, arises out of a relatively narrow base widening into a compact chest. The bearded head is that of an old man, with a cloak thrown loosely over the right shoulder. The figure might be St. Hieronymus, one of the church fathers. The pedestal shows that the object was a reliquary.  \n*Bust of a Saint* demonstrates the artist's broad creativity seen not only his technical craft but also in his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn, but has an elegant, court-like nature manifest in the figure's S-shaped movement and the soft shaping of the volume.  \nLengelacher may have familiarised himself with bust-making in his native Bavaria, or during a stay in Vienna through Giovanni Giuliani, who provided the gallery pews in the Heiligenkreutz Monastery, Lower Austria, with a whole series of busts. Lengelacher probably met Giuliani while working on the decorations of the Belveder in Vienna.  \nIn 1719 Lengelacher settled in Mikulov, where as sculptor to Walter František of Dietrichstein, he created sculpted interior decorations for several south Moravian churches. Lengelacher's *Bust of a Saint* is part of a series of original decorations for altar tables in the Church of St. Michael, Dolní Věstonice, which Lengelacher embellished with stuccoes and carvings. The artist worked there from the 1720s in relation to one of his first major commissions, the Benedictine church in Rajhrad (1727–1734).","short_description":"*Bust of a Saint* demonstrates both the artist's skill as a sculptor and his ability to capture mental states. The ecstatic expression of desire and submission to God is not rough-hewn but has an elegant, court-like nature. The reliquary bust is part of the original altar decorations in Dolní Věstonice.","type":"Sculpture","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Church of St. Michael in Dolní Věstonice","dates":"1730","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 27.2 cm","place_of_production":"Moravia","method_for_datation":"The authorship and dating of the sculpture have been determined by its provenance and confirmed by an analysis of the style.","provenance":"Private collection","obtention":"The bust and its counterpart were purchased in 1913 from a private vendor. It comes from the Church of St. Michael in Dolní Věstonice in South Moravia.","bibliography":"Miloš Stehlík, Moravské dílo Ignáce Lengelachera, in *30 let Krajského střediska památkové péče a ochrany přírody v Brně,* Brno, 1989, pp. 154–174.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 99.  \nVlasta Kratinová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 166, cat. 42.","artist_birthdate":"1698","artist_birthplace":"Unter Peissenberg","artist_deathdate":"1780(?)","artist_deathplace":"Baden","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bust","religious object","reliquary","sculpted wood","sculpture"],"materials":["Wood, silver-plated"]},"c4ba74ec-5d96-5dd1-9cc3-a2a1553b4630":{"name":"The Solovetsky Monastery","description":"Savvaty, a monk from the Kirilov Monastery, founded a small commune on the island of Solovki near the White Sea in 1392. He left the inhospitable island in 1435 and died later the same year. The next year, the monk Zosimas moved to Solovki and built the first monastic cell, which eventually became a splendid and wealthy monastery thanks to a lucrative salt trade and plentiful gifts. Zosimas remained the abbot until his death in 1478.  The monastery, with its numerous towers and thick, fortified walls, is depicted in the lower half of this icon, and Saints Zosimas and Savvaty are depicted above the monastery, flanked by two angels. This icon’s large scale and thematic content suggest that the image was produced at the Solovetsky Monastery.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1680","location":"Clinton, Massachusetts","dimensions":"Height: 144.8cm, Width: 106.7cm, Depth: 3.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"c5864634-4eda-5afc-9805-0634535b6407":{"name":"Religious coloured print: Protective hand with eye","short_description":"The raised hand with outspread fingers is universally understood by all people, regardless of language and culture: \"Stop!\" The protective hand and eye are inextricably associated with each other, in particular when it comes to defending against the evil eye, the envy of others. Material barricades, a symbolic eye or a repelling hand, should deflect danger and secure the continued existence of one's own family. A Turkish house blessing of the palm of a hand with an inscribed eye promises well-being and protection against the evil eye: \"*Allahın dediği olur*\"– \"God's will be done.\"","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1983","location":"Vienna","dimensions":"H: 35 cm, W: 50cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Turkey, Istanbul","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1983.\"","bibliography":"Steinmann, Axel, \"Hand and Eye\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 106-109.","materials":["Paper"]},"c5b5daa1-000f-54c3-95f9-2872725c902d":{"name":"Tile Bowl","description":"The bowl has a round and flaring rim. Its round body narrows towards the ring base. It is decorated with dark blue, green, red and yellow gilding on a white glazed ground. On the external part of the bowl, there are Surahs of al-Falaq and al-Ikhlas in medallions.  \nProduced in China for the Ottoman market.","type":"Ceramic","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","dates":"Hegira 12th century / AD 18th century","location":"Ankara","dimensions":"Diameter: 15cm","place_of_production":"China","dynasty":"Qing","copy_editor":"Alvaro Miranda","materials":["Terracotta tile"]},"c8a7c58e-d37a-5d59-9506-320c260a750e":{"name":"Saint Nicholas of Zaraisk with Various Scenes","description":"Saint Nicholas, a 4th-century bishop from modern-day Turkey, is one of the most venerated saints in Russia. He is known as a protector of the weak and poor. Stories of Saint Nicholas giving gifts to the needy and protecting children spread far and wide as people traveled or emigrated from Russia to other countries. In this icon, Saint Nicholas is shown full-length, giving a blessing with his right hand while holding the Bible with his left. He is flanked by images of the Mother of God and Christ. The images in the border depict important moments from his life.","type":"Icon","holder":"Museum of Russian Icons","dates":"1500s","location":"Clinton, Massachusetts","dimensions":"Height: 124.5cm, Width: 94cm, Depth: 5.2cm","provenance":"Russia","obtention":"From the private collection of Dr. Andreas Pittas. Purchased by Gordon Lankton from the Temple Gallery, London, in 2011. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"c8be00b1-659b-5774-a1a2-0210b4202f95":{"name":"Prayer carpet","description":"A Transylvanian- type prayer rug with a pattern of three arches and double columns.","type":"Prayer rug","holder":"Benaki Museum","dates":"17th-18th century","location":"Athens","dimensions":"203 m x 138 cm","method_for_datation":"Rugs of this type are depicted in at least a hundred paintings by 16th and 17th-century European painters","method_for_provenance":"This label was given in the early 20th century to a group of some 450 rugs found in Transylvanian churches, but it was soon extended to cover other prayer rugs sharing the same stylistic, technical and chromatic features, which were probably made in western Asia Minor.","provenance":"Western Anatolia","obtention":"Purchased in Alexandria in 1924","bibliography":"Published in *Benaki Museum - A Guide to the Museum of Islamic Art*, Athens, 2006 (fig. 212, p. 157).","author":"Mina Moraitou","keywords":["geometric floral motifs","mihrab","prayer niche","prayer rug","Transylvanian type"],"materials":["wool"]},"c9f822c3-3474-5596-90db-ee77387c77fd":{"name":"*Cintamani* carpet","description":"The *cintamani* carpet is one of the most impressive objects of the National Museum in Kraków collections and not just for its artistic features, but because of its huge dimensions (10m x 4m) as well. The central field is decorated with *cintamani* motifs: two golden wavy stripes combined with three white balls. In the background are small dark-blue multi-leaf medallions ornamented with “leaf” and “shield” palmettes grouped around the rosette motif. Medallions as well as *cintamani* motifs are arranged in net-like patterns – such a composition makes an impression of harmony. In the main border are white shields with bouquets of roses; among them are delicate, sinuous tendrils with palmettes interwoven with cloudbounds. Colouristically, the composition is balanced: the red ground contrasting with the white, yellow, blue and green pattern.  \nCairo was already a well-known carpet-weaving centre in the 15th century during the Mamluk dynasty. In 1517, the Ottomans captured the city and the style of the carpets woven there changed. The influence of the Turkish Tabriz and the Anatolian workshops became visible. This *cintamani* carpet, probably made in the second half of the 16th century, combines the graceful floral motifs of Persian-style carpets with a *cintamani* pattern characteristic of Ottoman Turkey. The *Cintamani* symbol originates from the Buddhist tradition. Adopted by the Timurids, it was known as the “Badge of Timur”. In the Ottoman Empire the *cintamani* motif was widely used in the decoration of everyday objects, i.e. garments, carpets, ceramics, symbolising the power derived from the pattern of the leopard- and tiger skins worn by rulers. The high artistic and technical quality of this carpet allows us to presume that it could have been made in one of the sultan’s court workshops.  \nThis *cintamani* carpet comes from the Corpus Christi church in Kraków. It was certainly used for the decoration of the church, probably on the floor. Oriental art was very popular in Poland during the 16th and 17th centuries, and textiles served to decorate both secular and sacral interiors.","type":"Carpet","holder":"National Museum in Kraków","dates":"End of the 16th century","location":"Kraków","dimensions":"H: 1,000cm, W: 406cm; knot density 2,744/dm2","method_for_datation":"Stylistic features, as well as the technique of execution (the asymmetrical, so-called “Persian” knot) allow us to suggest Cairo as the possible place of production","provenance":"Egypt, Cairo","obtention":"Obtained from the Corpus Christi church in 1912","bibliography":"Bennet, Ian (ed.), *Rugs and Carpets of the World*, London: Greenwich Editions 2004: 112‒21. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 28‒31, 145‒6, cat. 30.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 78‒9.  \nDimand, Maurice S., and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: Metropolitan Museum of Art, 1973: 192, 204– 5. (Analogy)  \nEttinghausen, Richard, “Islamic Carpets: The Joseph V. McMullan Collection”, *The Metropolitan Museum of Art Bulletin* (June 1970), 28.10: cat. 7. (Analogy)","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Cairo","chintamani","cintamani","Ottoman"],"materials":["asymmetrically knotted pile (Persian knot)","Wool (warp, weft, pile)"]},"cba9697e-4726-5cc0-9a64-80be790a931d":{"name":"Fragment of an interior Kiswa Cover for the Ka'ba in Makkah","short_description":"For four hundred years, the Ottomans sent money and gifts to Makkah and Medina with the Surre procession. The gifts included covers for the Ka’ba, made in Cairo and Istanbul, which were replaced every year. Old covers were returned to the palace in Istanbul, distributed to the faithful or sometimes reused.Textiles like this one were made in Istanbul and Bursa from the 10th century H/ 16th century to the early 14th century H/ 20th century. Woven in red and beige silk, they were intended for draping either the inner walls of the Ka’bah in Makkah or those of the Tomb of the Prophet in Madina. Their zig-zag design echoes that of the main kiswa but the religious inscriptions vary according to the textiles’ intended use. Here, the combination of texts with their emphasis on the Prophet suggests that this fragment was part of a hanging intended for the Prophet’s tomb chamber, which also houses the cenotaphs of his first two successors, the caliphs Abu Bakr and Umar ibn al Khattab.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Hegira late 12th – early 13th century / AD late 18th – early 19th century","location":"Sharjah","dimensions":"Length 655 mm, width 380 mm","provenance":"Turkey, Istanbul","author":"Ulrike Al-Khamis","keywords":["Ka'bah","kiswa"],"materials":["Lampas woven, red and beige silk"]},"cbadcbe0-3272-59a1-a3b3-967703ee5993":{"name":"Alms Vessel","short_description":"Known as the Prophet’s *mudd* vessel, this bronze pot would collect and measure the alms given as charity by the people of Medina in Saudi Arabia. The cylindrical jar features the *basmala* or Muslim invocation and Qur’anic verses in *thuluth* and *naskh* script.  \n  \nCommissioned by the Naqib al-Ashraf, Mohamed Jamal Allah, the pot represents a replica of the original *mudd* vessel employed by Prophet Muhammad (PBUH) to gather and distribute charity money. Inhabitants of Saudi Arabia would quantify money using the Abbasid Islamic economic measure called *mudd*.  \n  \nWith *zakat* (charity) as one of the pillars of Islam, wealthy Muslims are obligated to donate alms. Muslims base the amount of *zakat* on a surplus of wealth, rather than one’s income, while a minimum amount prevents the application of this tax. This minimum amount called *nisab* akin to the modern-day minimum wage determines who should give and receive charity. *Zakat* meaning \"purity\" or \"purification\" enacts a reciprocal gift-giving exchange, where the recipient and charity-giver accept blessings from God.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Diameter: 12cm, Height: 11cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","provenance":"Kingdom of Saudi Arabia, Medina","obtention":"Purchase","bibliography":"Aljabr, H., \"Weights and measures in the Hijaz during the Abbasid period 132-334H/749-945 A.D: An overview\", *Journal of Islamic Accounting and Business Research*, 11 : 7 (2020): 1417–1425.  \nKochuyt, T., \"God, Gifts and Poor People: On Charity in Islam\", *Social Compass*, 56 : 1 (2009): 98–116.","dynasty":"Saud","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Alms","Medina","metalwork","Prophet Muhammed","Saudi Arabia"],"materials":["Bronze","Engraving"]},"cbb6bbe3-72b1-5d00-b8a3-fc74f38248d4":{"name":"Sacramento Monstrance","alternate_name":"*Anjo Custódia* do Sacramento","description":"An exceptional example of Baroque workmanship during the period of King João V, the Sacramento Monstrance – also called the *Anjo Custódia “*Angel Monstrance” – assumes the form of an Atlantis angel, a figure that is sometimes incorporated into the lower part of gilded wooden altarpieces. In this particular case the Atlantis angel appears free; instead of the usual representation as a pillar sustaining a globe the angel holds a radiant sun. Theatrical tension is undoubtedly achieved with the decoration of the piece itself, but the monstrance would have been surrounded by the gilded wood of the sacred space of the high altar and the aim would have been to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty.  \nSymbol of the Church Triumphant, the monstrance is a splendid composition of contrasting effects: dynamic lines and imposing shape – the result of which sees the elegant sculptural angel in polychrome and gilded wood – and the resplendence of silver, colour and glinting of both the enamel and glass.  \nThe kneeling angel holds a spherical, smooth and polished monstrance enveloped in a corona of silver rays. Surrounding the *luna* – the space where the host is kept and exhibited – are Eucharistic symbols enhanced by brightly coloured enamel work, and mounted over a circular base with eight ornamental silver-gilt cherubs. Vegetal motifs and coloured glass form flowers to complete the decoration. The monstrance presents a municipal contrast between the silver from Lisbon (L), in use since 1690, and the incomplete hallmark of an unidentified goldsmith from Lisbon, whose initials were LRP, and who was active between the end of the 17th century and the first half of the 18th century.","short_description":"Holding the solar sphere made out of silver – glowing with the true Word of God – the Atlantes angel is supposed to increase the emotional and devotional fervour of the congregation and lead them to contemplate the divine light of truth and its beauty. This piece was probably the highlight of the gilded wood high altar at Sacramento Convent in Lisbon.","type":"Metalwork","holder":"Machado de Castro National Museum","owner":"Museu Nacional Machado de Castro, Coimbra","initial_owner":"Santíssimo Sacramento Convent, Lisbon","dates":"First half of the 18th century","location":"Coimbra, Coimbra","dimensions":"H: 222 cm ; w.: 162 cm","place_of_production":"Lisbon","method_for_datation":"This goldsmith’s hallmark first appeared in the early part of the decade of 1690 and continued to appear throughout the first decades of the 18th century. The technical and stylistic affinities of both the figure of the Atlantis angel and the polychrome allow the monstrance to be placed within the Baroque style during the reign of João V (1707–1750).","provenance":"Santíssimo Sacramento Convent, Lisbon","obtention":"The monstrance came originally from the Santíssimo Sacramento Convent in Alcântara, Lisbon. Founded in 1612, the convent belonged to the female branch of the Dominican order and was closed after the death of the last nun in 1897. The monstrance was transferred to Coimbra in 1914 where it became part of the gold and silverware collection of the National Museum of Machado de Castro.","bibliography":"Gonçalves, A. N., *Catálogo do Museu Machado de Castro*, Coimbra, 1940, p. 50, cat. 272.  \nAlmeida, F. M. de, *Inventário de Marcas de Pratas Portuguesas e Brasileiras. Século XV a 1887*, Lisbon, 1993, p. 78 (L-17A) and p. 149 (L-402A).  \nTeixeira, J., de Monterroso, “Custódia do Sacramento” in The Age of the Baroque in Portugal, (ed. J. A. Levenson), New Haven–London, 1993, pp. 286–288.  \nAlves, F., Ferrão, P., *Alfaias de culto, símbolos de prestígio*, Lisbon, 2005, p. 84.","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Fernanda Alves, Pedro Miguel Ferrão","translator":"Lili Cavalheiro, Pedro Miguel Ferrão","translation_copy_editor":"Mandi Gomez","keywords":["Atlantes angel","goldsmiths","luna","monstrance","religious object"],"materials":["Monstrance: chiselled silver with relief, enamel and glass","sculpture: gilded and polychrome oak."]},"cbc34421-cbf1-565d-b4bd-d91bdc792930":{"name":"Rosette shaped part of the *minbar* of the Mosque of Ibn Tulun","description":"The mosque of Ibn Tulun was built in Cairo in the 9th century AD, and was restored and renovated during the reign of the Mamluk Sultan Hosam al-Din Lajin in 1296. One of the most important items of the equipment of a mosque is the *minbar* – originally a raised seat – used as a pulpit, but having also a symbolic meaning as the \"Throne of Muhammad\". The *minbar* was decorated with stone or wood inlays.  \n  \nThe *minbar* of the mosque of Ibn Tulun was one of the most precious. Its wooden decoration was exhibited at the World Trade Exhibition of 1867 in Paris as one of Egypt’s most significant craft works. After that, important pieces of the *minbar* reached numerous European collections.","type":"Woodwork","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1296; exhibited at Paris World Trade Exhibition in 1867","location":"Vienna","provenance":"Egypt, Cairo","copy_editor":"Daniel de la Vega","materials":["Carved and inlayed wood"]},"cd8363f9-fa9a-5f8b-942e-3c9d931124ec":{"name":"Saint Paraskeva","description":"Saint Paraskeva was born to Christian parents during the reign of Emperor Hadrian. She was given the name Paraskeva (Greek for “Friday”) since Friday was the day of Christ’s crucifixion as well as the day of her birth. She was arrested during the reign of Emperor Antoninus Pius for preaching Christianity. He offered her great wealth and even proposed marriage if she renounced her faith, but she refused. The enraged emperor placed her in boiling oil, and when she did not show any pain, demanded to know whether she had used magic to cool the oil. She responded by throwing the hot liquid at the emperor, instantly blinding him. He asked Paraskeva for help and she healed him with water from a nearby stream. Antoninus Pius set her free, converted to Christianity and stopped persecuting Christians. The inscription on the scroll in this icon reads as follows:  \n  \n\\[H\\]ighly praised is thy name – of Father and Son and Holy Spirit, my Lord God – now and forever. For thou forgave me and did not reject my humility nor my prayer; and thy being pleased by me is incomprehensible.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1600","location":"Clinton, Massachusetts","dimensions":"Height: 118cm, Width: 76cm, Depth: 6.5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2006. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"cd9c5acc-6762-581c-8259-b6b3a0d9e694":{"name":"Pair of Torchères","alternate_name":"Torch holders","description":"These two grandiose torchères were ordered for the Chapel of Saint John the Baptist to be installed in São Roque church in Lisbon. With a triangular base, in gilt bronze, they form a pyramid held by titans. Above, a cornice developing into a dome is finished with Rocaille-inspired shells and a D. João V shield on each of the three surfaces of the torch holders. In niches below the dome, forming an oratory, the Doctors of the church are seated: St Jerome, St. Thomas Aquinas, Sr. Ambrose and St. Bonaventure, St. Augustine and St. Leo the Great. The hybrid ornamentation develops upwards in fluid volutes – wing, acroterion, cymatium – flowers in the shape of garlands, phytomorphic elements – rope, laurel and acanthus – and zoomorphic elements, as well as a variety of *putti* inspired by the Roman Baroque.  \nThey were conceived and produced by Giuseppe Gagliardi with the cooperation of the metalworker Fellice Schiffone, the carpenter Lucano Celladini, Agostino Ancidoni another metalworker, and Lorenzo Morelli a silversmith and founder. Following the death of Giuseppe Gagliardi minor finishing and the lamination were concluded by his son, Leonardo Gagliardi, who like his father was a master silversmith.","short_description":"A splendid pair of torch holders in gilt bronze and chiselled silver, they form part of a royal commission for the Chapel of St. John the Baptist. Designed and produced by Giuseppe Gagliardi, the metalworkers Fellice Schiffone and Agostino Ancidoni collaborated with him on the project. Lucano Celladini was the carpenter and Luciano Morelli was the silversmith and founder.","type":"Metalwork","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","initial_owner":"Chapel of Saint John the Baptist, Church of São Roque","dates":"1749","location":"Lisbon, Lisbon","dimensions":"Each one H: 285 cm, weight: 380 kg","place_of_production":"Rome","method_for_datation":"All the objects in the Chapel of St. John the Baptist were made in Rome by Italian artists between 1743 and 1749.","provenance":"Chapel of Saint John the Baptist, Church of São Roque","obtention":"Following the expulsion of the Society of Jesus by Pombal in 1759, the Church of São Roque and all of its chattels were handed over to the Santa Casa da Misericórdia de Lisboa in 1768, which continues to own the artistic heritage of the former Jesuit order until the present day.","bibliography":"Rodrigues, M. J. M., *A Capela de São João Baptista e as suas colecções / The Chapel of Saint John the Baptist and its Collections*, Lisbon, 1989.  \nTeixeira, J., “Tocheiro” *O Triunfo do Barroco/ The Age of Baroque* London–New Haven, 1993.  \nViterbo, F., M. de Sousa, Almeida, R. V. De, *A Capella de S. João Baptista Erecta na Egreja de S. Roque. Fundação da Companhia de Jesus e Hoje Pertencente à Santa Casa da Misericordia*, Lisbon, 1997 (1A ed. 1900).  \nVale, T. L. M., *Da Igreja Combatente à Igreja Triunfante. Espaço e Imagem Religiosa do Concílio de Trento ao Barroco Pleno*, separata de Brotéria, Vol. 157, Lisbon, 2003.","workshop":"International Baroque","copyright":"Copyright images: Santa Casa da Misericordia de Lisboa.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Chapel of St. John the Baptist","Church of São Roque","religious furnishing","Roman Baroque"],"materials":["Gilded silver on gilded bronze base"]},"cdb915c1-3659-5399-a392-93205b57fd30":{"name":"Carpet","description":"Following the 1834 abolition of Portuguese religious institutions, most of their portable heritage was transferred to the Portuguese State. The incorporation of textiles, including carpets, into State property is particularly relevant to the history and the creation of national museums and collections such as the National Museum of Ancient Art. This carpet, which has been in the NMAA’s collection since 1888, comes from the former convent of Estrela for which it had been commissioned by Princess Maria I (r.1777‒1816) after the birth of her son.  \nAlthough building began in 1779, well after the date of this carpet’s production, its incorporation in the convent can be attributed to two reasons: as an offering from the Royal Portuguese House, owner of an impressive collection of Oriental carpets, to encourage offers from other donors, or even a transfer from another religious institution.  \nThe lack of documentation makes it difficult to ascertain its original function. These carpets were much appreciated and used as important decorative furnishings both in sacred and profane interiors, where they were meant to define spaces. One such example of physical delimitation lay in the use of carpets to cover the stairway and higher elevated daises that became an Iberian tradition within the female universe and lasted well into the 19th century.  \nThis carpet has undergone several restorative interventions, with its original size having been approximately a metre larger than at present; of almost eight-metres in length, this carpet shows a very balanced design and colour. It presents the classical ornamental motifs characteristic of this category, along with the field filled with “vine scrolls” alternating with palmettes and S-shape cloud scrolls (*tchi*). It also exhibits the characteristic contrast of colours between the field and the border (red/blue), both filled with palmettes and chinar leaves.","type":"Textile; carpet","holder":"National Museum of Ancient Art","dates":"17th century","location":"Lisbon","dimensions":"H: 796cm, W: 375cm; knot density c. 3,190/dm2","method_for_datation":"Technical information provided by Jessica Hallet and Steven Cohen","method_for_provenance":"Stylistic analysis and material dating","provenance":"Iran","obtention":"Transferred from the Convent of Estrela, Lisbon, Portugal, in 1888","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco (eds), *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","dynasty":"Safavid (1502‒1722)","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["17th century","carpet","Iran","Portugal"],"materials":["Asymmetric knot, Open to the left","Cotton and wool","knot, 2Z (4Z)","knotted"]},"cdc27ae7-3a64-5545-a795-1006d1e99c9e":{"name":"Gördes Prayer Rug","description":"This rug is an outstanding example of a Gördes prayer rug. The knot technique is not well suited for such detailed decorations. Nevertheless, complex stylized floral motifs are skilfully woven on the *mihrab* corners and borders expressing heavenly gardens. In contrast, the *mihrab* area is decorated simply.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"18th century","location":"Istanbul","dimensions":"L: 127cm, W: 185cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Gördes, Manisa","obtention":"From the Edirne Sultan Selim Mosque","bibliography":"Aslanapa, Oktay, *Türk Halı Sanatı’nın Bin Yılı*, Istanbul: Eren Yayınları, 1987: 153‒155.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 5, Katalog no: 510.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Gördes prayer rug","Manisa","West Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"d04a23e2-0c3a-5d55-be53-ebac7989ba2d":{"name":"Gördes prayer rug","description":"This prayer rug was made in Gördes, one of the best-known carpet production centres in Anatolia. Rugs from Gördes were very much appreciated in the West as well, because of their high quality and splendid, vivid colours. The rug preserved in the National Museum in Kraków is a fine example.  \nAt the centre of the Kraków rug, a bright-red *mihrab* indicates the direction of the Kaʽba in Mecca. A horseshoe arch is supported by the two delicate columns constructed from diamond shapes. Elegantly shaped ewers with flowers rising from them serve as the bases of columns. The vessels are another religious reference to recall the ablutions preceding prayers. In the capitals another significant motif from Islamic art is recognisable in the *cintamani*, meaning power and happiness.  \nThe ornamental and colouristic composition of the carpet is balanced. The most striking feature is the plain-red niche under turquoise-blue spandrels, which is filled with a scrolling ivory vine with contrasting red buds. The cross-panel above the *mihrab* is decorated with small palmettes much differentiated in colour (ivory, yellow, blue and red), against a dark-indigo background. The border is also highly decorative. The central, wide, dark-indigo border is filled with a rhythmical composition of large roses and palmettes, surrounded by smaller roses and carnations on leafy stems. The central border is flanked by the thinner ivory borders decorated with tendrils with flowers.  \nSimilar rugs are preserved in Austrian collections, the Wawel Royal Castle Kulczycki Collection and in the Ballard Collection of the Metropolitan Museum of Art, New York.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 170cm, W: 114cm; knot density 1,295/dm2","method_for_datation":"The floral ornaments that decorate this rug are rather realistic and elaborate, with a soft, fluent line; the presumption is that it dates from the 17th century","method_for_provenance":"By stylistic analysis","provenance":"Anatolia, Gördes","obtention":"Donated by Erazm Barącz in 1928","bibliography":"*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat. 14. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 58‒9, 157, cat. 17.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 62‒3.  \nDimand, Maurice, S., and Mailey, Jean, *Oriental Rugs in the Metropolitan Museum of Art*, New York: Metropolitan Museum of Art, 1973: 206. (Analogy)  \nPiwocka, Magdalena (ed.), *Kobierce i tkaniny wschodnie z kolekcji Włodzimierza i Jerzego Kulczyckic. Katalog wystawy lipiec – wrzesień 2006* (Oriental carpets and textiles from the collections of Włodzimierz and Jerzy Kulczycki. Catalogue of the exhibition July–September 2006), Kraków: Wawel Royal Castle/Sate Collection, 2006: 42, cat. 5. (Analogy)","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","chintamani","cintamani","ewer","Ghiordes","Gördes","mihrab","Ottoman"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"d0932db7-f1ba-5774-8b6f-19506abedc69":{"name":"Ramadan lamp","short_description":"During Ramadan, night becomes day. The silhouettes of the mosques shine with neon light. All of Cairo is lit up. The ninth month of the Islamic moon calendar is a festival of lights. It is the time of fasting and of religious reflection, of commemorating that at this time the Qur'an was sent down to man. From sunrise to sunset, believers are called upon to refrain from eating, drinking, smoking, and sexual activity. At sunset, the breaking of the fast is celebrated within the family circle with a lavish celebratory meal. Up until the final mealtime before sunrise, every house, mosque, and café is decorated with garish lamps. Afterwards, fasting begins again until evening. Individual objects which were once made of metal from tin cans and coloured glass have meanwhile been replaced by cheap plastic competitors \"made in China.\"","type":"Religion; ceramic","holder":"Weltmuseum Wien","dates":"1978-1981","location":"Vienna","dimensions":"H: 35cm, W: 38cm, Diameter: 28cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo and Vienna, 1982.\"","bibliography":"Steinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","materials":["Aluminium sheet, glass"]},"d0bee2a2-2f3b-5679-b3ad-433e3664ca0a":{"name":"Prayer rug.","description":"A prayer rug that is typical of those produced in Ladik, a village near the city of Konya in central Anatolia. The rug has a red, central niche surrounded by three decorated frames. In the centre of the niche is an abstract tree-of-life motif springing from a stylised water-vessel. Above the vessel there is a rectangle with illegible text; above the tip of the niche there are a crescent and another rectangle with the date according to the hegira calendar, '1217' (1802) woven sideways. Made by the women in the village on a domestic handloom, the design for this type of prayer rug is inspired by the columned, court prayer rugs of the AH 10th–11th / AD 16th–17th centuries. The women also reared the sheep, sheered the wool, spun it and dyed it. Ladik lay on the main pilgrimage route from north to south, and these rugs were made to supplement the villagers' income, and were, subsequently, presented to mosques and shrines in the area and beyond as pious offerings. One such rug appears in a 17th-century European painting, a still life by Nicolaes van Gelder, dated 1664.","short_description":"This prayer rug is an example of those produced in the village of Ladik near Konya in Anatolia. Made by the women in the village, on a domestic handloom, the rugs were sold to pilgrims who passed through on their way to Mecca. They in turn donated them to mosques and shrines on their return.","type":"Wool, knotted, carpet","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 1217 / AD 1802.","location":"Glasgow, Scotland","dimensions":"Length 200.6 cm, width 111.7 cm.","method_for_datation":"Woven into the rug is the date according to the hegira calendar, '1217' (1802) positioned in a rectangle above the tip of the crescent on top of the niche.","method_for_provenance":"Artistic analysis and comparison with other prayer rugs made in Ladik.","provenance":"Ladik, Anatolia, Turkey.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Bailey, J.,'Ladik Prayer Rugs', *Halı*,no. 28, October–December 1985, London, pp.18–25.  \n  \nBlack, D., *World Rugs and Carpets: A Comprehensive Guide to the Design, Provenance and Buying of Carpets*, Feltham, 1985.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["carpet","Commerce","floral decoration","pilgrimage","religious objects"],"materials":["Wool (warp, weft and pile)","woven on a handloom."]},"d0d2ab0e-7d90-5e08-89b9-cfab8bae0d85":{"name":"Section from the *kiswa* of the Ka‘ba","short_description":"The pattern consists of zigzag bands alternately enclosing the *shahada* (‘There is no god but God, Muhammad is the Messenger of God’) and the invocation ‘O! God, May his Majesty be exalted’, the latter in mirrored script. It is possible that the calligraphy was designed by the master calligrapher, ‘Abdallah Zuhdi, who was known as *katib al-haramayn* (‘the calligrapher of the two holy sanctuaries’).  \nEgypt had been supplying the *kiswa* of the Ka‘ba on a yearly basis, and almost without interruption, since Fatimid times. Since the early 1970s, however, the *kiswa* has been woven in a special workshop in Mecca.","type":"Textile; woven textile; *kiswa*; lampas; silk","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Late 19th or early 20th century","location":"London","dimensions":"158 x 89cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"Egypt, Cairo","bibliography":"Porter, V. (ed.), *Hajj. Journey to the Heart of Islam*, London: British Museum, 2013: 258.  \nTezcan, H., “Ka‘ba covers from the Topkapı Palace collection and their inscriptions”, in Suleman, F. (ed.), *Word of God, Art of Man. The Qur’an and its Creative Expressions*, Oxford, 2010: 227–38.  \nVernoit, S., *Occidentalism. Islamic Art in the 19th Century*, London: The Nasser D. Khalili Collection of Islamic Art, vol. 23, 1997: cat.8, pp.26–7.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Silk lampas, with satin ground and tabby pattern"]},"d0d6c9d5-6ebd-5af5-9fa7-3367e09d88aa":{"name":"Curtain for the door of the Ka‘ba, with the name of Sultan Ahmed I","short_description":"In her study of the Ka‘ba door curtains in the Topkapı Sarayı, Hülya Tezcan has identified four main styles. The earliest is that of a curtain bearing the name of Sultan Süleyman the Magnificent and the date AH 950 / AD 1543–4. The second style, to which this curtain belongs, apepars to have been popular for a long period, as known examples date from the late 16th to the late 18th century.  \n  \nCharacteristic features of this style include the five arches at the top, as well as the zigzag panels and the reciprocal ogival cartouches at the bottom. The commisioning order and date are in the two panels immediately above the latter. This curtain was commisioned and presented to the Ka‘ba by Sultan Ahmed I.","type":"Textile; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*; *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1015 / AD 1606","location":"London","dimensions":"499 x 271cm","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Black silk, with red, beige and green silk appliqués, relief-embroidered in silver and silver-gilt wire over card and cotton thread padding"]},"d199debb-1836-5a98-80c3-90ef128b824b":{"name":"Glass Mosque Lamp","short_description":"This mosque lamp may have been made in 19th century Hebron, a century-old Palestinian centre for glass manufacture that managed to survive despite the increasing influx of cheap, mass-produced goods from Europe. While its shape continues a style already popular in Mamluk times, its etched and gilt decoration relates closely to other neo-Mamluk artefacts produced for European tourists at the time.","type":"Glass Mosque Lamp","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","dimensions":"Height 230 mm","provenance":"Palestine, possibly Hebron","author":"Ulrike Al-Khamis","materials":["Etched and gilt, light green glass"]},"d27da85e-f180-5ec8-90d7-7fdfc02299ee":{"name":"Kırşehir Multiple‒niche prayer rug","description":"This is a rug from Kırşehir Province, an important rug producing centre famous for its prayer rugs. This type of prayer rug ‒ locally called *saf*‒ has multiple niches that are side by side allowing three or more people to communally pray. There are examples of *saf* carpets as early as the 15th century. They were produced all around the Muslim world, but they were never in high production so they remain very rare.","type":"Multiple‒niche prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 113cm, W: 169cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Kırşehir","obtention":"Donation","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 4, Katalog no: 339.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Kırşehir","Middle Anatolia","saf Prayer Rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"d2a1fca5-7efb-5323-927c-0aaad478f6c1":{"name":"Transylvanian prayer rug","description":"Turkish rugs arrived in Transylvania through trade. Almost all types of small-format Turkish classical rugs can be found in this region. The most numerous are the so-called “Transylvanian” group – prayer rugs with an undecorated field are widely dispersed throughout Transylvania. The term Transylvanian prayer rug is mostly used by Romanian authors such as Stefano Ionescu, Mircea Dunca, Andrei Kertesz and Alexandra Zigura, since it avoids specific reference to any weaving centre.  \nThe Transylvanian prayer rug from the Museum of Arts and Crafts is one of the oldest rugs in the museum collection. In the central field of the carpet there is an undecorated red *mihrab* (prayer niche) field. Delicate floral ornaments appear at the edge of the upper part of the *mihrab*. Spandrels are decorated with flowering-stems on ivory ground. The main border is in Ottoman style with rosettes and pine cones on yellow ground. Minor borders are vegetal on blue and red ground.","type":"Prayer rug","holder":"Museum of Arts and Crafts","dates":"Second half 17th century","location":"Zagreb","dimensions":"H: 150cm, W: 118cm","method_for_datation":"By stylistic analysis","method_for_provenance":"By stylistic analysis","provenance":"Western Anatolia","obtention":"Unknown","bibliography":"Ivoš, Jelena, “Zbirka tekstila”, u Anđelka Galić *et al*. (eds), *Skriveno blago Muzeja za umjetnost i obrt, Zagreb*, Zagreb: Muzej za umjetnost i obrt, 2005: 208-233.  \nIvoš, Jelena, “The Textiles Collection”, u Anđelka Galić *et al*. (eds), *Hidden Treasure of the Museum of Arts and Craft, Zagreb*, Zagreb: Muzej za umjetnost i obrt, 2005: 208-233.","author":"Andrea Klobučar","translator":"Petra Milovac","translation_copy_editor":"Daniel de la Vega","keywords":["prayer rug","Uşak","Ushak"],"materials":["knotted carpet","symmetrical knots","wool"]},"d2e14578-6d14-5f7d-85be-43b1df94ecf2":{"name":"Mary with child","description":"The Madonna, originally from Zurich and reminiscent of antique statues in posture and clothing, was imported from Northern Italy. It is an example of the reinterpretation of a sacred sculpture after the Reformation. It was used to represent the Haus Zum grossen Weissen Fräulein (house of the large white maiden) at Obere Zäune 12 in Zurich. The collection of stone sculptures in the Swiss National Museum is modest. Whereas sculptures south of the Alps were mainly carved from stone, wood was the preferred material north of the Alps.","type":"Sculpture","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1500","location":"Zurich","dimensions":"H: 110cm","method_for_datation":"Stylistic analysis","provenance":"Northern Italy","obtention":"Given into property 1891 as part of the «Morgengabe»","keywords":["Haus zum grossen weissen Fräulein","Madonna with child","marble","Northern Italy","Obere Zäune","sculpture","Zurich"],"materials":["Carved marble"]},"d39f33c7-ab99-570d-9745-2ca9481fd5e0":{"name":"Font.","description":"Font with eight lobes. The inside is hollowed out, with the rim moulded on the top and on the outside. It has a hole at the bottom. The base is truncated, with a base or foot missing. The exterior moulding has a decoration of small engraved geometric patterns (lozenges, squares and circles). The upper rim has an Arabic inscription in *kufic* script running all the way round, in which it is possible to read the expression ‘al-Mulk’, repeated in a chain.","short_description":"The evidence for the prolonged presence of a Muslim community in Lisbon is supported by this octagonal ablutions font sculpted from local *pedra lioz* (lias) limestone. It was found during restoration work in Lisbon’s Moorish quarter, to whose mosque it belonged.","holder":"City Museum.","dates":"Hegira 8th–9th centuries / AD 14th–15th centuries.","location":"Lisbon.","dimensions":"Total height 11.4 cm, diameter 22.3 cm.","method_for_datation":"External, historical dating. The mosque in the Moorish quarter, to which it is supposed to have belonged, was dismantled in the early 16th century, in the reign of Dom Manuel I of Portugal.","method_for_provenance":"Found during urban regeneration work, re-used in the masonry of one the walls of the building on no. 67 Rua João do Outeiro (Moorish quarter, Lisbon). The building probably dated originally from the 16th century.","provenance":"Lisbon.","obtention":"Donated to the Museum.","bibliography":"*Lisboa Subterrânea*, exhibition catalogue, Lisbon, 1994.","linkcatalogs":"IAM_PT_PT_001","author":"Rodrigo Banha da Silva","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["al-mulk","Font","kufic script","lias stone"],"materials":["Lias stone."]},"d5063c4c-2fb6-5145-80ab-45cf9cbda6d3":{"name":"Section from the *kiswa* of the Prophet’s tomb","short_description":"This section from a *kiswa* of the Prophet’s tomb belongs to a small group of fragments in which the finely calligraphed *thuluth* inscriptions are woven in silver-wrapped silk thread on a deep raspberry-pink ground. Selin Ipek has suggested that, given the amount of silver used in its weaving, the *kiswa* from which they come must have been a special commission.  \n  \nThe vertical repeat consists of four wide zigzag bands alternating with four narrower ones; there are two horizontal repeats per loom width. The first wide band at the top of the textile has a supplication to God for blessings and peace upon Prophet. In the narrow band below that is *sura al-Ikhlas* (CXII), followed by the *shahada* in the wide band. Next is *sura al-Ahzab* (XXXIII), verse 56. The third wide band has *Allahu wala siwahu* (‘God and there is none equal to Him’), with a small flower under each of the words, Allah. Inscribed in the last narrow band in the repeat is *sura al-Qasas* (XXVIII), end of verse 88.","type":"Textile; *kiswa* of the Prophet’s tomb; silk; lampas; silver thread","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 18th century","location":"London","dimensions":"188 x 62cm","method_for_datation":"Provenance and date based on a study by Selin Ipek.","provenance":"Turkey, Istanbul","obtention":"Acquired Sotheby’s, London, sale of 22 April 2015, lot 47.","bibliography":"Ipek, S., “Ottoman Ravza-i Mutahhara Covers Sent from Istanbul to Medina with the Surre Processions”, *Muqarnas*, vol. 23 (2006): 289–316, especially p.305 and figure 23.","dynasty":"Ottoman","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Silk lampas with silver thread"]},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"Censer","short_description":"The Chinese burner rests on three legs with Arabic calligraphy, reading the Muslim declaration of faith called *shahada*. During the Qing dynasty, this bowl would cradle incense to scent the air of a Chinese mosque.  \n  \nAlthough many regional Muslims could not read Arabic, the calligraphy endured as a decorative element. Because there are no Chinese characters to express the concept of a single God, Arabic words offer an effective medium to convey religious messages. As seen on the seal on the bowl’s bottom, artists utilized Chinese calligraphy to remark the ownership or production. The seal at the bottom of this censer reads \"Ming Dynasty, Manufactured by Wu Bang Zuo, of Public Works in the 5th year of the Xuande Emperor.\" While the inscription alludes to the production in 1430, numerous incense burners have been produced with the apocryphal mark.  \n  \nToday, the Muslim-Chinese minority seeks to preserve their heritage including rare objects such as the Qing-metalwork, which have been lost or destroyed over time.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 18.5cm, Width: 13cm","method_for_datation":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","method_for_provenance":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","provenance":"China","obtention":"Purchase","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021).  \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019.  \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012.  \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","dynasty":"Qing","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["China","Incense burner","metalwork","Qing"],"materials":["Bronze","Engraving"]},"d709dc46-d56e-5b96-833d-47202bfed1b4":{"name":"Prayer rug","description":"A lamp stands out against the indigo field of the prayer niche (*mihrab*) shown on this high-pile rug. Featuring a foliated scroll pattern, the olive-green spandrel is supported by two columns. Carnations decorate the upper level of the niche. A series of rosettes and palmettes interspersed with arabesques covers the ivory ground of the main border. This rug, which has 4,200 symmetrical knots per square decimetre, was made in Turkey during the first quarter of the 20th century. Positioned facing Mecca, the rug ensures the purity of the place of worship and creates a separate space for praying. Long ago, Muslims kneeled down and prostrated themselves on palm-frond mats or sheepskins. The field of a prayer rug usually shows a stylized representation of a *mihrab*, a niche made in the wall of a mosque indicating the direction of Mecca, towards which the faithful turn to pray.","type":"Prayer rug","holder":"Montreal Museum of Fine Arts","dates":"Late 19th or early 20th century","location":"Montreal, Quebec","dimensions":"173.5cm x 121cm; knot density 4,200 dm2","method_for_datation":"Stylistic and comparative analyses","provenance":"Turkey","obtention":"Gift of Mrs Charles F. Martin  \nGift of Mrs Charles F. Martin, Montreal, Quebec, in 1944, but retained until her death in 1956","bibliography":"Iten-Maritz, J., *Turkish Carpets*, New York and Tokyo: Kodansha, 1977: 82‒5.  \nIttig, Annette, *Rêves tissés: tapis d’orient de la collection du Musée des beaux-arts de Montréal / Woven Dreams: Oriental Carpets from the Collection of the Montreal Museum of Fine Arts*, Montreal: Montreal Museum of Fine Arts, 1994: 38‒39.  \nNeff, I. C., and C. V. Maggs, *Dictionary of Oriental Rugs*, Capetown: Ad Donker, 1977: 55‒6.","dynasty":"Ottoman (1299–1922)","author":"Shirin Shafiee","copy_editor":"Mandi Gomez","keywords":["Islamic textile","Ottoman textile","prayer rug"],"materials":["symmetrical knot","Wool, cotton"]},"d75b8026-c7bc-5c73-aacc-00b073b4d618":{"name":"Double niche ‘Transylvanian’ rug","description":"The term “Transylvanian” rug designates 17th- and 18th-century rugs preserved in Transylvanian Saxon churches, which, once considered being of Transylvanian origin, were in fact made in western Anatolia. Some have a *mihrab* design, typical of prayer rugs, while others feature two opposing arches. Here, the red ground of this double niche is decorated with stylised floral motifs connected by geometric scrolls. A mosque lamp is featured at one end of the central field. Scalloped edge cartouches on ivory-white ground decorate the main border. At an early stage, the bright colours of this surprisingly well-preserved rug raised doubts about its authenticity. Still, a few other carpets from Transylvanian churches display a similarly vivid colour range; at the same time, over the past 100 years (ever since it was sent to Moscow in 1916) the rug has only been exhibited once, in 1994, which explains its excellent state of conservation.","type":"Carpet","holder":"The National Museum of Art of Romania","dates":"17th century","location":"Bucharest","dimensions":"H: 175cm, W: 124cm; knot density ver. 35/dm; hor. 37/dm; 1,295/dm2","method_for_datation":"Stylistic analysis; comparison with carpets from Transylvanian churches; dye analysis","provenance":"Western Anatolia","obtention":"Partial return of the Romanian treasure sent to Russia for safekeeping during the First World War","bibliography":"Dunca, Mircea, *Covoare turceşti, secolele XVII–XX*, Bucharest: Muzeul Național de Artă al României, 1994: cat. 7.  \nIonescu, Stefano, “Second-Period Single- and Double-Niche ‘Transylvanian’ Rugs”, *Carpet Collector*, 1 (Hamburg, 2016): 73–4.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"d7af68b8-a735-58da-b119-51e16cb51bde":{"name":"Gilt copper candlestick","short_description":"This candlestick was possibly made for a religious context, judging by its curious inscription all along the vertical facets of the neck and around its base. While Arabic in appearance, it merely repeats individual letters and letter sequences. Such pseudo-inscriptions are not uncommon in Islamic metalwork, and some may have mystical significance.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira late 9th - 10th century / AD late 15th - 16th century","location":"Sharjah","provenance":"Ottoman Turkey","dynasty":"Ottoman","keywords":["calligraphy","pseudo inscriptions"]},"d8518639-1ed2-5598-8b01-7b8bd53b00f0":{"name":"The *Annunciation*","description":"Initially composed of four panels, this piece was originally of a different size. Recent tests have proved that its lower section has been cut on both sides. Prior to this recent modification, the work underwent further changes. The Virgin Mary is represented in the second condition of the Angelic Colloquium of the Mystery of the Annunciation, by Friar Roberto Caracciolo de Lecce (1425‒1495). That is to say, this is the moment of *cogitatio* or reflection, in which the Virgin considers the Angel’s words and demonstrates her prudence.  \nSimilar to other paintings alluding to this theme, the work bears witness to symbolism characteristic of representations of the Annunciation: the book that lays opened before Mary; the vase with lilies; the Angel’s sceptre; the bed, topped by its canopy and with its prominent front curtains, upon which the knots are formed; the column between the two characters, and the mat on which Mary is found standing.  \nIn recent years, the study of textiles through paintings, in its manifold categories, has proved to be very useful. Aside from documental sources and extant objects, paintings provide important visual evidence concerning an object’s trade and usage throughout time. In this particular painting, representing a Portuguese domestic interior, the Virgin Mary stands on a mat. Following the Islamic presence in the Iberian Peninsula, which stretched well into the 16th century, floors were commonly covered with mats, mainly in the summer, when they replaced carpets.  \nAlthough this mat could be of Portuguese manufacture (Lisbon, Oporto or the Algarve) it has been associated with the mats woven with palm fibre and decorated with geometric patterns from sub-Saharan Africa, particularly those from the Congo (and Benin and Niger).","type":"Painting","holder":"Museum of Portuguese Decorative Arts – Ricardo do Espírito Santo Silva Foundation","dates":"16th century","location":"Lisbon","dimensions":"L: 118cm, W: 103.5cm","method_for_datation":"Authorship was attributed to the Lourinhã Master (active between 1500 and 1540) by Luís Reis Santos in his work dedicated to this artist and published in 1963. This attribution has been rejected in more recent studies, thus it is classified here as the work of a follower of the master.","method_for_provenance":"Stylistic analysis","provenance":"Portugal, Lourinhã","obtention":"This was one of Ricardo do Espírito Santo Silva's first pieces towards his collection of primitive artworks; donated by Ricardo do Espírito Santo Silva in 1953.","bibliography":"Saldanha, Nuno, *Tesouros das Imagens, colecção Museu-Escola de Artes Decorativas Portuguesas – Pintura*, Lisbon: FRESS, 1996.  \nPaulino, Francisco Faria (ed.), *África: nas vésperas do mundo moderno*, Lisbon: CNCDP, 1992.","workshop":"School of the Lourinhã Master","author":"Maria João Ferreira, Filipa Coelho, Maria da Conceição Amaral","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["16th century","Portuguese painting","School of the Lourinhã Master","the Annunciation"],"materials":["Oil on oak panel"]},"d97e8889-9ee3-5eb8-9ea9-a6732fa73dbd":{"name":"The Mother of God Smolenskaya","description":"This Mother of God icon is known as a *Hodegetria* icon (Greek for “one who shows the way”). It is recognizable by the solemn expression of the Mother of God and the frontal position of the Christ Child delivering a blessing. The Christ Child sits on his mother’s left knee and holds a tightly rolled scroll. A copy of the original *Hodegetria* icon was brought to the Assumption Cathedral in Smolensk from Byzantium in the 12th century. In the 15th century, it was transferred to Moscow before being returned to Smolensk. The icon has a silver *repoussé basma* (hammered metal ornamentation) nailed to its surface, as well as a Kremlin School *cloisonné* raised halo dating back to the 17th century.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1500","location":"Clinton, Massachusetts","dimensions":"Height: 46.8cm, Width: 35.6cm, Depth: 6.3cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2001. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood with silver basma, enamel"]},"d9a8677b-3869-5fcc-91d3-50b6d8a59c46":{"name":"Mosque lamp","short_description":"Mosque lamp with a cursive inscription reading: “This was made for our Lord the Sultan al-Malik al-Kujuk, may God protect him with his Grace and illuminate his mausoleum”. This lamp was made for the tomb of the Mamluk sultan al-Ashraf Ala` ad-Din Kujuk, ibn al-Nasir, ibn Qalawun, who reigned as a child for six months in AH 746 (AD 1341-42). In September 1345 he was murdered by his younger brother Sha`ban and his mausoleum was erected in Cairo in 1346-1347.","type":"Lamp, glass","holder":"Benaki Museum","dates":"Hegira c.746 / AD c.1346","location":"Athens","dimensions":"Height 32.5 cm","provenance":"Egypt","dynasty":"Mamluk","keywords":["Al-Ashraf Ala` ad-Din Kujuk","funerary object","glass","Lamp","tomb"],"materials":["Glass with gilded and enamel decoration"]},"dd51c631-efa7-5621-9c17-104499a84fde":{"name":"Textile fragment from a dalmatic of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg","short_description":"This fragment came into the MAK textile collection through a purchase of textiles negotiated by the Aachen Canon Franz Bock in 1865. Beforehand, it was part of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg. The longitudinal, variously wide stripes detectable on the fragment, its interior structuring with rectangular fields and different patterning of the latter, lend credence to a provenance from Central Asia.","type":"Central Asian textile fragment; Liturgical garment","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Mid-14th century","location":"Vienna","dimensions":"H: 25cm, W: 29cm","provenance":"Central Asia","obtention":"Purchase","bibliography":"Bock, Franz, *Katalog der ehemaligen Bock'schen Sammlung von Webereien und Stickereien des Mittelalters und der Renaissance*, (Jetzt Eigenthum des k. k. Oesterreichischen Museums für Kunst und Industrie), Vienna: Gerold, 1865.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-90141","author":"Martina Dax","keywords":["Central Asia","geometric patterns","liturgical vestment","silk","Textile fragments"],"materials":["Silk, gilt membrane strip"]},"dd7c1d21-573b-5dd3-8f6f-94141d1320e3":{"name":"Safi ibn Vali’s Anis al-Hujjaj (‘Pilgrims’ Companion’)","short_description":"Written during the year-long pilgrimage undertaken by the author, Safi ibn Vali, in 1676–77, the Anis al-Hujjaj (‘Pilgrims’ Companion’) gives advice to prospective pilgrims on every aspect of the journey: which ships to choose, how to stay healthy, the places to visit, the rituals to be observed and the people one is likely to encounter. Safi ibn Vali’s own pilgrimage (he commenced his journey on 12 Rajab 1087/ 20 September 1676) was made possible through the financial help of Zib al-Nisa, a daughter of the Mughal emperor Awrangzeb, for whom he had written a commentary on the Qur’an.  \n  \nThis manuscript belongs to a long-established tradition of guides to the Holy Places (see MSS 1038), although the illustrations here differ in that they combine the diagrammatic views normally found in such guides with vivid and colourful scenes of the pilgrims and their caravans. The illustrations are simple in their conception yet their attention to detail is acute. They provide a cogent picture of camp life of pilgrims in the late 17th century.  \n  \nThe illustrations:  \n  \nView of the port of Surat and the ships carrying pilgrims (folio 2b). Surat, on the Western coast of India, north of Bombay, was one of the main points of departure to Arabia. The view is oriented to the south.  \nThe pilgrims’ ships crossing the Sea of Oman (folio 3b). The two larger ships carry pilgrims; one, on the right, appears to be casting (or raising) anchor. The smaller vessels may be fishing boats.  \nThe mish‘ar al-haram and the ritual of collecting pebbles (folio 10a). The painting shows the pilgrims in the region of Muzdalifa, in a state of ihram (ritual purity), collecting pebbles.  \nThe pilgrims in the town of Mina, being shaved, making sacrifices and casting pebbles at the Devil (folio 10b). This day corresponds to ‘Id al-Adha on 10 dhu’l-Hijjah, the feast commemorating the Sacrifice of Abraham. By this stage, the pilgrims, who are in a full state of ihram indicated by their white garments, have already completed their initial circumambulation of the Ka‘bah (the welcome tawaf); the ritual of running between the hills of Safa and Marwa (sa‘iyy) recalling Hagar’s desperate search for water for her son Isma‘il; the day of prayer at ‘Arafat – a most holy time when every pilgrim stands alone with God; and the gathering of pebbles at Muzdalifa in preparation for the stoning of the Devil at Mina. This recalls yet another chapter in the Abrahamic narrative in which Isma‘il stones the Devil seven times (the ritual is illustrated in the upper right-hand corner of the painting). After this a sacrifice is made. The pilgrims are released from most of the restrictions imposed by the state of ihram; men shave their heads and beards; women have their hair clipped. Pilgrims can now wear their normal clothes and leave for Mecca, where they perform another essential rite, a further circumambulation of the Ka‘bah known as the tawaf al-ifadah, which takes place on the same day.  \nThe birthplaces of the Prophet Muhammad; Fatimah; Abu Bak al-Siddiq; as well as the Madrasah of Sultan Sulayman, and a Bektashi lodge (folio 11b). These are shrines to visit in the vicinity of Mecca, which are not part of the hajj rituals.  \nPlan of the Masjid al-Haram in Mecca with the Ka‘bah (folio 12a).  \nThe camp of North African caravan of pilgrims (folio 15a).  \nThe camp of Egyptian caravan of pilgrims (folio 15b).  \nThe camp of the Syrian caravan of pilgrims (folio 16a). Unlike the pilgrims from North Africa and Egypt, the Syrian pilgrims are richly dressed and carry swords and gold daggers. Ahmad Pasha, the Syrian Amir al-Hajj, is identified by a caption (top left).  \nThe camp of the desert Arabs and the people of Najd (folio 16b).  \nThe camp of the caravans of the Indian (top) and Iranian pilgrims (folio 17a).  \nOfficials, scribes and secretaries (folio 17b). This is a small illustration, which is not captioned.  \nSharif Barakat, hakim haramayn sharifayn (‘Governor of the two Holy Sanctuaries’), riding to meet the envoy of Sultan Mehmed \\[IV\\], the Emperor of Rum (folio 18a).  \n‘Abdi Pasha, the Amir al-Hajj of the Egyptian caravan, on his way from Mecca to Medina (folio 18b).  \nThe port of Mucha, in the Yemen (folio 21a). The illustration shows the pilgrims’ ships departing from the port as well as Sayyid Husayn, the Governor of Mucha, riding his horse (bottom right).  \nThe port of Jeddah (folio 22b). This view is very similar to that of Mucha (folio 21a) in that it combines views of the city and the pilgrims’ ships with one of the Governor of the city, Sunjuq.  \nMan attacked by a lion (folio 21b); Man saved from the jaws of a lion (folio 23a); A feast (folio 23b). The three small-scale paintings are illustrations to a parable about a very poor woman taking pity on some beggars passing by and feeding them; her act of generosity was rewarded when a stranger saved her son from being eaten by a lion. The feast is probably in celebration of the son’s safe return to his mother.  \nScript:  \n  \nPersian text copied in nasta‘liq; with 23 lines to the page.","type":"Treatise / Compendium","holder":"Nasser D. Khalili Collection of Islamic Art, London","owner":"Nasser D. Khalili Collection of Islamic Art","initial_owner":"Princess Zeb un-Nisa (AH 1047-1113 / AD 1638–1702)","dates":"*circa* 1677–80 AD","location":"London","dimensions":"23 folios, with 11 full-page and 9 half-page illustrations. 33 x 23.2cm (page); 27.4 x 14.7cm (text panels, and full-page illustrations)","place_of_production":"India","method_for_datation":"The text states the dates of travel and compilation as AH 1087 / AD 1676–7.","provenance":"India, possibly Gujarat","bibliography":"Khan, Q.M., *The Pilgrim’s Companion: The Khalili Anis al-Hujjaj*, London: Kulturalis, 2025.  \n  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames and Hudson, 2010: cat. 332–41, pp. 284–7.  \n  \nYork Leach, L., *Paintings from India, The Nasser D. Khalili Collection of Islamic Art, volume VIII; London: The Nour Foundation, 1998: cat. 34, pp. 124-9.*","dynasty":"Mughal","artist_birthdate":"AH 1029 (AD 1619 / 20)","artist_birthplace":"Qazvin (Iran)","artist_deathdate":"c. AH 1092 (AD 1681 / 82)","author":"Qaisra Khan","keywords":["Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","Muhammad","Mukha","pilgrimage","prayer","Prophet Manuscript","Religion","ship","travel"],"materials":["Ink, gold and opaque watercolour on paper","modern leather binding"]},"df2d65a4-48bc-5ed0-b535-bf708ffef329":{"name":"Set of Two-Sided Mineia Icons","description":"The *mineia* icons record important dates in the calendar year of the Orthodox church. Feast days and saints are arranged by date and labeled. The icons are usually painted in miniature, and a typical day can commemorate up to ten feasts and saints. This two-sided *mineia* was once part of a set of 12 with each tablet featuring one month. The Museum of Russian Icons has ten icons from the original set.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1660","location":"Clinton, Massachusetts","dimensions":"Height: 21cm, Width: 18.4cm","provenance":"Russia","obtention":"Collection of the late artist Petros Sasaki, who purchased the tablets in Finland in the 1960s to early 1970s. Sold by Christie's Auction in June 2008 to a private collection, USA. Sold by Macdougall's Auction in 2009 to a private collection, USA.  \nPurchased by Gordon Lankton from Chelsea Auction (private sale) in 2014. Gifted to the Museum of Russian Icons by Gordon Lankton in 2021.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"dfeaa5f1-63bf-55dd-a784-98bce952f149":{"name":"Minbar.","description":"A wooden *minbar*; a double door (surmounted by a *muqarnas* frieze with traces of painted floral decoration) opens to a staircase of seven steps, at the top of which is a small landing topped by an onion-shaped dome. Almost all the exterior surfaces of the minbar are decorated with geometric patterns using wood inlaid with ivory plaques like a mosaic. Some of these patterns are quite bold, such as the 16-pointed stars and polygons on the triangular side panels, while others are more dense and complex, such as the pattern on the twin doors of the entryway. The *minbar* bears several inscriptions on carved wood or ivory panels. Some are Qur'anic verses; for example, 33:56 and 16:90 (respectively) are found above the front and back of the *minbar* doors. Other inscriptions praise Sultan Qaytbay and wish him a long reign.  \n  \nThis *minbar* would have been used in one of the many mosques that Qaytbay either had built or renovated during his sultanate, although it is not known which one. This is one of the last Mamluk minbars to use ivory, as economic conditions made it a prohibitively expensive material in the final years of the dynasty.","short_description":"A wooden *minbar* (pulpit) with extensive all-over decoration including geometric patterns formed of inlaid ivory. This was probably used in one of the many mosques founded or renovated by Sultan Qaytbay, who presided over a period of great economic and artistic revival in the Mamluk lands.","type":"Woodwork","holder":"Victoria and Albert Museum.","dates":"Around hegira 872–901 / AD 1468–96.","location":"London, England","dimensions":"Height 708 cm, width 113 cm, depth 304 cm","method_for_datation":"Inscriptions on the *minbar* name Qaytbay as Sultan and imply that he is still alive ('may God extend his rule'). Thus the *minbar* is dated to his regnal dates, AH 872–901 / AD 1468–96.","method_for_provenance":"How was provenance for object established: Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1869 from the collection of Dr Meymar.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, DC, 1981, pp.195–6.  \n  \nPhilips, T., *Africa: The Art of a Continent: 100 Works of Power and Beauty*, New York, 1996, cat. no. 7.67.  \n  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East*, London, 2004, pp.100–101.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","geometric decoration","inscription","Mosque interior decoration","religious object"],"materials":["Wood inlaid with ivory and bone."]},"e07117dd-950e-5f5f-9ae1-7e9e6b78feb2":{"name":"Monstrance of the Golden Sun of Moravia","alternate_name":"*Schrattenbach’s Monstrance; The Monstrance of Olomouc*","description":"This vessel, used for carrying the Host – the embodiment of Christ's flesh – the presentation of which constitutes the spiritual climax of a mass, is one of the most precious specimens of the goldsmith's craft in Moravia. An oval incised base supports a vase-like *nodus* bearing a sunburst with an aperture lined with a cartouche, accentuated by a crest motif. The typically Baroque, intricately undulating ornamentation with faggoting encircles a case with a lunette, a crescent for holding the Host.  \nThe sun as the source of life, light and Divine truth lent its name to a whole group of “solar” monstrances contrasting with medieval monstrances which were spire-shaped with Gothic pinnacles.  \nThe decoration features certain older elements originally associated with objects now lost. The most interesting of them is an enamel label set into the back of the monstrance leg. It depicts St. Wenceslas on a Gothic throne – the emblem of the Olomouc Chapter – with the coats-of-arms of Emperor Ferdinand III (1637–1662), brother of Leopold I Vilém of Habsburg, Bishop of Olomouc and Archduke of Austria. The Gothic-style throne in the chapter emblem, supplemented with Dietrichstein wine-maker knives, possibly represents the actual “throne of St. Wenceslas” in the Olomouc cathedral, commissioned by Bishop František of Dietrichstein.  \nThe origin of the monstrance was once associated with Cardinal Wolfgang Hanibal of Schrattenbach, Bishop of Olomouc, who bequeathed a significant amount of money for its creation. In fact, the monstrance was commissioned by the Olomouc Chapter, headed by Dean Kašpar Florentin of Glandorf and Canon Jiří Jindrich Mayer of Mayerswald, who also commissioned a missal decorated with wrought silver (1733). In recognition of its high artistic value, the monstrance remained Chapter property even after an imperial decree issued after the Napoleonic wars ordered that all objects with precious stones be transferred to Vienna.","short_description":"This vessel, for carrying the Host, the embodiment of Christ's flesh, is one of only a few gold monstrances in Europe. The typically baroque, intricately undulating ornamentation encircles a case with a lunette, the crescent for holding the Host. The sunburst symbolises the source of life, light and Divine truth.","type":"Applied arts","holder":"Museum of Art, Archdiocesan Museum","owner":"Archbishopric of Olomouc","initial_owner":"Bishopric of Olomouc","dates":"1748–1750","location":"Olomouc, Moravia","dimensions":"H: 72 cm","place_of_production":"Brno","method_for_datation":"Marked with hallmarks, it is the only known work by a Brno goldsmith demonstrating close contacts between Brno and Olomouc, the two main centres of Moravia. Although goldsmiths of the same name were also active in Augsburg and Linz, their family ties have not yet been proven.","provenance":"Cathedral of St. Wenceslas, Olomouc","obtention":"Following extensive restoration, the monstrance, from the treasury of the Cathedral of St. Wenceslas Olomouc, is exhibited at the Archdiocesan Museum, Olomouc.","bibliography":"Miloš Stehlík, in Ivo Krsek –­­ Zdeněk Kudělka (ed) –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 595, cat. 298.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque* *1670*–­­*1790,* Paris–­­Rennes–­­Brno, 2002, p. 259.  \nDana Stehlíková, *Encyklopedie českého zlatnictví, stříbrnictví a klenotnictví*, Prague, 2003, pp. 530.  \nSimona Jemelková –­­ Helena Zápalková (eds), *Monstrance Zlaté slunce Moravy / Restaurování 2005*, Olomouc, 2007.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Bishop","Enamel","Gothic","Host","pinnacle","religious object"],"materials":["Gold, precious gems (diamonds, emeralds, rubies) and enamel"]},"e1cf8f81-916a-549e-812c-671899736546":{"name":"Prayer rug","description":"The prayer niche is merely suggested here by two diagonals that do not meet. The field of the niche features two hands and above them, a floral motif, which is repeated all over the purple ground of the spandrels. The spandrels and the three narrow borders with a rich decoration of *boteh*s or tiny flowers connected by scrolls are in sharp contrast to the large beige *mihrab* field. Popular belief associates the hand motif with the hand of Fatima, daughter of the Prophet Muhammad, and as such, it is often used to decorate talismans. Sometimes, the hand motif also appears on prayer rugs, mostly on Caucasian and Baluch rugs.","type":"Prayer rug","holder":"The National Museum of Art of Romania","dates":"Late 19th century","location":"Bucharest","dimensions":"H: 123cm, W: 104cm; knot density ver. 33/dm; hor. 42/dm; 1,386/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Iran, Farahan","obtention":"Purchased from the owner","bibliography":"Dunca, Mircea, *De la mihrab la grădina paradisului*, Bucharest: Muzeul Național de Artă al României, 2006: cat. 8.","dynasty":"Qajar","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["boteh","hand motif"],"materials":["asymmetrical wool knot","Cotton warp and weft","knotted"]},"e2301ec1-c5b6-5d83-a402-0bf32d43fab0":{"name":"Section from the belt of the Ka‘ba","short_description":"The *hizam* (‘belt’) is an inscribed band that encircles the upper part of the Ka‘ba. During the Ottoman period, it was made up of eight sections – two on each wall – and this section would have been on the south side. It is embroidered with *sura al-‘Imran* (III), verses 95–97. The text refers to ‘the religion of Abraham’; ‘the first house of worship that was in Mecca’; and ‘the Station of Abraham’.  \nThe *kiswa* and its various components had been supplied yearly, and with very few exceptions, since Fatimid times. An incident at Mina during the Hajj of 1926 led to a break in the relation between Egypt and Saudi Arabia. As the season of Hajj approached the following year, and with no *kiswa* arriving from Egypt, King ‘Abd al-‘Aziz al-Saud ordered one to be made in haste at Dar al-Kiswa in Mecca. Due to the shortness of time, the *hizam*, of which this is a section, had to be machine-embroidered.","type":"Textile; Ka‘ba belt; *hizam*; *kiswa*; gold thread embroidery; silver thread embroidery; machine embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Hejira 1345 / AD 1927","location":"London","dimensions":"590 x 90cm","method_for_datation":"Provenance and date are based on historical records.","provenance":"Saudi Arabia, Mecca","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005): 336–9.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Minbar","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Black silk with pale green silk appliqués","machine-embroidered in gold and silver thread and strips of flattened gold and silver wire, over cotton thread padding"]},"e2a17074-8d98-5cbe-9a65-83b0164d6179":{"name":"Lamp","short_description":"This mosque lamp is one of the oldest extant metal lamps in the Islamic world. Older lamps of silver and gold existed, but they were melted down long ago. A glass bowl held the wick and oil.  \nThe lamp’s decoration consists of an openwork, scale-like pattern surrounding a text from the Koran written in monumental *Kufi* calligraphy decorated with foliage.","type":"Lamp, metalwork","holder":"The David Collection","dates":"Hegira 4th century / AD 10th century","location":"Copenhagen","provenance":"Iraq or Iran","dynasty":"Abbasid","keywords":["brass","kufic","Lamp","Mosque interior decoration"],"materials":["Openwork sheet brass"]},"e2e87d5b-1f57-5af5-9864-f84516f62cdb":{"name":"The *Annunciation*","description":"The beginning of the second quarter of the 16th century marks the emergence of the representation of “Lotto” knotted carpets in Portuguese painting. These carpets, their name derived from the Venetian artist Lorenzo Lotto, who represented them in his paintings, are characterised by their geometrical, angular aesthetics lined up in a repetitive scheme. The Lotto carpets of Turkish origin probably reached the high-end Portuguese market through the Venetian export trade.  \nThe presence of these carpets in Portuguese interiors is mostly evidenced through representations in paintings, in particular those of the court painter Gregório Lopes (active 1513‒† 1550). In this representation of the *Annunciation*, the Virgin Mary stands on a Turkish carpet with a yellow, meandering arabesque pattern on a red field and a pseudo-*kufic* border. It’s relevance in the painting is reinforced by the artist, for he captures the very moment when the Archangel, as if suspended in time, places one foot on the carpet, and thus enters the sacred domain of the Virgin Mother. As such, the carpet is used as a device in the painter’s masterful depiction to mark the passage from one space to another, as though through a gateway.  \nInterestingly, the opposing end of the same carpet is represented in another of Gregorio Lopes’s paintings, the *Presentation of the Head of Saint John the Baptist*, of around 1539 to 1541, a painting encompassing a ceremonial banquet in an aristocratic setting. In the *Annunciation* the artist takes the contrary approach, emptying the space of the splendour of the banquet, and replacing pageantry with a bare, peaceful interior befitting of the unfolding scene.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1540‒1545","location":"Lisbon","dimensions":"H: 135.5cm, W: 113.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred, an original altarpiece-painting from the church of the Monastery of Santos-o-Novo, Lisbon, Portugal, in 1911","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["Annunciation","Gregório Lopes","Lotto carpet","painting","Portugal"],"materials":["Oil on oak panel"]},"e36d1815-45d9-51df-ac24-e2a59050461b":{"name":"Mosque lamp.","description":"A large glass mosque lamp with a flaring mouth, flattened lower section, and low folded foot. Six glass rings are attached for suspension chains. The lamp is decorated with gilding and enamelling which forms a design in several registers. The top section of the neck features a large inscription in bold blue letters. The inscription, which is divided into three sections by circular medallions praising the sultan, includes the beginning of the famous Light Verse from the Qur'an (24: 35): 'God is the Light of the heavens and the earth. The likeness of His Light is as a wick-holder wherein is a light …'. This verse was a popular inclusion on lighting implements such as mosque lamps. The lower part of the neck has a band of sketchy decoration in red, punctuated by small blue medallions. The main part of the lamp's body features a dramatic network of fine interlacing patterns outlined in red against a blue background with floral elements. The interlacing is left clear, so that when the lamp was lit the patterns would have glowed. The bottom section of the lamp, the area above the foot, repeats the circular medallions from the neck.","short_description":"A mosque lamp of typical Mamluk shape, decorated with a bold inscription around the neck and a complex interlace pattern on the body. The interlace pattern is in outline, so when the lamp was lit – supposedly in the mosque of Sultan Hasan in Cairo – the interlacing bands would have glowed.","type":"Glasswork, enameled, gilded","holder":"Victoria and Albert Museum.","initial_owner":"Thought to have been made for the mosque and *madrasa* of Sultan Hasan (r. 748–52 / 1347–51 and 755–62 / 1354–61).","dates":"Probably between hegira 757 / AD 1356 and AH 762 / AD 1361.","location":"London, England","dimensions":"Height 35.6 cm, width 30.7 cm.","method_for_datation":"The lamp is said to have come from the mosque and *madrasa* of Sultan Hasan, which was built between 757 / 1356 and 762 / 1361.","method_for_provenance":"It is assumed that glass lamps like this were made in Cairo, as it would have been easier and safer than making them elsewhere and then transporting them.","provenance":"Possibly Cairo.","obtention":"Purchased by the Museum in 1900.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East*, London, 2004, p.28 and plate 14.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["Gilded and enamelled glass."]},"e3b0645a-dca5-537b-86d7-5a168c647274":{"name":"Mineia, February","description":"The *mineia* icons record important dates in the calendar year of the Orthodox church. Feast days and saints are arranged by date and labeled. The icons are usually painted in miniature, and a typical day can commemorate up to ten feasts and saints. This February icon was once part of a set of 12 *mineia*, with each panel featuring one month in the church calendar.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1569","location":"Clinton, Massachusetts","dimensions":"Height: 57.2cm, Width: 44.5cm, Depth: 5cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from the Temple Gallery, London, in 2007. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","saints"],"materials":["Egg tempera on wood"]},"e6710518-4898-5028-a985-a35bd74bd8a8":{"name":"Konya prayer rug with pelt","description":"Rugs with animal skins are a specialised category within Turkish carpet weaving. The earliest examples are seen in Anatolia from the 17th century. This rug has three borders. The first and third borders are identical. A sequential hooked “s” motif on white ground fills the interior. The main border is in the form of a band, with blue *Rumi* on red ground arranged in two winding rows. The branches of these *Rumi* are enriched with tiny palmettes. The animal pelt is stretched in a way to form the prayer niche of this rug with a red main ground. A ram’s horn motif on the top part of the spotted pelt design is on white ground that resembles red and brown panther spots. The same motif is found on the bottom short edge of the prayer rug.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"17th century","location":"Istanbul","dimensions":"L: 140cm, W: 170cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"Acquisition unknown","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007: s.23, Kat.no.1. Erdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102. Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99. Şahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"e6e39016-a178-5040-afd2-919c26cefc8e":{"name":"Fertek‒Niğde Prayer Rug","description":"There are several towns around the Niğde Province including Taşpınar, Maden, Yahyalı, Yeşilhisar, Karapinar, Karaman, Bor and Fertek which were important rug production centres. Niğde was the regional market place, and rugs produced in these towns became known as “Niğde rugs”. This is an excellent example of a Fertek rug. It is distinguished from other Niğde rugs by simple but nice looking floral motifs. The head band of the prayer rug is decorated with stylised tulips. Eight point star motifs appear on the niche corners.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"19th century","location":"Istanbul","dimensions":"L: 110cm, W: 161cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Niğde","obtention":"From the  Awqaf Storehouse","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007,s. 116, Kat. No: 94.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 3, Katalog no: 298.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Middle Anatolia","Niğde prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"e750697b-0787-548a-a9e2-a530da438063":{"name":"Mosque lamps","short_description":"From 1356 to 1363, Sultan an-Nasir al-Hasan commissioned a mosque to be erected in Cairo. He decorated it most luxuriously with mosque lamps made of enamelled glass. The most magnificent of them were produced in the workshops of Aleppo and Damascus. In the mosque, they are suspended on fine bronze chains from the ceiling, reminiscent of the star-spangled heavens. They decorate the space more than they illuminate it. In accordance with the religious surroundings, their ornamentation is modest: some elegant arabesques, the initial lines of the famous verses of light from the Qur'an and a dedication to the renowned benefactor. Together with his crest, the mosque lamps announce his generosity and his wealth. In 1855, it is believed that two of these precious mosque lamps were brought out of Egypt by the Austrian archduke Ferdinand Max, the future Emperor of Mexico; he decorated one of the splendid halls of his pleasure palace near Trieste with them.","type":"Architecture; religion","holder":"Weltmuseum Wien","dates":"Ca. 1360","location":"Vienna","dimensions":"H: 39.5cm and 37cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo; Bahri-Mamluk","obtention":"Miramar Collection of Archduke Ferdinand Max, brother of Emperor Franz Joseph I, which was officially incorporated in 1878 into the Imperial Collection in Vienna.","bibliography":"Steinmann, Axel, \"Moscheeampel\" \\[description\\], in Wilfried Seipel (ed), *Der Turmbau zu Babel. Ursprung und Vielfalt von Sprache und Schrift, Band IIIB: Schrift, exhibtition catalogue*, Graz: Schloß Eggenberg, 2003: cat. no. 3.3.37, 191-194.  \nSteinmann, Axel, \"Light\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 130-133.","dynasty":"Bahri","materials":["Glass, enamel, gold"]},"e77d0bf1-58c8-5972-8f5a-b708fbd506b7":{"name":"The Mother of God Umilenie","description":"The *Umilenie* (tenderness) Mother of God icons display touching images that depict the Virgin caressing her Child. The distinctive feature of this icon type is that the Christ Child has his face pressed against her cheek and one arm around her neck. Finely executed and balanced in line, color and composition, this icon, the earliest in the Museum of Russian Icons collection, is a particularly beautiful example of this motif.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1425","location":"Clinton, Massachusetts","dimensions":"Height: 22.9cm, Width: 19.1cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from a private collection in 2000. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"e79d0da8-0e74-53d4-8df3-5ad805dd038d":{"name":"High Choir, Organs","description":"The dioceses of Braga and its archbishops was very important within the Catholic Church since the early Middle Ages, before the foundation of the Kingdom of Portugal, as well as throughout the Portuguese history namely in the Baroque period.  \nIn the North of Portugal during the 18th century there was an active workshop that provided important clients in accordance with the splendour and dignity of the court and religious life. Facing the need to replace the old choir stalls from the 16th century, Braga Cathedral commissioned Marceliano de Araújo and Miguel Francisco da Silva to design the monumental High Choir, the choir stalls and the gilded, carved wood organ cases in 1737.  \nThe whole set of the choir stalls made of carved and gilded wood includes two rows of seats, the cathedra for the Archbishop and in the centre a remarkable choir stand with the same decorative programme. Due to the major role of music within the Baroque Roman Catholic liturgy, Simão Fontanes was commissioned to build the mechanics of two impressive Baroque organs (1737-1738) with thousands of copper pipes, which are encased in magnificent cases made by Braga's woodcarver Marceliano de Araújo.  \nThe ceiling painting also belonging to this phase of the cathedral redecoration was executed by Manuel Furtado de Mendonça.  \nThe organs of the Braga Cathedral, commonly included within the category of the Iberian organs, are installed in two balconies over the central nave. The abundance of sculpture ornaments distributed from the base of the building to the top of the Cathedral allows us to include this artwork as one of the finest examples of the Baroque woodcarving in Portugal.","short_description":"The choir is located at the west end of the nave and includes two encased organs and choir stalls. They are an example of the work produced in the 18th century by the Northern Portuguese workshop to supply important clients in accordance with the dignity of the court and religious life.","type":"Ecclesiastical furniture and sculpture","holder":"Braga Cathedral","owner":"Braga Cathedral","initial_owner":"Braga Cathedral","dates":"1730-1739","location":"Braga, Braga","place_of_production":"Braga","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Braga Cathedral","obtention":"In situ","bibliography":"Ferreira, J. A., *Fastos Episcopais da Igreja Primacial de Braga (séc. III - séc. XX)*, III, Braga, 1932.  \nSmith, C. R., *A Talha em Portugal*, Lisboa, 1963.  \nSmith, C. R., *Marceliano de Araújo – Escultor Bracarense*, Porto, 1970.  \nAlves, N. M. F., \"A actividade de pintores e douradores em Braga nos séculos XVII e XVIII\", in *Actas do IX Centenário da Dedicação da Sé de Braga*, vol. II/2, Braga, 1990.  \nDoderer, G., *Os Órgãos da Sé Catedral de Braga*, Lisboa, 1992.","workshop":"Porto and northern region workshop","author":"Fernanda Barbosa","translator":"Cristina Correia","translation_copy_editor":"Mandi Gomez","keywords":["carved","gilding","musical instruments","organ cases, organ","wood"],"materials":["Wood, carved and gilded with gold leaf"]},"e8943284-2319-51c2-91bf-636b5313c45d":{"name":"‘Transylvanian’ prayer rug","description":"The term “Siebenbürger” or “Transylvanian” rug recurs frequently in Oriental carpet literature. It is used to designate 17th- and 18th-century rugs preserved in large numbers in the Saxon churches of Transylvania, whose provenance has not been yet definitively established. Certain experts have indicated Transylvania as a possible source, whereas according to more research that is more recent they were produced in western Anatolia. Many “Transylvanian” rugs feature the *mihrab* design, typical of prayer rugs; in most cases though, the niche becomes a purely decorative element devoid of its original meaning, a fashionable motif popular with carpet buyers outside the Islamic world. This rug is a fine example of exquisite craftsmanship. The white field of the *mihrab* is decorated with floral motifs intertwined with geometric scrolls; a mosque lamp is hanging from the apex. Above the red spandrels decorated with similar geometric scrolls, a narrow rectangular panel features alternating tulips and cypress trees. Polygonal cartouches alternating with octagons fill the main border.","type":"Prayer rug","holder":"The National Museum of Art of Romania; The Art Collections Museum","dates":"Early 17th century","location":"Bucharest","dimensions":"H: 176cm W: 112cm; knot density ver. 45/dm; hor. 41/dm; 1,845/dm2","method_for_datation":"Stylistic analysis","provenance":"Western Anatolia","obtention":"Donated as part of the Beatrice and Hrandt Avakian Collection","bibliography":"Dunca, Mircea, *Covoare turceşti secolele XVII–XX*, Bucharest: Muzeul Naţional de Artă al României, 1994: cat. 6.  \nFranses, Michael, *In Praise of God. Anatolian Rugs in Transylvanian Churches 1500–1750*, Istanbul: Sakip Sabanci Museum, 2007: cat. 18.  \nIonescu, Stefano (ed.), *Antique Ottoman Rugs in Transylvania*, ed. II, Rome: Verduci Editore, 2007: 201.","dynasty":"Ottoman","author":"Mircea Dunca","translator":"Victoria Gheorghita","translation_copy_editor":"Mandi Gomez","keywords":["prayer rug","Transylvanian rug"],"materials":["knotted","symmetrical knot","wool"]},"e9c5dea2-d0d2-56ce-8e1a-0301e49ff152":{"name":"Niche carpet","description":"This carpet is among the most famous in the Berlin collection. As early as 1871 it was acquired by Wilhelm von Bode for the painter Heinrich von Angeli, but it was not until 1905 that Bode was able to buy it from his heirs and donate it to the Museum. Von Angeli and some of his colleagues depicted this carpet several times. The charm of this carpet lies in its depth of colour, its high, dense pile and the impressive sheen of the wool. On a dark blue ground, two red-ground spandrels are separated in the form of niches by a strong white line. Unusually, the spandrels blend into each other at their tops. The lower half of the niche field is filled with a light blue cloud band, in whose arc a large blossom forms a fixed point. This cloud band is reminiscent of delimitations in the so-called keyhole or Bellini carpets. Their often angular arch forms are associated with fountains, which were needed for the ritual cleansing before prayer. Because of the Persian appearance of the blossoms, the origin of the cloud band from East Asian cultures, and the use of depressed warps, this carpet has occasionally been ascribed to Persia. However, not only the colour palette and the reference to the keyhole motif, but also the use of a symmetrical knot, speak in favour of a location in Turkey.","type":"Carpet","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"AD early 16th century","location":"Berlin","dimensions":"L: 177, W: 122","method_for_datation":"The carpet has been radio carbon dated. The carpet has been dated on stylistic analysis of its pattern, due to its colours and knot-technique","method_for_provenance":"The carpet has been located on stylistic analysis of its pattern, due to its colours and knot-technique","provenance":"Anatolia","obtention":"Bought by Wilhem von Bode in 1871 for the painter Heinrich von Angeli; 1905 gifted by Wilhelm von Bode","bibliography":"Beselin, Anna, *Geknüpfte Kunst. Teppiche des Museums für Islamische Kunst*, Berlin: Minerva, 2011. Bode, Wilhelm von, *Vorderasiatische Knüpfteppiche aus älterer Zeit*, 2nd edition, with contributions by E. Kühnel, Leipzig o.a., 1914.","dynasty":"Ottoman","author":"Anna Beselin","keywords":["carpet","Cloudband","Niche Carpet","painting","Prayer Capet","Wilhelm von Bode"],"materials":["knotted pile carpet, symmetrical knot","wool"]},"e9f4c38d-048f-5665-96a4-f4e9444dc22f":{"name":"Prayer rug with a row of niches.","description":"This is one of three 'row' carpets of an early date in the collection of the Museum of Turkish and Islamic Arts which have survived from the 9th / 15th century to the present day. The composition has been organised into *mihrab* niches which provide a distinct space for worshippers in the mosque to pray in well-defined rows. It has survived as a fragment; the original dimensions of the complete rug are not known. The ground is white (cream). Within the sections outlined by dark-blue borders are five *mihrab* niches, two of them green and three dark-blue. The influence of the monumental *kufic* borders of AH 7th- / AD 13th-century Konya rugs of the Anatolian Seljuq period can be seen in the design of the rug's *mihrab*s. Each of the *mihrab* niches are crowned with a stylised ram's-head motif, while their corners have corner-pieces with dark-blue chequer patterns and red 'stalactites' hanging off them. In each *mihrab* there are three mosque-lamp motifs, one in the centre and two at the sides, hanging downwards. Four of the *mihrab* niches have diamond-motifs in their lower section, ornamented with motifs like arrowheads pointing in four directions. In contrast, the central niche has a diamond-motif in its lower section which is plain, as if the element of symmetry is meant to show the centre of the prayer rug.  \n  \nThe pattern reminiscent of a double ram's-head in blue on a red ground, while it makes up the main border, is at the same time used to separate the rows from each other.  \n  \nThe motifs on the narrow yellow-ground border which surrounds the main border resemble a chain of plaited yellow and blue rosettes. The geometric motifs carry on Seljuq tradition, especially their arrowhead-like corners which resemble *kufic* script. These, as well as the mosque-lamp and eight-pointed star motifs, prepare the way for the transition to Ottoman prayer rugs.","short_description":"The earliest Ottoman prayer rugs with multiple niches are dated to the AH 9th / AD 15th century. They were produced for use in the mosque to help the congregation to pray in straight lines. The prayer rugs (*seccade*) of this period with their geometric compositions and *kufic* borders are a transition to classical Ottoman prayer rugs.","type":"Wool, knotted, carpet","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 9th century / AD 15th century.","location":"Sultanahmet, Istanbul","dimensions":"430 cm x 133 cm.","method_for_datation":"Chemical analysis carried out on the original dyes used for this rug, together with analysis of the motifs and composition, point to a date of production in the 9th / 15th century.","method_for_provenance":"Rug-making is not widespread in the Eskişehir-Sivrihisar region. Moreover, in this period Konya was the most important centre for rug production, and since this example continues the Seljuq tradition, it is thought that it was woven in the Konya region.","provenance":"Central Anatolia (possibly Konya), Turkey.","obtention":"The rug was transferred from the Sheikh Baba Yusuf Mosque in 1911 as a result of a countrywide initiative to collect up artworks in order to prevent theft and plunder. The aforementioned mosque was built in 903 / 1498 in Sivrihisar, one of the first large sites settled by the Turcomans (Türkmen). Sheikh Baba Yusuf (d. 918 / 1512) was a religious scholar descended from Haci Bayram Veli (753–834 / 1352–1430), founder of the Bayramiyya branch of Sufism.","bibliography":"Aslanapa, O., *Türk Halı Sanatının Bin Yılı*, Istanbul, 1987, p.163, Pl. 115.  \n  \nÖlçer, N., *et al, Turkish Carpets of the 13th-18th Centuries*, Istanbul 1996, pp.158–9.  \n  \nÖlçer, N., *et al, Museum of Turkish and Islamic Art,* Istanbul, 2002, p.168.","dynasty":"Early Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Gönül Tekeli","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Gördes","prayer rug","rug","Sheikh Yusuf Baba","Sivrihisar"],"materials":["Wool on wool, woven with the Turkish double knot also known as the Gördes knot."]},"eb9313ce-3a64-5d73-bea2-13a7a7012be8":{"name":"Magic cup","description":"The bowl is lined with inscriptions inside and out – verses from the Koran, the most beautiful names of God, religious and talismanic expressions – alternating with magic squares. On the outer perimeter, images of the zodiac and planets engraved inside medallions were scrupulously obscured at a later date with floral motifs, no doubt in order to avoid the association of the Koranic text with representations of living creatures.  \nConsuming drinks or food in such cups, thus closely connecting religion, medicine, and astrology, permitted one to resist the effects of poisons, fevers, and other physical ailments. *The Thousand and One Nights* invoked a divinatory purpose too.","type":"Metalwork","holder":"Museum of the Arab World Institute","initial_owner":"Marcel Destombes","dates":"Hegira 11th - 1st quarter of 14th century / AD 17th and 19th century","location":"Paris","dimensions":"Height: 8.5cm, Diameter: 22.7cm","provenance":"India","obtention":"Bequest of Marcel Destombes.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 295.  \n  \nRoux, J-P., *Arts de l'Islam: des origines à 1700*, Paris: Musée national de l'Orangerie, 1971: 112.  \n  \nWelch, A., *Calligraphy in the arts of the Muslim world*, Austin: University of Texas Press, 1979: 186-187, Fig. 80.","translator":"Judy Harter","materials":["Cast and chiseled brass"]},"ebe4dfb5-2c91-5b48-9947-a44e4359f085":{"name":"Daghestan Prayer Rug","description":"A 19th century Caucasian prayer rug with a knotted pile. Its directional design consists of a single-plane lattice design crowned by an angled arch with a pointed summit, laid out on an ivory-coloured background and framed by a wide red and blue border.  \n  \nThe lattice design of the centre field contains diamond-shaped compartments, each of which holds a single multi-coloured flower. The horizontally arranged rows of multi-coloured flowers contain repeats of three flowers, symmetrically distributed. The flower repeat arrangement is staggered across the succeeding rows, creating a diagonal uniformity of colour and shape distribution. Below the right edge of the prayer niche arch, and to the right side of the centre-field, near the edge of the border, is a figure of a quadruped, possibly a dog, rendered in pink and yellow with black outlines. This little animal, with its long curled up tale and long stretched back ears, has been inserted in place of a flower.  \n  \nThe border of the carpet consists of a dark green/blue background overlaid with a red scroll of Arabesque design – a version of the Caucasian border scrolls inspired by Arabic *kufic* script.  \n  \nSuch carpets are made for use in performing the daily prayers in Islamic culture. The arch end of the carpet indicates the side upon which the worshiper lays his forehead in prostration.","type":"Prayer rug","holder":"Glasgow Museums - The Burrell Collection","dates":"19th century","location":"Glasgow, Scotland","dimensions":"H: 1397mm, W: 1080mm","method_for_datation":"Manufacturing techniques and stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Daghestan, northern Caucasus","obtention":"Gifted by Sir William and Lady Burrell to the City of Glasgow, 1944","workshop":"Daghestan workshop","dynasty":"Russian domination period","author":"Noorah Al-Gailani","keywords":["animal","floral motif","geometric decoration","prayer niche","prayer rug","vegetal lattice"],"materials":["wool pile","Wool warp and weft"]},"ed13e6c9-1b55-5025-a832-f8d710bb6ff1":{"name":"The Mother of God Smolenskaya with Oklad","description":"This is a *Hodegetria* (Greek for “one who shows the way”) Mother of God icon, recognizable by the solemn expression of the Mother of God and the frontal position of the Christ Child delivering a blessing. The Christ Child sits on his Mother’s left knee and holds a tightly rolled scroll. The original icon was brought from Byzantium in the 12th century and kept in the Assumption Cathedral in the city of Smolensk. In the 15th century, the icon was transferred to Moscow before being returned to Smolensk.  \nThis icon has four additional figures, two on each border: a guardian angel and Venerable Basil the Confessor on the left, and Saint John the Baptist and Saint Anne the Prophet on the right. The *oklad* (covering) is solid silver under mercury gilding with no apparent hallmark. The *oklad* has a large nimbus containing sculpted angels with openings for their faces and hands, as well as many gems and a raised floral and fruit design. An inscription on the bottom border reads as follows:  \n  \nAt the Alenskiy-Skete in the area of Kerzhenets, the Schemamonk Filaret the icon painter, had painted this icon for the Schemamonk Iosif. At the year 7250 \\[1740\\] this icon was given to the treasury of the Schemanun Irinarkha. The Abbess, the nun Anafoliya donated this icon in the year 7376 \\[1868\\], at the third day of February to the Archbishop Antonij of Moscow and Vladimir.","type":"Icon","holder":"Museum of Russian Icons","dates":"About 1700","location":"Clinton, Massachusetts","dimensions":"Height: 56.5cm, Width: 48cm, Depth: 4cm","provenance":"Russia","obtention":"Purchased by Gordon Lankton from Ikonen Galerie, Germany, in 2011. Gifted to the Museum of Russian Icons by Gordon Lankton in 2013.","copy_editor":"Adrienne Staudohar","keywords":["Religious iconography","Virgin Mary and Child"],"materials":["Egg tempera on wood"]},"ed9865de-73ac-57f6-ade6-ad41f83cd57d":{"name":"Section from a chasuble with ogival medallions","short_description":"The fabric is of very high-quality weave, and is datable on the basis of its technique and design to the early years of the classical era of Ottoman silk lampas (*kemha*) in the 1550s, when the designers and weavers, encouraged by state patronage at the very highest level, were establishing themselves in competition with Italian silk weavers. The tiny scale of the stylized blossoms, the precision of their drawing and their symmetrical arrangement are all indications of a fairly early date.  \nFabrics of this sort, exported to western and central Europe, were frequently fashioned into ecclesiastical vestments, the chasuble being the most common genre to incorporate both Ottoman *kemha* and Ottoman velvet.  \nThe two halves of the other side of this chasuble are in the Textile Museum, Washington, DC, inv. no.1.51; and the Metropolitan Museum of Art, New York, inv. no.08.109.24.","type":"Textile; chasuble; silk; lampas; *kemha*","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD second half of the 16th century","location":"London","dimensions":"139 x 74cm (max)","method_for_datation":"Date and provenance are based on stylistic and technical grounds.","provenance":"Turkey, probably Istanbul","bibliography":"Denny, W., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[In preparation / forthcoming\\]  \nMigeon, G., *La Collection Kelekian. Étoffes & Tapis d'orient et Venise*, Paris 1908, pl.36.  \nRogers, J.M., *Empire of the Sultans. Ottoman Art from the Collection of Nasser D. Khalili* (exhibition catalogue), Alexandria, Virginia and London, 2002: no.155, pp.220–21.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.381, p.254.","dynasty":"Ottoman","keywords":["kemha","Lampas weave","Ottoman textile","silk","textile","Turkey"],"materials":["Silk lampas (kemha)"]},"ee03a75d-9b6a-5031-8a38-a31dc82d9b98":{"name":"Mosque lamp.","description":"A mosque lamp of typical size and shape for Mamluk lamps, with flaring neck, wide body and high foot. Thick glass loops are attached for the suspension cords. The body is decorated with a large inscription which reads, 'This is what was made a *waqf* by the servant yearning for God the Exalted, hoping for the pardon of his generous Lord, Qijlis, \\[officer\\] of al-Malik al-Nasir'. The neck carries a verse from the Qur'an (9:18) and three medallions with the Mamluk blazon indicating the owner's rank, in this case a sword telling us that Qijlis was *amir silah* (arms-bearer) to the sultan. The lamp is said to have come from a monastery in Seidnaya, a village near Damascus.","short_description":"A mosque lamp of typical Mamluk form, with bold inscriptions and three medallions with the patron’s blazon, a sword. The patron was one Amir Qijlis, arms-bearer to the sultan, who commissioned this lamp as a pious donation to an unknown mosque.","type":"Glasswork, enameled, gilded","holder":"Victoria and Albert Museum.","initial_owner":"Sayf al-Din Qijlis al-Nasiri, an officer of the Mamluk Sultan al-Nasir Muhammad between AH 716–31 / AD 1317–31.","dates":"Between hegira 716–31 / AD 1317–31.","location":"London, England","dimensions":"Height 28.9 cm, width 25.4 cm.","method_for_datation":"The inscription mentions Sayf al-Din Qijlis al-Nasiri, who was promoted to *amir silah* of Sultan al-Nasir Muhammad in 716 / 1317 and died in 731 / 1331.","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1875.","bibliography":"Lamm, C. J., Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten, Berlin, 1930, p.439.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","coat of arms","inscription","Mosque interior decoration","religious object","waqf"],"materials":["Enamelled glass with gilding."]},"f0e2d598-8e69-5768-bd25-d9db967e1292":{"name":"Painting Entitled ‘al-Rihlah al-Hijaziyyah/ Sacred Pilgrimage Journey’","description":"According to a plaque below the images, the painting depicts the pilgrimage of ‘Abbas Hilmi II, the Khedive of Egypt, which he performed in 1909. His portrait is on the left; on the right is that of Mehmed V Rashad, the contemporary Ottoman sultan. To the left and right of the Ka‘bah, which occupies the centre of the painting, are depictions of the Mosque of the Prophet in Medina and the Dome of the Rock in Jerusalem. Many of the remaining images are based on photographs of the hajj published in the July 1953 issue of National Geographic.","type":"Painting","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1953","location":"London","dimensions":"Height: 181 cm; Width;278 cm","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-painting-entitled-al-rihlah-al-hijaziyyah-sacred-pilgrimage-journey-mss1190/","keywords":["Egypt","hajj","Mecca","Ottoman","pilgrimage"],"materials":["Oil on canvas","some titles in découpage"]},"f0fbf3fe-1168-5514-90da-4ae1a4c94a50":{"name":"Brocade.","description":"The aesthetics of this fabric is based on a repetitive design of large medallions and a well-balanced use of only three colours. Finely drawn silver arabesques fill the centre of each medallion, surrounded by a narrow poly-lobed frame of red silk. It follows a row of circles alternately coloured red and silver. A zigzag encloses this inner pattern. Red contoured trefoils and leaves on a golden background form the outer border. A detail which also proves the skill of the designer is the small silver point emphasising the middle of each trefoil.  \nThis brocade is part of a larger piece formerly used as an antependium (altar frontal). Many of the ecclesiastical textiles made in Sweden include fabrics imported from Persia and Turkey.","short_description":"Brocade with a repetitive design of large medallions. The design shows a well-balanced use of colours: silver for the arabesques which fill the centre of each medallion and red for the surrounding poly-lobed frames. This brocade is part of a larger piece formerly used as an antependium (altar frontal).","type":"Textile, Silk, gold, metal thread","holder":"Museum of National Antiquities.","owner":"Hjortsberga Church, Blekinge, Sweden.","initial_owner":"Hjortsberga Church, Blekinge, Sweden.","dates":"Hegira 9th–10th centuries / AD 15th–16th centuries.","location":"Stockholm","dimensions":"Height 174 cm, width 94 cm.","method_for_datation":"Dated by A. Geijer (see Bibliography).","method_for_provenance":"Provenance established by A. Geijer (see Bibliography).","provenance":"Turkey.","obtention":"Deposit by Hjortsberga Church.","bibliography":"Ådahl, K. (ed.), *Sverige och den Islamiska Världen*, Värnamo, 2002, pp.178–81.  \nGeijer, A., *Oriental Textiles in Sweden*, Copenhagen, 1951, p.50, cat. no. 48, plate 24.  \n*Islam, Konst och Kultur. Islam, Art and Culture*, Exhibition catalogue, Stockholm, 1985, 209, cat. no. 9.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["floral decoration","floral ornament","textile"],"materials":["brocade.","Silk, gold and silver threads"]},"f24666e2-290a-58d6-a9b0-9e1cd2a72ccc":{"name":"The Masjid Al Haram Mosque in Mecca","description":"View of the Masjid Al Haram Mosque and the Kabba from an elevated position.","type":"Photograph","holder":"IWM","owner":"IWM","dates":"1908","location":"London","dimensions":"Height: 18 cm; Width: 22,5 cm","place_of_production":"Saudi Arabia","obtention":"Donation as part of the T E Lawrence Collection.","dynasty":"pre-1914","author":"Alan Wakefield","keywords":["ottoman empire","Religion","Saudi Arabia"],"materials":["Black and White photographic print"]},"f3f71340-4ba9-56b9-bb2e-aa39656b9630":{"name":"The *Annunciation*","description":"Aside from the *Annunciation*, the *Mass of St Gregory* is one of the most common and important painting subjects in which representations of carpets can be found. Into one of the crucial moments of Christian iconography, artists transposed aspects of the typical Portuguese feminine interior spaces of the 16th century, with the marked presence of the female dais (*estrado*). Its use appears associated with the context of Islamic presence in the Iberian Peninsula during the Middle Ages.  \nIn this painting, the Virgin Mary appears kneeling on a mat: this, along with other similar representations bear witness to the past presence in Portugal of these types of small carpets that are non-existent in collections today. Such is the case of these “mats”, used during the summer as an alternative to the dense knotted carpets of the winter months, as well as of the tapestries, which alternated in the summer period with the *guadamecis*.  \nThe artist’s decision to include a mat, rather than an Oriental carpet, may be down to the painting being commissioned for a convent of the Order of Saint Claire, where the strict rules called for austerity. This appears in opposition to Gregório Lopes’s painting intended for a wealthy clientele.  \nIn addition, it all goes to prove the absorption and influence of African artistic production in Portuguese contemporary life and art since the 15th century, when mats, but also other objects such as saltcellars and ivory spoons, began to be imported to Portugal from Benin.","type":"Painting","holder":"National Museum of Ancient Art","dates":"1515","location":"Lisbon","dimensions":"H: 160.5cm, W: 29.5cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the Convent da Madre de Deus (Order of Saint Claire), Lisbon, Portugal, in 1912","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.  \nCarvalho, José Alberto Seabra, “Madre de Deus Altarpiece”, in Alexandra Curvelo (ed.), *Casa Perfeitíssima 1509‒2009: Celebrating 500 years of the Foundation of the Convent of Madre de Deus*, Lisbon: Ministério da Cultura/IMC/Museu Nacional do Azulejo, 2009.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["carpet","Jorge Afonso","painting","Portugal","the Annunciation"],"materials":["Oil on oak panel"]},"f445365e-28d3-5b5f-869c-11cd87fe18f8":{"name":"The *Circumcision*","description":"We are witnessing the representation of one of the most important episodes of Jesus’ childhood, in which, according to Jewish law, the Child gains its identity.  \nThe scene has been re-created in the interior of a Renaissance-style temple where the Holy Family and several figures cluster around the table where a priest is about to carry out the circumcision.  \nCovering the altar there is a white towel, in turn, this covers a carpet, of which only the border, filled with “vine scrolls”, palmettes and foliage, is visible. This variant in the use of carpets in a painting makes this a very interesting document.  \nAlongside its use as a floor-cover in paintings, when its symbolism is associated with dignity and spatial boundaries, carpets were used widely as a cover for altars in churches as well as in civil settings as furniture covers, as several Portuguese inventories attest.  \nIn the *Circumcision*, a so-called knotted “Holbein” carpet can be seen. It is put to the same use here as the carpet represented by Hans Holbein, the Younger (1497/8‒1543), in his famous portrait *The Ambassadors*, which thereafter gave this specific compositional structure the name “Holbein”.","type":"Painting","holder":"National Museum of Ancient Art","dates":"c. 1550","location":"Lisbon","dimensions":"H: 213.5cm, W: 169cm","method_for_datation":"Technical information provided by José Alberto Seabra de Carvalho","method_for_provenance":"Stylistic analysis and material dating","provenance":"Portugal, unknown location","obtention":"Transferred from the convent absolved in 1834","bibliography":"Hallett, Jessica and Pereira, Teresa Pacheco, *The Oriental Carpet in Portugal: Carpets and paintings, 15th‒18th centuries*, Lisbon: MNAA, 2007.","workshop":"Unknown","author":"Ana Kol","translator":"Lily Chadwick","translation_copy_editor":"Mandi Gomez","keywords":["Annunciation","carpet","Holbein","painting","Portugal"],"materials":["Oil on oak panel"]},"f4987d48-6c52-594a-a15b-12a3fe0431f8":{"name":"Mosque lamp","short_description":"This mosque lamp belongs to a well-established group of glass lamps probably made for the Mamluk Sultan (al-Nasir Nasir al-Din) Hasan (AH 734-763/ AD 1334-1361). An unusual feature of this lamp is the panel of stylised pseudo-Kufic script alternating with *thuluth* inscriptions and reads: “What was made for his Excellency, the Elevated, the Servant of the Lord, the Great Amir, the Possessor”; around the body and its underside are six repeating inscriptions of \"The Learned\"","type":"Glass","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century","location":"Doha","dimensions":"Height: 27.5 cm, diameter: 24 cm","provenance":"Egypt, Cairo","obtention":"Christie’s London, Private Sale, 1997; sold to Qatar Museums","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \nCarboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003.","dynasty":"Mamluk","author":"Tara Desjardins","keywords":["calligraphy","Egypt","glass","Lamp","Mamluk","Mosque"],"materials":["Gilding, Enameling, Blown-glass, Applying","Glass, enamel, gold"]},"f4bcacb1-5ea8-5c29-af93-fd4527263356":{"name":"Spherical component of a mosque lamp","short_description":"Spherical component of a mosque lamp decorated with rosettes, cloud scrolls and arabesques. Stylistically, it is related to an inscribed mosque lamp that bears the signature of the artist Musli al-Din and the date 1549. It is quite possible that both items are works of the same artist, created on the occasion of the restoration of the Dome of the Rock at Jerusalem by Süleyman the Magnificent.","type":"Ottoman ceramic, fritware with polychrome underglaze decoration","holder":"Benaki Museum","dates":"Hegira 10th century / AD mid-16th century","location":"Athens","dimensions":"23 cm","provenance":"Turkey","dynasty":"Ottoman","keywords":["Mosque interior decoration","Mosque Lamp","Ottoman arabesque decoration"],"materials":["Frit ware with polychrome underglaze decoration"]},"f4ea69e8-9de2-5382-aca9-484c574fcf53":{"name":"Konya Prayer Rug","description":"This rug is known as the “prayer rug with a high estrade”.It was woven specifically for the midday religious service in mosques on Fridays. The Kaʽba and its surrounding  buildings are portrayed. Kaʽba  motifs and foot marks at the bottom side indicate the direction of the prayer, as one must turn his/her face to the Kaʽba during prayer. There are hanging candle motifs symbolizing the holy (eternal) lights of the prophet along the right and left side of the Kaʽba motifs. The floral decoration on the borders are typical for its origin and date.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"16th century","location":"Istanbul","dimensions":"L: 113cm, W: 146cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"From the  Konya Sultan Aladdin  Mausoleum","bibliography":"Denny, Walter, and Tekeli, Gönül, *Anadolu Dokuma Mirası*, Istanbul: C.2, 2007, s.23, Kat.no.1. Erdmann, Kurt, *Seven Hundred Years of Orıental Carpets*, London: Faber and Faber Limited, 1970: 102.  \nKollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 1, Katalog no: 99.  \nŞahin, Seracettin, *Türk ve İslam Eserleri Müzesi: Emevilerden Osmanlılara 13 Asırlık Ihtişam*, Istanbul: Kaynak Yayınları, 2009: 131‒135.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Middle Anatolia","prayer rug"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"f50bd176-bda6-5419-b0f2-72d317a0f0f5":{"name":"Prayer rug","description":"At the centre of this prayer rug there is a *mihrab*, which indicates the *qibla* ‒ the direction of the Kaʽba in Mecca. The Kraków example is especially attractive because of its vivid colours: a warm-red niche, closed with an arch of bizarre shape, contrasts with yellow borders. Inside the white spandrels is a black arabesque ornament. In the cross-panel there are rosettes inscribed in lozenges. The most striking feature is a wide border with a pattern of rhythmically turned rosettes and pomegranate motifs. Such a border reflects the style of Ottoman court rugs attributed to Bursa. Similar rugs can be found in many churches in Transylvania.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"18th century","location":"Kraków","dimensions":"H: 183cm, W: 119cm; knot density 960/dm2","method_for_datation":"Geometrisation of the motifs as well as simplification of the design dates this rug to as late as the 18th century","method_for_provenance":"Stylistic analysis","provenance":"Anatolia, Gördes","obtention":"Donated by Erazm Barącz in 1928","bibliography":"*Amor Polunus czyli miłość Polaków* (Amor Polonus or Polish love), exhib. cat., Warsaw: Wilanow Pałace Museum, 2010: 320.  \n*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat. 11‒12. (Analogy)  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 62‒3, 158‒9, cat. 20.  \nGrzybkowska, Teresa, and Żygulski, Zdzisław, junior (eds), *Cuda Orientu* (Wonders of the Orient), Gdańsk: National Museum of Gdańsk, 2006: 33, cat. t, p.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collections of the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2007: 158‒9. (Analogy)","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Ghiordes","Gördes","mihrab","Ottoman","prayer rug"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"f50ec732-f02a-5c81-8530-9953b2cc241a":{"name":"Prayer Box with Cover","short_description":"This silver prayer box encompasses rich engravings suspended from a neck chain. In Iranian, Omani and Yemeni tradition, these types of necklaces treasure a secret wish.  \n  \nRolled paper amulets would fulfil wishes, alleviate pain and defend against the evil eye. It remains uncertain whether people wear the prayers on their chest to be read or locked away forever.  \n  \nBy holding or handling the box, a person enacts the power of the amulet for themselves, a loved one, or even against someone as a curse. Like engraved charms in modern jewellery, magical signs may cast a mystical aura, with Islamic phrases often written in reverse.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"FBQ.HH.10604.1 Length: 5.2cm, Width: 4.5cm, Height: 12.4cm, Diameter: 4.6cm  \nFBQ.HH.10604.2 Length: 5cm, Width: 4.4cm, Height: 5.7cm, Diameter: 4.5cm","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and pattern.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and pattern.","provenance":"Yemen","obtention":"Purchase","bibliography":"Al-Saleh, Y., \"Amulets and Talismans from the Islamic World\", in *Heilbrunn Timeline of Art History*, New York: The Metropolitan Museum of Art, 2000.  \nAl-Saleh, Y. F., *\"Licit Magic\": The Touch And Sight Of Islamic Talismanic Scrolls,* Doctoral dissertation, Harvard: Harvard University, 2014.  \nPorter, V., Saif, L. and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\" in F.B. Flood and G. Necipoğlu (eds), *A Companion to Islamic Art and Architecture*, Hoboken: Wiley Blackwell, 2017.  \nQamar, A. H., \"The concept of the ‘Evil’ and the ‘Evil Eye’ in the Islam and Islamic faith-healing traditions\", *Journal of Islamic Thought and Civilization*, 3 : 2 (2013): 44–53.","dynasty":"Zayd / Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Amulet","dua","Iran","Oman","prayer box","Talisman","Yemen"],"materials":["Engraving","silver"]},"f52af067-edfe-5f5e-95b7-9a131fd3f4f1":{"name":"Kula prayer rug","description":"This prayer rug was probably made in Kula. It is decorated with a terracotta-red *mihrab* closed with a stepped arch, the spandrels of which are light blue. The bordure, which consists of 23 thin stripes, is divided into three colouristic areas of green and yellow, ivory and dark-brown, and red and blue. Every space of the carpet is filled with minute motifs: four-petal rosettes in the niche, upside down tulips in the spandrels, and flowers on leafy stalks in the bordure. The big red, yellow and ivory carnations in the cross-panels beneath and above the niche, contrast with the other flora. The colouristic and ornamental composition gives an impression of delicacy and lightness.  \nCarpets made in Kula were strongly influenced by the Gördes production, but the multi-striped borders can be more often found in Kula rugs. In addition, the choice of minute floral motifs is very characteristic of this production centre. It is worth noting just how differentiated the floral motifs used to decorate the carpet are, especially in terms of the colour scheme.  \nPrayer rugs were very popular among the 17th- and 18th-century nobility in Poland. Taste for Oriental art was one of the characteristic features of Polish culture at the time, and prayer rugs were widely used for interior decoration.  \nThe Kula rug was obtained by the very famous Polish collector Feliks Jasieński ‒ called Manggha (1861–1929) ‒ and formed part of his extensive and precious collection. Part of this collection was donated to the National Museum in Kraków in 1929, according to Jasieński’s last will and testament.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"End of the 17th century","location":"Kraków","dimensions":"H: 180cm, W: 130cm; knot density 1,085/dm2","method_for_provenance":"The ornament is typical of Kula rugs","provenance":"Anatolia, Kula","obtention":"Bequest of Feliks Jasieński in 1929","bibliography":"Biedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: The National Museum in Kraków, 1983: 86‒7, 167, cat. 33.  \nBiedrońska-Słotowa, Beata, *Leksykon sztuki kobierniczej* (Lexicon of carpet art), Kraków: Radamsa publications, 1999: 219–22.","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["Anatolia","Kula","prayer rug"],"materials":["symmetrically knotted pile (Turkish knot)","Wool (warp, weft, pile)"]},"f5ef250e-6f10-578b-9290-9c8967a2f518":{"name":"*Conversion of St. Paul* Altarpiece","description":"A Rococo type of *reredos* (retable) with ornamental pilasters instead of columns, and a wealth of Rococo ornamentation in compact form. At the centre is the *Conversion of St. Paul*, flanked by two female saints without attributes. Two angels kneel at the corners of the cornice. The central, upper section of the altarpiece holds the coat of arms of the Halper-Sigetski family.  \nInitially, the altarpiece stood in St. Mark's Church in Zagreb, near the triumphal arch. Like most altarpieces in the church, this one was commissioned by a particular guild, the boot-makers' guild. Its production was part funded by a donation from Anna Gerlichich in 1760, as an inscription on the altarpiece details.  \nThe altarpiece is by an accomplished master, showing a high level of design and technical skill. The influence of Vid Königer (one of the greatest Styrian sculptors of the second half of the 18th century) is apparent, seen in the female saints in particular.  \nDuring restoration of St Mark's at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","short_description":"A richly carved Rococo altarpiece: two saints stand either side of twisted pilasters and two angels decorate the attic, while the central scene of the *Conversion of St Paul* is in high relief.  \nCommissioned for St Mark's Church by the boot-makers' guild in 1760, it was part-funded by a donation from Anna Gerlichich, as an inscription on the altarpiece details.  \nDuring restoration of the church at the end of the 19th century, the altarpiece was moved to the chapel of Zajezda Manor in Hrvatsko zagorje, at that time owned by Baron Halper-Sigetski, who placed his baronial arms on it.","type":"Altarpiece","holder":"Croatian History Museum","initial_owner":"Church of St. Mark, Zagreb","dates":"1760","location":"Zagreb, North-West Croatia","dimensions":"H: 226 cm; w: 258 cm; depth 70 cm","place_of_production":"Zagreb","method_for_datation":"By stylistic analysis and research.  \nDuring restoration and conservation work an older painted layer was discovered under the coat of arms revealing letters next to the frame and the year: \"S. D. M. ANNA SAN(C) NATA DE GERLICHISCH 1760\". Anna Gerličić, whose name appears on the coat of arms, probably sponsored some of the work for this altarpiece, such as the gilding.","provenance":"Boot-Makers’ Guild altarpiece, Church of St. Mark, Zagreb","obtention":"During restoration of St. Mark’s Church by architects Schmidt and Bollé (1876–1882), in 1880, the altarpiece was moved to the chapel of the former Patačić Manor in Zajezda. It is probable that the coat of arms of the Halper-Sigetski family was applied to the altarpiece while at Zajezda Manor in Hrvatsko zagorje, from where it was transferred to Zagreb.","bibliography":"Baričević, D., “Barokno kiparstvo u isusovačkim crkvama u Hrvatskoj” (Baroque Sculpture in Jesuit Churches in Croatia), *Zbornik Isusovci u Hrvata* (The Jesuits in Croatia, Collection), Vienna, 1992.  \nBaričević, D., *Barokna skulptura na Gradecu, Zagrebački Gradec 1242–1850* (Baroque Sculpture in Gradec, Zagreb's Gradec 1242–1850), Grad Zagreb, 1992.  \nŠercer, M., *Stari zagrebački obrti* (Old Zagreb Crafts), Zagreb, 1991.  \nPavičić, S., *Religious Sculpture in the Croatian History Museum,* catalogue of the museum collections CHM, XXXVIII, HPM, Zagreb, 2003.","author":"Snježana Pavičić, Nela Tarbuk","translator":"Snježana Pavičić, Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Altarpiece","Christian themes","gilding","guild","polychrome decoration","religious object","reredos","retable","sculpture","Theatrical architecture","wood carving"],"materials":["Carved wood, polychrome, gilded and marmorised"]},"f7ed68df-d80f-52d6-89b8-e4a57d8f8085":{"name":"Triple-arch prayer rug","description":"Triple-arch rugs, sometimes also described as six-column rugs, were very popular in Transylvania – there are several interesting examples preserved in the collections at the Budapest Museum of Applied Arts and the Brukenthal National Museum in Sibiu, and in a number of Austrian collections as well. It is very probable that in this case the niche doesn’t represent the *mihrab*, but derives from mosque architecture.  \nThe red niche at the centre of the rug is divided into three pointed arches supported by six columns, on bases in the form of polygonal turrets, with the so-called “precious stones” decoration. The large carnation flower is suspended from the pick of the central arch, and much smaller flowers hang from the lower arches. The dark-blue spandrels are decorated with a mainly yellow ornament of rosettes, and lanceolate leaves flanking them. The main, wide border, filled with an ornament of hexagonal cartouches enclosing lozenges with carnations rising from them, is placed between two narrower borders with flower ornament. The main colours of the carpet are red, yellow and dark-blue, with details in white, red and blue.  \nSome characteristic features distinguish the Kraków carpet from other examples of this type: the ornaments are rather simplified, and a clear, precise outline is almost lost especially in the spandrels; the paired central columns rise from the bases as one column, which is quite an unusual solution. Worthy of note also are the delicate, small flowers rising from the central part of the columns. The left arch has a bizarre shape, which is probably the result of an error made by the maker.","type":"Prayer rug","holder":"National Museum in Kraków","dates":"17th century","location":"Kraków","dimensions":"H: 180cm, W: 130cm; knot density 1,184/dm2","method_for_datation":"The composition of the rug and also its stylistic features prove that it belongs to the group of triple-arch carpets traditionally connected with the Anatolia workshop of the 17th century","method_for_provenance":"Both composition and technique suggest that it could have been made in Ladik, Anatolia","provenance":"Anatolia, Ladik (?)","obtention":"Donated by Erazm Barącz in 1922","bibliography":"*Antique Oriental Carpets from Austrian Collections*, Vienna: Society for Textile Art Research, 1986: cat 9.  \nBiedrońska-Słotowa, Beata, *Kobierce wschodnie. 1. Kobierce tureckie*, Kraków: National Museum in Kraków, 1983: 78‒9, cat. 30.  \nIonescu, Stefano (ed.), *Kobierce anatolijskie z kolekcji Muzeum Narodowego Brukenthala w Sibiu / Anatolian Carpets From the Collection of the Brukenthal National Museum in Sibiu* (Romanian ed.), Gdańsk: National Museum of Gdańsk, 2013: 181–5. (Analogy)  \n*Katalog wystawy kobierców mahometańskich, ceramiki azjatyckiej i europejskiej* (Catalogue of the exhibition of Mahometan carpets, Asian and European pottery), Kraków: National Museum in Kraków, 1934: cat. 7.  \nPásztor, Emese, *Ottoman Turkish Carpets in the Collections of the Budapest Museum of Applied Arts*, Budapest: Museum of Applied Arts, 2007: 136–56. (Analogy)","dynasty":"Ottoman","author":"Joanna Regina Kowalska","copy_editor":"Mandi Gomez","keywords":["dark-blue","floral decoration","floral motifs","mihrab","niche","Ottoman carpet","palmette","prayer rug","wool"],"materials":["symmetrically knotted pile","Wool (warp, weft, pile)"]},"f9783bd6-7a5b-5ca2-8a70-781a2af32872":{"name":"Cross chain","short_description":"A cross of silver on a silver chain known with the folkloric name “heal of gazelle”, worn by Christian women. Silver was the most common jewellery; only rich people used gold. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated religious composition of Jordan in the late 19th and early 20th centuries. It also demonstrates personal attire, fashion, local costumes and rites.","type":"Ornament; jewellery","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Length 53 cm","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver","cross","heal of Gazalle"],"materials":["Silver; casting, welding"]},"fa052673-5ed9-5255-bc4c-8cacacef21c2":{"name":"Kaaba *Kiswah* (Covering)","short_description":"Prior to Islam, regional tribes competed to cloak the Kaaba, a religious sanctuary. Every year on the ninth day of the Pilgrimage month, a new *Kiswah* (covering) reveals the Kaaba’s new face in a ceremony while concealing the building’s appearance. Sewn by Egyptian craftsman in 1910, this fragment of the *Kiswah* to the Kaaba in Saudi Arabia represents the curtain covering an architectural door adorned with calligraphy. A generous 220 kilograms of gold and silver embroider the 670 kilograms of black-dyed silk. The year-long manufacture, considered a religious duty, requires precision and laborious processes to create a fitted garment that can withstand the hot sun. Egyptian rural production centres produced the *Kiswah* for centuries. Today, modern media helps witness the production and ritual replacement worldwide with livestream coverage.","type":"Religious relic","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"1910","location":"Shahaniya","dimensions":"Length: 582cm, Width: 290cm","place_of_production":"Egypt","method_for_datation":"The date and commissioner are embroidered onto the Kiwa.","method_for_provenance":"The Kiswa covers the Kaaba in Mecca, Saudi Arabia.","provenance":"Mecca, Kingdom of Saudi Arabia","obtention":"Gift","bibliography":"Alashari, D. M., Hamzah, A. R., and Marni, N., \"The Aesthetics and Greatness of the Kiswah of the Kaaba in the Saudi Era\", *Umran-International Journal of Islamic and Civilizational Studies*, 8 : 1 (2021).  \nAlhazmi, N. H., *Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa*, Doctoral dissertation, Ohio University, 2021.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kaaba","Kiswa","Mecca","Saudi Arabia"],"materials":["embroidery","Silk, cotton, gold, silver"]},"fabf4535-e263-529b-9b2c-f09555375400":{"name":"Mosque Lamp","short_description":"Glass mosque lamps such as this splendid example were made in abundance during the Mamluk period in Egypt and Syria. Free blown, enamelled and gilded, these lamps contained oil and were suspended from the ceiling of mosques, madrasas and palace complexes, illuminating the buildings with their beautifully executed decoration, including Qur’anic verses, proverbs, sultanate titles, or geometric and floral patterns. This particular lamp, with a rounded body and long sloping curved shoulder with a flared, conical mouth and trumpeted foot, has six applied loop handles around its body from which it would have hung. The lamp’s body and mouth are both decorated entirely with blue floral medallions outlined with white strapwork, set against loosely drawn red floral motifs. This example, although comparatively small in height, relates to a known set of other mosque lamps attributed to the reign of the Mamluk Sultan Hasan (AH r. 747-762 / AD 1347-1361). These lamps were most probably made for the madrasa of Sultan Hasan in Cairo, which was completed in 763-764 AH / 1362-1363 AD. Like many other examples, this lamp remained in its original structure until the thirteenth and fourteenth centuries AH / nineteenth century AD, when many were sold and entered into museum collections worldwide.","type":"Glasswork","holder":"Museum of Islamic Art","dates":"AH 8th century / AD 14th century","location":"Doha","dimensions":"Height:28.5cm, Diameter (at the widest point): 19cm","provenance":"Egypt","bibliography":"Carboni, Stefano, *Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art*, Qatar: The Islamic Art Society of London, 2003: 48-51, Figure/Plate 7.  \nLamm, Carl Johan, *Mittelalterliche Gläser und Steinschnittarbeiten aus dem Nahen Osten*, Berlin: Reimer Verlag, 1929-1930.  \nJodidio, Philip, *Museum of Islamic Art, Doha Qatar*, London: Prestel Verlag, 2008: 128-129, Figure/Plate 15.  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008: 137, Figure/Plate 55.","dynasty":"Mamluk","copy_editor":"Valerie Pulsifer","keywords":["Enamelled","Free-blown","glass","Mamluk","Mosque Lamp"],"materials":["free-blown with enamelled and gilded decoration","glass"]},"fafb3812-1969-5e3a-b9d0-22446066efee":{"name":"Chest for a Portable Altar","alternate_name":"*Arca-Altar portátil*","description":"Portable altars in the form of chests were an element of religious furniture, epitomising Portuguese maritime travel to different parts of the world.  \nThis type of furniture developed from the 16th century onwards as Portuguese maritime voyages, in particular to India and China, increased.  \nThese voyages often involved both regular and secular clergymen embarking on missionary activities, aristocratic families, the backbone of the administration in the Portuguese empire, or those who set out for diverse corners of the world in the quest for new commercial markets.  \nThe need to reduce the volume and weight of the cargo transported on these voyages resulted in the construction of furniture that was light and easy to handle and store.  \nThis piece of furniture is built of wood and covered with black-painted leather. It is adorned with engraved plant motifs and a pattern made out of tacks. On the outside it is fairly plain. The exuberance of the piece is revealed after it is opened and assembled. The internal lining in red silk is further embellished by gold trimming. The fittings that frame the lid were inspired by incised motifs, a decorative mode that flourished during the period.  \nThe liturgical implements (chalice, crucifix, pyx, cruet, paten and bell), all of which were necessary to celebrate mass, were stored in a drawer below the altar table, in customised, made-to-measure indentations.  \nMany masses were celebrated aboard the carracks on altars such as this one, as well as on land, at sites that did not have suitable facilities for religious worship.  \nMass could only be celebrated on altars that contained an altar-stone – a stone that had been blessed – upon which was placed the chalice and the host. In this altar, the altar-stone is found in a concave indentation within the table.  \nDuring voyages, priests were obliged to celebrate mass every Sunday and on holy days. A particular feature of masses celebrated on board ship was that they did not have the consecration and consequently did not have communion. They were thus called “dry masses”.  \nIn his work, *As* *Cartas Ânuas da China: 1636, 1643 a 1649,* a compilation of letters from China written to the Jesuit General in Rome annually, the Jesuit priest António de Gouveia described the presence of altars in the houses of Portuguese settlers. He relates that it was a common practice to “assemble the altar” in the largest room so that mass could be held.","short_description":"A chest containing a portable altar, it was designed to be transported long distance on Portuguese maritime voyages to enable those on board to celebrate Mass both while on board the ship and, on arrival, in foreign lands.","type":"Ship's Furniture","holder":"Macau Scientific and Cultural Centre Museum","owner":"Macau Scientific and Cultural Centre Museum","dates":"17th–18th centuries","location":"Lisbon, Lisbon","dimensions":"Open: h: 227 cm; w: 175 cm; depth: 96 cm. Closed: h: 44 cm; w: 93 cm; depth: 54 cm","place_of_production":"Portugal","method_for_datation":"Stylistic analysis","obtention":"Acquisition","bibliography":"Rego, A., da Silva, *Documentos para* *a História das Missões do Padroado Português do Oriente: Índia,* Lisbon, Fundação Oriente, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, 1991.  \n*Fons Vitae,* Pavilhão da Santa Sé na Expo 98, Lisbon, 1998, p. 183.  \nGouveia, A., de, *Cartas Ânuas da China: 1636, 1643 a 1649*, Lisbon, 1998, pp. 126, 163, 252, 254.  \n*Cartas Ânuas do Colégio de Macau 1594–1627,* edited by João Paulo Oliveira e Costa, Fundação Macau, 1999.  \n*Guia do Museu do Centro Científico e Cultural de Macau*, Lisbon, 1999.","author":"Maria Manuela d'Oliveira Martins","translator":"Roopanjali Roy","translation_copy_editor":"Mandi Gomez","keywords":["religious furnishing","travel"],"materials":["Leather, wood, tacks","oil on canvas, silk, gold trimming"]},"fbd001b0-41f7-592f-b717-94dbb55470d2":{"name":"Curtain for the door of the Ka‘ba, with the name of Sultan Abdülmecid ['Abd al-Majid] I","short_description":"The curtain for the door of the Ka‘ba – known also as *sitara*, *burda* or *burqu‘* – was by far the most elaborate part of the *kiswa* and was replaced annually. Since Mamluk times, they were made in Egypt, and left Cairo with the *kiswa* accompanied by the caravan of pilgrims amidst great pomp and circumstance.  \n  \nThe design of this curtain is typical of those made at the Dar al-Kiswa in Cairo during the 19th century, and it continued to be used until the early 20th century. Curtains of this type were usually made in four sections which were embroidered and then sewn together, the heavy wire embroidery almost completely obscuring the seams. The silk fabric was backed with heavy canvas which helped support the weight of the wire, which on a heavily embroidered example like this, can weigh anything up to 60 kilograms. With its heavy use of embroidery, this curtain could have easily taken 20 or more embroiderers two months to complete.","type":"Textile; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*, *kiswa*; Dar al-Kiswa; wire embroidery","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1263 / AD 1846–7","location":"London","dimensions":"550 x 275cm","method_for_datation":"The date is embroidered on the curtain.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.  \nTezcan, H., *Astar al-haramayn al-sharifayn*, Istanbul: IRCICA, 1996.  \nTezcan, H., *Sacred Covers of Islam’s Holy Shrines*, Istanbul: Masa, 2017.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","cotton","Curtain","embroidery","hajj","Hijaz","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel"],"materials":["Black silk, with red and gold-coloured silk appliqués, heavily relief-embroidered in silver and silver-gilt wire over card and cotton thread padding"]},"fc210313-c572-52b3-ab9c-6ec080f0812a":{"name":"Oil lamp.","description":"A glass lamp composed of three sections: base, body and the neck, and completely covered with vegetal decoration beautifully and skilfully executed. It is painted with a variety of colours, with enamel and with profuse gilding. In addition it is adorned with written inscriptions and the blazon of the endower. The neck of the lamp is wide and narrows as it moves in closer to the body, thus taking the form of a conic glass. The neck is adorned with both vegetal motifs that fill the surface, and with an inscription band in Mamluk *thuluth* script. The inscription, 8 cm high, rendered in dark-blue, includes part of a verse from the Qur'an, “al-Tauba” (“the Repentance” 9: 18): “The Mosques of Allah shall be visited and maintained by such as believe in Allah and the Last Day”.The verse is intercepted by three circular medallions with a red circle at the centre, within which is a gilded goblet, the blazon of Amir Tankaz al-Nasiri. A decorative band is located between the body of the lamp and its neck formed from eight consecutive lotus flowers. The body is decorated with a relatively large gilded inscription band, against a dark-blue background, it reads: “This has been ordered by the Sublime, our lord, the *amir*, al-Saifi Tankaz supporter of the honourable and protected Mamluks in al-Sham \\[Syria\\]”. The inscription is interrupted by six suspension loops that are used to attach the chains for hanging the lamp. There is decorative band below that containing the inscription this is adorned with vegetal motifs. The lower area of the body, before transferring to the base, contains six medallions, three of which contain blazons and the remaining three of which are filled with vegetal motifs. The base of the lamp is 4 cm high; it is wider at the bottom than the top. The base is adorned with three bands filled with gilded vegetal decoration.","short_description":"The glass lamp is completely covered with intricate and skilful vegetal decoration and is painted in a variety of colours, with enamel and gilding. The body bears a gilded inscription and the blazon of its endower, Amir Tankiz al-Nasiri, against a dark-blue background. The lamp has a number of decorative medallions.","type":"Oil lamp, glass","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Amir Tankaz al-Nasiri who occupied the position of a representative of the Sultanate in al-Sham (Great Syria) region in AH 712–40 / AD 1312–40. This was during the rule of the Mamluk sultan, al-Nasir Muhammad bin Qalawun (who ruled three times: AH 693–4, 698–708 and 709–41 / AD 1294–5, 1299–1309 and 1309–40).","dates":"Hegira 712–40 / AD 1312–40.","location":"Jerusalem","dimensions":"Height 33 cm, diameter (of mouth) 18 cm.","method_for_datation":"The lamp was dated based on the written inscriptions on it, which mention the name of its owner, Amir Tankaz al-Nasiri.","method_for_provenance":"Lamps, similar to that exhibited here, were renowned during the Mamluk period. They were typically produced in either Cairo or Damascus, so it is likely that this piece was made in Damascus in view of the fact that Amir Tankaz was a deputy there.","provenance":"Probably Damascus or Cairo.","obtention":"The lamp was transferred from al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil) to the Islamic Museum in Jerusalem in 1967.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif,* Jerusalem, 1998.","dynasty":"Mamluk","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["epigraphic decoration","gilded glass","Lamp","Mosque interior decoration","Painted glass","Thuluth","vegetal decoration"],"materials":["Painted, enamelled and gilded glass."]},"fd7ea3bd-87be-5e84-a68b-74d44c3f3fc9":{"name":"Tomb","alternate_name":"Christ's Tomb","description":"The tomb, which is made of gilded silver shaped like a reliquary, holds a casket within which a figurine of Christ lies. Resting upon a trilateral base and supported on the backs of three ivory dragons, the tomb is decorated with embossed and chased foliate and *rocaille* ornaments and jewels. Enamel tablets hold within them scenes from the Life of Christ. From the base, a halo rises surrounded by a border of double rays. Attached to the base are allegorical figures of Faith, Hope and Love, flanked by St. Peter and St. Paul, and above them the figures of the Fathers of the Church Saints Augustine, Ambrose, Jerome and Gregory. The centre of the sunburst halo holds an enamelled painting of the Virgin and Child in a jewelled frame. It is decorated with foliate and *rocaille* ornaments, supported by two gilded angels. Above the frame is a splendid jewelled crown with a pendant pearl, flanked by two small ivory angels.  \nMade in Augsburg and bought for the treasury with money bequeathed by Cardinal Juraj Haulik (the first Archbishop of Zagreb enthroned in 1853) a great patron of the arts and patriot whose ideas reflected the Enlightenment spirit.","short_description":"A gilded silver tomb shaped like a reliquary, which holds a casket within which a figurine of Christ lies. It rests upon a trilateral base supported on the backs of three ivory dragons. The tomb is decorated with embossed and chased foliate and *rocaille* ornaments and jewels. Enamelled tablets hold within them scenes from the Life of Christ.","type":"Symbolic devotional object","holder":"Zagreb Cathedral Treasury","owner":"Zagreb Cathedral Treasury","initial_owner":"Zagreb Cathedral Treasury","dates":"1739–1740","location":"Zagreb, North-West Croatia","dimensions":"H: 38.7 cm; w: 23 cm: base h: 13.7 cm; w: 31 cm; d: 35.5 cm","place_of_production":"Augsburg","method_for_datation":"The tomb has the hallmark of Augsburg from 1739–1741 and the master’s initials “GDW” in a heart-shaped shield.","provenance":"Augsburg","obtention":"Funded by a bequest of Zagreb Archbishop and Cardinal, Juraj Haulik.","bibliography":"Bach, I., *Inventar zagrebačke katedrale* (Inventory of Zagreb Cathedral), Zagreb, 1951.  \nLentić, I., *Predmeti od metala u riznici zagrebačke katedale* (Metalwork in the Treasury of Zagreb Cathedral), Zagreb, 1983.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes","Devotional object","devotional painting","Enlightenment","funerary object","imaginary animal","ivory","patronage","precious gems","religious object","silver, enamel","tomb","zoomorphic imagery"],"materials":["Gilded silver, ivory, enamel, jewels"]},"fe134b50-319c-5411-b2af-fb5d9bcfd6cf":{"name":"Ladik Prayer Rug","description":"Ladik town of Konya Province was one of the most important rug producing centres of Anatolia. From the 17th to the 19th centuries many kind of carpets including large ground rugs, hall rugs, floor mats and cushions were produced in Ladik. Prayer rugs from the region are the most famous group. The distinctive feature of a Ladik prayer rug is a *mihrab* with a triple niche and stylized columns. Ladik prayer rugs are popular in Transylvania. Rugs were exported to the region and this type became known as a “Transylvanian rug”.","type":"Prayer rug","holder":"Museum of Turkish and Islamic Arts","dates":"18th century","location":"Istanbul","dimensions":"L: 115cm, W: 172cm","method_for_datation":"The analyses of the material and the technique used for weaving the rug and the motifs seen on main ground and borders.","provenance":"Middle Anatolia, Konya","obtention":"Transferred from Ankara Ethnography Museum","bibliography":"Kollektif, *Türk El Dokuması Halılar*, Ankara: Kültür ve Turizm Bakanlığı Yayınları, Cilt 4, Katalog no: 409.","dynasty":"Ottoman","author":"Deniz Kanberoğlu, M. Murat Bozcu","copy_editor":"Lisa Kelman","keywords":["Konya","Ladik Prayer Rug","Middle Anatolia"],"materials":["Gördes knot","Natural wool coloured with natural dyes","symmetrical knot"]},"febb9b50-5023-54dc-aba9-74d232d247aa":{"name":"*Mihrab* from the Damsaköy Taşkınpaşa Mosque.","description":"The *mihrab* is made of walnut. The geometric and vegetal motifs and inscriptions which make up its decoration are executed with deep carving with round surfaces, double-level carving and bevelling. The *mihrab* exhibits outstanding craftsmanship. Its niche is framed by two wide borders. The outermost border from floor level up to 68 cm is decorated with a vegetal composition featuring palmettes and *rumi* (split-palmette) leaves. The second border is covered up to about 100 cm with a geometric network. Both borders continue at these respective heights with inscription bands containing verses from the Qur'an (10:255, 59:20–23, 46:31).  \n  \nThe *mihrab*'s lobed niche is framed with thin borders of various widths comprised of vegetal decoration featuring palmette and *rumi* (split-palmette) motifs. The form of the niche hood, as well as the fact that its interior is empty, suggests that this part is a restoration. The niche interior itself, which is semi-circular in profile, is decorated with an intricate vegetal composition.  \n  \nThe spandrels of the *mihrab* niche have round medallions containing inscription bands. The frames of the medallions feature deeply carved vegetal motifs which give the impression of having been executed in openwork. The right medallion has the word 'Allah' in the centre, surrounded by a verse from the Qur'an (59:22); the left medallion has the word 'Muhammad' surrounded by part of verse 59:23.  \n  \nThe large rectangular panel on the upper section of the *mihrab* contains a geometric network made up of 12-pointed stars. The *mihrab* has no pediment crowning it.  \n  \nAlthough buildings outside Anatolia and from various historical periods feature wooden *mihrab*s, such as the Azhar Mosque (AH 360–62 / AD 970–2) and Sayyida Nafisa Mosque (AH 532–3 / AD 1138–45) in Cairo, the Iskodar Mosque in West Turkistan (5th–6th / 11th–12th century), and the Halawiyya Madrasa in Aleppo (end of the 6th / 12th to beginning of the 7th / 13th century), the *mihrab* of the Damsaköy Taşkınpaşa Mosque is the only one in Anatolia made of wood. For this reason it is of special importance.","short_description":"The only example of of a wood-built *mihrab* in Anatolia, this *mihrab* is an exceptional work of art displaying excellent craftsmanship and rich geometric, floral and calligraphic decoration.","type":"Woodwork","holder":"Ankara Ethnographic Museum.","dates":"Hegira 654–842 / AD 1256–1438.","location":"Ulus, Ankara","dimensions":"Height 350 cm, width 203 cm.","method_for_datation":"The Damsaköy Taşkınpaşa Mosque has no foundation inscription. However, the tombs found in the courtyard there have inscriptions dating to the 8th / 14th century, so it is accepted that the mosque was probably built in the mid-14th century. In addition, in the 8th / 14th century it was common for geometric and vegetal compositions to be used together with inscriptions, especially in tile-mosaic and stucco *mihrab*s. This decorative programme was used on the wooden *mihrab* of the Damsaköy Taşkınpaşa Mosque.","method_for_provenance":"Although the exact place of production for this *mihrab* is unknown, both its stylistic characteristics and the motifs used on it point to a local (Anatolian) provenance.","provenance":"Anatolia.","obtention":"The wooden *mihrab* that once belonged to the Taşkınpaşa Mosque in Damsaköy was transferred, along with the *minbar*, to Ankara Ethnographic Museum on 23 October 1940.","bibliography":"Bakırer, Ö., *Onüç ve Ondördüncü Yüzyıllarda Anadolu Mihrapları*, Ankara, 1976.  \n  \nBakırer, Ö., “Ürgüp'ün Damsa Köyü'ndeki Taşkın Paşa Camii'nin Ahşap Mihrabı”, *Türk Tarih Kurumu Belleteni* 139 (1971), pp.367–82.  \n  \nÖney G., “Anadolu Selçuklu ve Beylikler Devri Ahşap Teknikleri”, *Sanat Tarihi Yıllığı* III (1969–1970), Istanbul, pp.135–71.","dynasty":"Qaramanid","author":"Sevinç Gök Gürhan","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Bevelled style","carving","geometric decoration","inscription","mihrab","Mosque interior decoration","Qaramanids","vegetal decoration","wood"],"materials":["assembled from walnut panels and decorated entirely with deep carving with round surfaces, double-level carving and bevelling.","Walnut"]}}